claim

active

claim:what-i-aim-for-is-most-concretely-sadness-i-try-to-make-the-volume-of-the-building-so-that-it-carries-in-it-all-feeling-to-reach-this-feeling-i-try-to-make-the-building-so-that-it-carries-my-eternal-sadness-it-comes-as-nearly-as-i-can-in-a-building-to-the-point-of-tears

What I aim for is, most concretely, sadness. I try to make the volume of the building so that it carries in it all feeling. To reach this feeling, I try to make the building so that it carries my eternal sadness. It comes, as nearly as I can in a building, to the point of tears.

The explicit artistic goal: to shape space so that it evokes tears, the most direct route to the I.

Neighborhood — ranked by edge-count

Claims (3)

claim

But this lake, even though it allows happiness to exist, is much closer to tears. If you have tears, you can feel them at the sight of the lake, or of the wind ruffles on the surface of the water. Its very existence in the school even allows your tears.
supports
The physical environment of the lake at Eishin campus creates a space where sadness can surface, unlike a typical asphalt playground.
The I—that blazing one—is something which I reach only to the extent that I experience, and make manifest, my feeling.
supports
Access to the deepest self is dependent on the maker expressing their own feeling, not intellectual concepts.
When this is achieved, or touched, to the extent that it is achieved, then, that is what I mean by reaching and touching the I, the blazing one.
supports
The final definition: achieving sadness in a work is the act of touching the I.

Questions (1)

question

What exactly am I aiming for in a building, in a column, in a room? How do I define it for myself, so that I feel it clearly, so that it stands as a beacon to steer me in what I do every day?
gates
The practical question of the maker's daily compass; answered by 'sadness'.

Related by similarity (8)

cosine ≥ 0.65 · no typed edge

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

This sadness of tears, when I reach it, is also joy. ... What makes it sad is that it comes closest, in the physical concrete beams and columns and walls, as close as possible, to the fact of my existence on this earth.claim0.831
The ultimate sadness is not miserable but a profound acknowledgment of existence, which is both sad and joyful.
Sadness (as architectural goal)concept0.807
The emotional quality Alexander aims for in buildings; it is not gloom but a deep connection to existence that allows tears, a sign of true life.
The making of sadness must come through a process where land, details, rooms form an indivisible whole, always trying to tie it together, to unify it, to make it disappear.claim0.787
The artistic process of achieving sadness is a unifying one that ultimately makes the parts disappear into a whole.
When you are done, if you have reached what you aim for, you feel the impact of its 'presence.' This is how architecture comes about.claim0.781
Defines the experiential criterion — felt presence — as the endpoint and definition of successful architecture
The essence of this state of mind is that the building must not shout. Emotionally, it must be completely quiet.claim0.773
Aesthetic and psychological requirement for living structure.
It is only when engineering and architecture work together from the very first day that deep feeling or life can be attained in a building.claim0.764
Assertion about the necessity of early engineering integration for living quality.
A building which has profound feeling will also solve seemingly unrelated functional aspects.claim0.764
The quality of 'tears,' the sadness that necessarily characterizes all living art, is inherent in the geometry, it is not only an emotion, but is a character of the geometry itself.claim0.762
Sadness is not subjective feeling alone but a structural property of the geometry.