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100 Independently of the name of its creator ) the celebrity ) , the significance of these buildings and the appreciation we have for them lies in the essence of what they represent to us, in what they are, and the way we feel about them . That was the state of mind of these architects when they designed those buildings : they were immersed in the thing itself , thinking about us the users . This school of architects in my view is similar to the unknown craftsmen who created folk art in Japan between the 13 th and 19 th centuries . Soetsu Yanagi, who founded the Museum of Folk Art in Tokyo, documented this art in his book The Unknown Craftsman . He saw this art as the materialization of a world in which the boundaries between art, philosophy and the creator's sense of a religious mission are "blurred", in as much as the creator, by attaining a state of mind in which he is free of his ego, can create pure Art . The artifacts they created he describes as "born and not made" . This approach was not understood by Le Corbusier, Oscar Nimier and others around the world who were part of the mechanistic school of thought who consciously considered architecture to be no which we live . The holistic - organic approach that has been for many years at the forefront of the scientific thought in general, implemented by Christopher Alexander Head of the Center for Environmental Structure, ) Berkeley California ( in architecture in particular, regards the socio - physical environment as a system or a dynamic whole, the existence of which depends on the proper, ever - changing interrelations between the parts . Moreover, the creation and existence of each part depends on the interrelations between that part and the system . In any organic system while each element has its own uniqueness and power, it always acts as part of a larger entity to which it belongs and which it complements . Having adopted this concept, I do not regard urban design, architecture, interior design and landscape design as independent disciplines removed from each other, but as one continuous and dynamic system . Thus the building is not perceived as a collection of designed fragments, but as one hierarchical language, in which the square, the building and its interior is one continuous system . Every design detail, at any level of scale, is derived from the larger whole to which it belongs, which it seeks to enhance and for whose existence it is responsible . The overall feeling of inner wholeness and unity whether in a building, a street, a neighborhood , a city, eventually evolves from the proper interrelations between its parts . This led me, at the time I started to design the "Music Center and Library", to think first about the square and not the building itself . All decisions regarding the volume of the building, its height and the material used for its construction were derived from the spirit of the square, meaning from the larger system it had to be integrated with, respect and enhance . more than icons, environmental installations and fireworks, totally dependent on the arbitrary vision of its creators . These were and are the architects the Gurus ( whose ideas, the buildings and the cities ) they design are directly responsible for the disasters we are witnessing in the physical environmental in left : The courtyards of the houses create a street experience, Safed . Details on building façade create the street experience, Chrysler building, New York . right : Ceremonial stand, porcelain, Yi dynasty th century ( , 18 ) Korea . Kizaemon Ido tea bowl, Yi dynasty ) 16 th century ( , Korea .
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פורטוגלי, נילי
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