The process used by large commercial offices like Skidmore, Owings & Merrill is not like Matisse's because it lacks continuous feedback from reality; each pencil stroke is only a reaction to previous pencil strokes.

Entities in the same semantic neighborhood but without a typed relation to this one — candidates for new edges or unrecognized duplicates.

• Matisse's painting process is exactly the kind of step-by-step adaptation with feedback: each brushstroke is a response to the actual emerging painting, making it continuously better.claim0.799
  The Matisse film as an exemplar of living process in art.
• Matisse's drawing actions are dominated by concern for the overall balance, coherence, and form of the whole, not by particular details.claim0.781
  Observation used to illustrate the principle that great painters work from the whole.
• Matisse develops latent white face-center on canvas through dark brush stroke using contrast and positive space to differentiate and intensify existing structure.finding0.761
  Example of harmony-seeking computation in artistic creation where painter recognizes and develops inherent latent centers.
• The process is based entirely on feedback from the practical. This shop has its own architecture, caused by the making of centers where they had to be made.claim0.760
  The family-owned gas station as a paradigm of practical unfolding.
• The office layout process resulted in highly personalized workspaces, as evidenced by photographs of completed offices.finding0.759
  Visual proof that the method produces unique, comfortable work environments.
• It is impossible, in principle, for an unfolding process to produce the works of Botta, Mies, or Le Corbusier; their works are therefore arbitrary and lifeless.claim0.756
  Strong in-principle claim against modern icons.
• The gist of the process, what I call the formal or brutal process, lies in the use of very simple geometry, first introduced with force, after one makes sure that the inspiration has arisen from the place, and from the introduction, then, of just enough syncopation into the order, so that it truly fits the necessities of site and place and time, without doing violence to them.claim0.752
  Summarizes the brutal process as force-first geometry, then syncopated adaptation to fit context without violence
• The critical difference between successful living processes and unsuccessful modern architectural processes is the absence of feedback.claim0.749
  Summary of the root cause of lifelessness in modern architecture.