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The attempt to advance for a long futures city must revisit the reflections of the past whether recorded or gossamer: it must too launch from the present periodically and traverse time and space to project and select from the bloom of the great possible futures. In lieu of definite and defined positions, the long futures city move in a restrained way, being composed and erected in the making, paradoxically, entirely in the present moment. The historical and the futures contain the present moment as a set of fuzzy conditions, alongside projected costs, goals, and objectives that guide its non-erratic trajectory. That the city is a unity rests on the local balance. Where sight towards the external, less a global but a environmental, is casted, the long term vision appears to shift and move like apparitions, when in reality the mirror has become irregular and unconventional, and so the reflection is as though a painting done in a stupor. Nevertheless, the sight of itself as from the outside remains relevant for the many individuals and citizens who mind its present, futures, and histories. In an effort to arrange itself, there emerges various orders that too shift and move, and these orders are united only in the spirit collective. Architecture in this world of a city then becomes only one set of order; even as it remains important, its preservation and maintenance depends on correspondence with other moments and orders of stability but also of change. What orders and networks form the substratum of overall coherence are all relevant to the utility and enjoyment of the city’s architecture.

Construction is in the middle of the first phase of architecture. The design process finds commencement much earlier, the process of activation beginning the phase while the designing never exits for the duration of an architecture. The generation of a design follows the method established but yet in modification throughout history into the present although breakaways to make spinoffs hardly traditional architecture persist in the surrounding of true architecture. While projective efforts almost always follow the survey effort, conditions cannot dictate designation of artistic practice but rather restrain the risk of the arbitrary and nonorderly of the creative spirit. Design of course commences in the first stage of the first phase, but of note is what has been lost in the sudden bloom of the creative - that design is rooted in originality and conception. Partaking in the design of an architecture are many individuals and parties in the raising of vertical architecture today. That the role of the architect remains central and determinative tends to become ambiguous for the nature of the trade dictates that the architect remains engaged throughout the design, build, erection process and too what follows. The exit of the architect following completion of the structure is a new phenomenon belonging to the late modern and postmodern world. A building is no complete architecture, just as architecture did not in honesty begin with a single human being.

Reaching to points in time in the past is to see through an architecture a period in duration upon which the occurrence of events from social conditions and realities were facts over incidences. What mentalities and actualities give rise to significant and monumental architecture often give rise to what now is known as vernacular architecture or common and conventional building. Determinations leading to designation in architecture were not often made explicitly in articulated means, whether oral or recorded, but that they happened and can now or later be observed is grounded in the realm of possibilities from the vantage given by architecture, ie. the perspective of an architect. While historiography allows such retrospective accounts to be multiple, the multiplicity of accounts or narratives in practice provide for the possibility of approach towards a truthful vision of historical social consciousness as in additional to what could be rediscovered through contemplation whether solitary or social. Although the monumental often becomes primary incidentally in later times' retrospective accounts of conditions of past eras, comprehensive research reviews across what diversity exists at the time of an architecture. One architecture may offer singular focus for subsequent research because it reflects the effective and deeper concerns of a single patron or group, while inspection of multiple typologies and instances in an era offer more comprehensive understanding. The role of memory is often undermined for the difficulty of comprehension, but remains important because it has the power of inertia and directionalities. To yield to a single account or one architecture to study an era for recall may be referring to a single architecture textbook for comprehension, but where archetypal instances could be used for study, the recollection of history into memory stays possible.

The regard for the existent as being there is respect for what is in being before the inadvertent intervention of new architecture. While projection from arbitrary disposition could find in bloom entire non-sets of possibilities explosively, projection from informed design disposition surveys and establishes percepts of what is given. While there is no limits to how grand a sphere of conditions exist for any one design, the act of delimitation is precisely the goal of surveyal. The delimitation of what percepts to be captured by surveyal allow a time frame prior design and is the period when notions informing the design are discovered. Despite appearing as a restrictive measure, in each grain of sand is the universe in all its contexts, differences, and not the least uniqueness and unique being. When pause is taken before design, design appears to follow the apprehension of what could be known in a finite number. The delimitation of the finitude of conditions which could be known exercises the realistic requirement of arriving at the moment and process of design which must occur at least in part before construction in the first phase. Throughout history, where monumental architecture is erected, surveyal occurs throughout the pondering and grasping that includes the understanding and the identification. Only through successes in communication with the patron, likely numbering more than one individual, does the surveyal process proceed before the chance of design in explicit manner even appear. By their lasting permanence could be deduced that conditions constitute an extraordinary component for the design of lasting architecture of the monumental nature in history. Such is singularly in instances at least initially, while the progression of lesser architecture and vernacular architecture require proportionally smaller endeavors in the surveyal of conditions.

Distances never did uproot yet horses, carriages, boats, ships, and more were devised. Houses never motioned but fortifications and gates arose. In the incessant divergent movements from the soul the device of artifice extended, never within the imagination of a generation, an eon, or even a civilization did the entirety of possibilities realize to culminate in an all-encompassing. Enclosure is the primary intent of architecture. So many eons ago, the caves were recreated by humans as shelter for the undefined rigid walls, ceilings, and floor that went towards centuries upon centuries of refinement towards the ideal of the human make. Within the primary function manifold functions were founded through the affordance of the human body, mind, and soul. Where stone tools and iron tools then failed, revolutions elevated the pure being to new planes for small acts of creation that took care of all the ways of being from the human in this world. To reach forward, necessity prescribes no uprooting of what came before but the appreciation and kindliness that should reach across worlds devised. The artifice shall extend beyond this township, this country, this land, this ocean, and now, this earth. The planet has become a spaceship upon which our heliocentric motion enforce the celestial mode as the one inclined towards modest interposition with the universe.

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Arriving at the reality for a city to be oriented for the long future is distinct from arriving at the reality for it to have a long present. Having a long present is premised upon the recognition of stakes being up for influence and change in the now, with those stakes whether it be properties and values currently deemed important and found worthwhile and useful, while orientation for the future presupposes stakes not only currently held but also ones projectively held in the future. The regard for the long future is one that maintains those stakes and their value, qualifiable and or quantifiable, while possibly up for transformation under the dynamics circumstantially found in those tomorrows, nevertheless can be assessed for future moments in time in the present, at least as domains within limits prescribed. The maintaining that values will be held at worth still deemed significant because they should change in forecastable ways prescribe a formal meaning that is sufficient to inform decisions and actions in the present. To advance that a city is to be a long futures city first recognizes that the possibilities of the future are multiple in nature. From any moment in urban development, the abstract act of reducing the multiplicity into a united whole makes possible the projection of a domain of possibilities for what likely futures the city could find in its potential. The potential of the city draws from the facts of the urban condition in the present but also from all the facts still reflected from the current architecture, demographics, cultures, activities, and so on. The matrices of interactions from consideration at different levels of governance and intervention produce actions from individuals that constitute the sum activity of directing the selection of futures to be included in the domain of possibilities. That deliberation can be intentional and informed is the crux of transformation amidst the city's dynamics where the directive impulse becomes guidance for what remains a freely changing complexity, ie. a city that remains free.

The freedom of the city first lies within the citizenry: were the citizens not free, then no unrestrained motion by any organized force or constitution could be free. In a childlike way, citizens of a long futures city find that the first appearance of freedom is given in that any position could be taken and any role could be filled. That this is not so only becomes apparent in due course, when freedom is discovered in the roles and responsibilities which are suitable to each individual. For the city has the long held establishments and the continuing in-establishing in which each citizen can through commitment discover and partake, thus in each role there is freedom to contribute to the making of the city in the present. The lines of logic and transactions, crudely speaking, that make up the reason of the city are mostly already laid down, whether from the past in that they are already established, or in the present projecting into some particular future that does not encompass the entirety of the city, a future trajectory. These are broad as an unmarked boulevard is broad so that the negotiation through them could not be said to be restrained; further, the freedom to generate new smaller lines of logic that allows the negotiation of one or more citizens are also possible, thus furthering the realm of possibilities for citizens and city alike. In the largely self-restraining motions of the citizen is born the generative freedom that supports the futures city, if not the long futures city.

In the urban growth the erection of particulars are then demolished or retained, this latter being open to stay the way they are becoming or to be maintained or restored so as to be repurposed. On these lands, this process occurs at near light speed, so rapid that the movement of the people who inhabit the spaces within too move at a speed beyond past capacities. The natural urban growth then becomes the golden standard by which the rest appears to be determined. This is in opposition to the goal of the long futures city, where the stability and peace of mind of the citizenry still remains upon the deliberative measures which have been laid down to play intermediary for the lifestyle citizens of such a city deserves by their efforts. Other determinants like monetary budgets and goals set by councils are equally capable of returning the dynamic state of change to seemingly orderly arrangements, at least from the outside. Externalities exist only as a forever shifting blur, where intensive understandings arrive in parcels and packets, whose meanings are determined with the intellectual prowess that remain in waiting, even if the outcomes for the city stay manageable, inputted into the city also by parcels and packets. What effects onto the city would be nonlinear and less than noticeable but are actual and real nevertheless. The specificity and focus and collective effort in each parcel or packet determine how each contribution changes the dynamics internal to the city, as well as to the long term vision and trajectory though to a lesser extent.

What image of the city is rended when seen from the outside is at least multiple given that no sight of itself exist outside or anywhere and so the images come from those who look upon the image it has presented and make interpretations from their own positions. What images from the outside thus made are relevant because they are known to be actual and yet not its own. But that even the image of itself is not its own by unanimous consensus rends these images as beside the former, though not yet and perhaps never alongside because they cannot achieve primacy. What image does have primacy is the general fuzzy understanding shared between individuals and citizens who inhabit and run the city into a future of its own choosing, of their shared and own choice. The effort to rearrange itself is the collective emergent consequence of the consensus and comes from it, such that the rearrangement was already first determined by the tacit and shared understanding, and finally determined again when an order of reality agreed upon as desirable once more emerges from the general dynamics. As the orders were determined already in how they could be delimited, are in determination in the present moment, and become determined in the future when they make sense to the initial determination, how emphasis shifts between each of these orients the city respectively. When individuals from the outside visit, these orders are partially obvious in place of the actual dynamics. When they choose to stay, they are invited into the internal dynamics and the orders previously distinct now become blurry and fuzzy and lose their defined shape. Finally, when having become a citizen, these individuals too partake in the determination of these orders.

From the vantage of the architect, perspectives are multiple with many vanishing points and different horizons, leading to the appearance of a multidimensional matrix that shifts and changes. The only distinct and definite horizon is the physical horizon line itself, which from the right geographical vantage appears nearly a curvature and usually blue and blurry. The unique appeal of the ultramarine blue horizon that appears not as a line but an extended field that recedes into infinity is beheld as a phenomenon whose historical sources in representation becomes a guiding principle in the critical judgment and later determination of the urban landscape. The plane did not exist at all initially in the sense that it appears as the ground; after all, the ground plane is too an abstraction in architecture - the earth's surface exists forever as a curvature against which the abstraction resist to formulate the straight horizontality as a premise. Upon this projected field or plane is the base line upon which a model of the city could be built from the right vantage in the distance. That the distance could be from away or from within where the location could be considered indefinite is the reason that the architect’s vantage remains a secret. Much could be revealed about the state and stage of urban development from this vantage, namely, how the history of the city has unfolded could be estimated from afar although the particulars regarding the pace and the rate of retention including restoration may require closer inspection. In such a complexity as a city, much could be said for convolution by those who remain literally outside the profession, but in reality, the microcosmic lens and the architect’s vantage remain the crucial crux of architectural determinations for the visiting architect.

In the advancement of a new city where the new is considered in terms of centuries within the context of a civilization, each organizing is minded as though all intents and efforts towards order could be appreciated to the same extent, at least at first. Architecture occasionally suffers from criticism for its capacity to stand in permanence in its particular instances due to the immediate needs and near-immediate responses that could yield structures ranging from ad-hoc to temporary to short-lasting. In the greater movement and momentum of the construction efforts, occasions occur where the circumstances coincide with the design intent and possibilities to find something greater, something better, something more than mundane and less than perfect in the new town and or city. When this type of arrival eventualizes, there is cause for celebratory events. Suffice to note that these do not always come of the first construction that realizes the first building, but sometimes, in the adjustments and modifications is found something worthwhile and worthy for generations. In certain cases, a lot is developed of the same typology but only one or two of these buildings have collected within itself or themselves the distinctive and even historical. A conservation effort must already be underway, usually, for the retaining of such building to be transformed into architecture for the generations because the movement of the new city is such that the unexpected still inadvertently unfolds even in the midst of great original planning. Yet, with a deep founded intent to follow an original dynamic plan built upon consensus of citizenry, the historical is made despite the city's coherence in being new, of which future orientation is a characteristic. The original plan is not definite in the sense that an engraving has not been cut into stone, but rather has the character and appearance of being dynamic, ie. capable of adapting to change in discourse and novelties in deliberation.

So has been established is the fact that the new cities change and transform in its face and appearance at a pace which is different from the old cities at least in principle. What buildings has become and is becoming historical is a deep question for citizenry for what is firm and contained and determined to be definite has a substantial value perhaps not too different from the substantiality of building materials and old architecture. To grade the multitude of buildings is a task difficult and impossible to centralize for the democratic impulse consistently pushes against such a root for disagreement. The possibility for accounts by a centralized authority is held to be beside the main current of the momentum of a city, encouraging the erection of accounts by multiple parties, especially the parties whose interests are vested in the buildings in question, and the realization of the discourse concerning their futures. "In due course" is a phrase implying not some mythical centralized momentum in any literal sense where a unchangeable future has already been made in its grounds upon which the present is to leap into the future. “In due course” is a phrase that can be appropriated by each of the interested and vested parties so that the directions of each building may trace out each its own trajectory in the trace of time, which not only does not disrupt the sense of the city as a unity in its motion forward, but enacts the decisive movement forward of the city as constitutional from the apparently less than animate good old building made of materials such as concrete and stone and steel. Where the destiny of each building is to be architecture is the ideal dream upon which the celebratory motion of a city composed in one layer out of material forms that house our bodies and minds dance in the ultramarine blue field amidst the infinitude that is whatever lays outside and beyond.

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The phases of architecture may meet with disagreement and dialogue depending on who is engaging in discourse concerning the generation of architecture and even the formulation of a building. The common notion concerning how a building comes to be consists of two stages: one, the creation of a perfect design suitable to a client, and the building of the design into physical form. This is a notion in general circulation garnering widespread popular subscription but is flawed as per its reductive tendency when in face of the uncertainties that surround the indefinite process and procedures describing events actually transpiring in the open course of the generation of a building. Such has been true for contemporary practices as well as past and historical endeavors with the exception of the vernacular, which has stood on its own due to its established vocabulary and common practice. The vernacular enjoys popularity because of its general adoption and small adaptive modification across a community and even across a culture. However, upon closer inspection, even the vernacular in each of its instance, when inspected as a unity, is yet a drawn out example of where a design still undergoes development in extraordinary care but is one that emerges fro a greater and wider multitude. The vernacular is particularly worthwhile architecturally because, by one rationale, its origins are mysterious. That the common wins out in popularity and adoption is an obvious note, but the identity of the progenitor and the fact of its historical development cannot be undermined in the least. Unlike monumental architecture, whose worth lies in consensus for what is truly beautiful to an age or what inspires grandeur for an epoch, the vernacular could have been in many manners, but that it does so in this one particular becoming is special and how it wins out against other possibilities is usually never accounted for.

That construction is one of the phases in the generation of a building cannot be denied. Yet, today in the rapidly developing and expanding sphere of the virtual, the construction of the physical component constituting the building that houses the body is fast becoming precisely that, one componential provision amongst at least several componential provision. In these times when architecture emerges from a special trade into a modern profession, professional transparency finds that the physical form is now between the older componential forms and the newer componential forms, and so is a sort of normal for the wider matrix in the erection of true architecture. It is too a normalizing component of the enactment, as evident in one case its much-sought-after status in the world of material goods, itself rising as an object of ultimate desire for its prestige and grandeur. This is true of architecture of all different scales: from skyscrapers to churches, from museums to schools. As the profession of architecture continues to host for many parties of various interests who bring many new possible aspects from the manifolded world that could constituting entirely new dimensions of architectural actions, the field of architects, like the city which contains a multitude, has to rearrange and reorganize itself, which is no foreign task as in the New World the meeting of the old and the new has become habitual to a degree. That this occurs at a pace which was never before seen constitutes the foreign aspect of the reorganization.

It is amidst this torrent of activity that the still vantage of the architect is to be found. The thorough investigation through survey of a good number of particular aspects of the world at hand and afar has to happen before the arrival of the student architect to the task proper to him - that of the design. There is a virtual infinitude to aspects which could be discovered through intuitive analysis and identification. With the mind to develop a meaningful understanding of particular subjects, over time, the young architect who is already with the disposition to provide through creative endeavors will have the ability to discern the conditions appropriate for him to situate his creative acts. Via his continuous deliberative development in studious study and open imagination, the young architect also discovers the conditions within which his situation is proper to find the correct position as an architect in the world. Over the process of study, creation, and discovery, in no particular order but is repeated ad infinitum, the act of design then becomes available to be placed at the first place in chronological order for the long duration event of the generation of architecture. As it were, the particular instances of generating architecture similarly follows the life events of an architect who has discovered the non-difference between the special trade and the profession. Between the imaginary and the real, insofar as real could be said to be the common understanding while the imaginary is that of the creative horizon created by the architect as well as in consensus with his fellow architects, the moments of inspiration are to be found. Thus, what designs are generated depend not solely on the creative potential and impulse of the architect, though it does largely and seemingly very largely to himself, in actuality, great design depends on the identity and appropriateness of the conditions which are one of the ultimate determinants of the permanence of an architecture.

Upon the thought to commence the process of design, the action of surveying places first within the regard for a reality in which to realize an eventual design, whether it be logic, graphic, or architectural in enactment. The plan for the design process in each case could be said to differ but such a plan like the plan of a city must retain the reality of being dynamic for the obvious reason that, especially in cases where it is expected to be drawn out over many months, years, or even decades, if it is to persist through the changing conditions where found a possible domain to realize the creative act and object. Rather than being a static drawing of great determinative value as was the case for the modernist Corbusier in the realization of his complex and aesthetically oriented architectural designs, the ground plan must find a redefinition of the word "ground". The ground in mundane conventional sense denotes the ground upon we stand, meaning the layers of top soils upon a bedrock, the former of which sometimes is removed and sometimes not so for the paving or laying down of an artificial layer. For an architect, the ground is an abstraction yet still physical in its essence because physical construction necessitates a plane upon which the structure is to stand. Thus, the word "ground" is heavy in meaning and connotation for the architect for it stands not only as a horizontal plane both abstract and real but also that it is the ultimate physical premise on which most if not all architectural structures past and present are formulated. That ground signifies an abstraction leads us to find that it can also mean basis and as before premise. This is a significant finding as it leads to a brand new problematic fascinating within the context of new dimensions where new typologies of objects exist and are relevant beside the built form and older forms employed in traditional architecture. At essence, the ground could be removed from the phrase "ground plane" for a moment: in revisiting a certain philosopher, we find that the ground means the basis upon which a new postulation could be made, ie. the very premise for a proposition in a dialectical gesture. The ground plane would be an augmented concept hopefully worthy of further investigation in this world in how flight amongst birds is possible and propulsion into outer space where these two problematics gain a new dimension has been achieved.

The indeterminacy of the technologically enabled virtual dimensions dances upon the facts of their being in the making. The discussions of how it is to be made will lead to emergent visions of dimensions under various labels. The film dimension inclusive of popular movies and especially those of the science fiction and fantasy genre, such as cyberpunk, continue to make impressions around the world for their novelty and, not to say in the least, their ability to record and archive the special being envisioned and realized in the world. The old Cartesian models of space remains relevant today if already hidden as a mathematically constructed type of dimension of incommensurable elegance. If hidden from view by the flamboyant or fractalesque generation of spaces in the film dimension, the Cartesian model remains important to architects. Not only does the mathematical construction of spatial representation employed in day to day drawings that require the use of concepts like axis and perpendicularity, the notions of space as generated with origins and axes with vectors determining the later final spatially intelligible forms have been incorporated into technologies like drafting software. The utility of such an elegant and invisible system rends an abstraction into actuality; from an idea has now been realized the form of technology, which bears the character of the real as well as being a means for further creative endeavors. Where such fundamental logic as ground plane and point of origin and axes are celebrated for their depths of intelligence is comparable to the celebration of geometry in ancient and Renaissance times. That these could be bases for which architectural considerations could be had and made returns the matter to the question of what constitutes the essence of a plan. What are the components which are to remain stable throughout a design process? They must be of substantial meaning which could not be destabilized too quickly so that its definition remain like gravity is to a body of mass and its orientation with other objects in Space.

Throughout history, teleology had questioned how to frame and put into dialog the movements of a grand multitude such that reason could be discerned in the cause and effect of events through time. For the architect, such questions remain as so fundamental that he often cannot find the right vantage to propose any sort of solution which could prove satisfactory to the philosophers. For the duration of a design situates in the duration of a life time of an architect, and in the best exemplary cases, situates the duration of a legacy and a culture, when a design commenced and when a design ended are questions which meet with answers only out of practicality. The continuous nature of the creative endeavor to be pursued is today hoped by many to be given a treatment of sharing because ultimately the creative potential lies in everybody in wait. Oftentimes, the creative act is minuscule but many and so feathering upon the momentum of an artist's drive towards the future, particular instances put into the common shared reality are inspected only later. Similarly, the architect must produce at least some instances to demonstrate his continuous movement in the generative motions so that some accountability at least of the casual nature could be had by bystanders sometimes all too curious and sometimes rightly so for they too wish to share in the sight of beauty and right. The truth of genius is that it was never reserved to one individual in advance but that in the upholding of the value of provision in the creating that provides, much could be garnered for communities at large from the certainty that what has been created may one day be realized and seen and experienced even if that day is not today. Such is a sentiment present today that is celebratory and festive, as we are propelled upon a joyous ride upon the train of democratic inclination, so too the creative drive is known to be harbored in each individual regardless of how it was come upon.

But in the effort to democratize design much has been generated using resources previously held as precious in past epochs. How much shall become permanent? If not so much, then there must be processes availing the capacity to recycle in the profession of architecture and construction. The root "archi-" denotes "first" or "primary" - it is easy to draw the conclusion that the architect must dictate the prescription of such procedures. In reality, in a world that is sometimes considered to have flattened, to achieve this goal and other objectives related to the solicitation of support and leadership amongst the populace, the architect must find time to venture down from his tower and speak to normal people about his concerns which could be framed as to be for the good of the society and future. There are many such concerns in this world where hierarchies and localities are undergoing shifts which cannot be easily reverted or stabilized. In the constant perception and communication amongst architects, these concerns need be at least noted so upon questioning answers and solutions may be suggested. There are many new young architects and designers today who contribute to efforts such as these, yet the realization of architecture must continue to remain a primer focus for there is great potential in each project and build for communication centralized at the node of the core design team to extend and reach outwards into the community. It is also an opportunity to reach out and explore the virtual dimensions including forums and communities "online" or on the World Wide Web. The open internet was a dream decades in the making by the time of Tim Berners-Lee hooked up two nodes to form the first componential iteration of a web. The nature of the dimension of the open internet is not only open to analysis, whether systematic or casual, but much more so, it is open to constructive and interpretive exploration, such that the ti esti question is the reverse of a Pandora's box, where its opening generates not trouble but generates the impetus to opening virtual playgrounds for which imagination could soar.

There had been no precedent to the making of the virtual or physical in many common folks’ recent memory. The vernacular being so easily accessible and built for common use as dwelling and public infrastructure had become a normative in many townships and cities. The vernacular had been in a grand state of circulation due not simply to the convenience and requirement of everyday utility, but particularly had been an outcome of a push for systematization and constitutionalizing tendencies that arrived alongside mass manufacturing and consumerist culture. The move to bring things into order and efficiency so as to produce the most distributed outcome and widest application found the source in a rise in democratic consciousness which has as one of its basis the equality between citizens. That equality and equivalence are not one and the same seemed to have escaped notice by many. The move to centralize the production capacities is not one that was dictated by some one central figure or entity, but rose in response to demands from everywhere The rapid pace at which the material was expected to be delivered following the widespread establishment of highways, for example, though this took many decades and lasted over a century, resulted in the delivery of more of the same, or at least more proliferated from the same essential design or logic. Across the land, the American Dream was thus sold as units of housing that first appeared bright and shiny. This was the case seventy years ago and remain true today. Fundamentally, there was no error committed as could be said to be implied, but yet, the erection at such a pace could not hold on to the establishing of exceptional ideas so for their adoption and distribution to become viable to be competitive with what had been established. The ultimate dystopian outcome found in some and perhaps even many locations has been that of urban sprawl, whose problems could not be found in any single specific ailment, but rather consists in a balance of precarious decisions that resulted in outcomes that bear symptoms of ill planning. The exceptional must be celebrated and the ideas that give rise to their realization should be propagated, even in name if not in fact, such that all the instances of good could be circulated to the point where the public can garner choice in how the vernacular, though long term, could be determined by the relatively minute.

In the promotion of colleges, technology institutes, and universities, and additionally, advanced institutes, many new communities are rising by generations and generations. With their designs coinciding with the spirit of the open and the new, in large part with the unfolding of the newly democratic spaces of the communication networks and the internet, opportunities abound for the designer and the architect to put forward their own notions and ideas concerning the positivity of their position and their contributions in particular, not to mention that the realm where creative output and deliberative motions is open to all. Beyond the pure joy of revealing one's creation to the audience of many, the positing potential and its positive nature could not be overstated. Partaking in the constructive process, as ideas must be expressed whether in words, in drawings, in renderings, or some other medium, the action of positing what formulations onto an open stage such as the technologically enabled networks holds great promise as per the pronouncements of prophets and oracles everywhere in forums and beyond. Without any hint of overbearing oversight, the spaces afforded by communication networks provide for the action of positing the myriad various, for which the particular must be the responsibility of the creator himself. Suffice to note that the opportunity to browse and peruse expressed notions is too a luxury too many centuries amiss. In these cursory notes the remark has been made that a transformation of the domain of action for creators inclusive of architects has occurred. The landscape in which practice occurs has been transformed such that the traditional established methods became open to questioning, and through questioning whether appropriate or not the young creators now discover and create new methods that draw away from the worthiness of and the regard for the traditional.

Retrospective efforts have now become delimited to the title of "retrospective", as in the retrospective of an artist or an architect whose works and trajectories in development are now to be admired and contemplated in the museum. From the vantage of an individual who glanced at such displays, little could be discerned for the values and culture form which was drawn the works and choices. Crude an effort would be to call the new creators and those who drew deeply from traditional modes of work two separate class as the ideas concerning methodologies and techniques flow freely in schools, museums, and forums and the set of the public realm. The domain of the creators inclusive of designers and architects is greatly optimistic, whose optimism is shared with the community at large, and believes itself to have expanded exponentially, which while not untrue, the question remains, to what extent? What aforementioned new creators have believed themselves to have broken away from the old boring methods of traditional design ultimately after long detours circle back only to rediscover the treasure held by the tradition, but now beheld by this creator as something wondrous, anew, and over the brim with potential. What could be within and beyond the holding signified by this item of the tradition, and what promise, what horizon were kept thinly under the guise of the horizon line? What laid simmering below the ground plane, or above? Rediscovery itself occurs inside the tradition for the breakaway lasted a moment and remaining in the endeavor to create, the creator did never leave the tradition; but that he modified it by bringing the unexpected and the new from his detour returns in the minute to the currents that is the established tradition. On the way, conditions unexplored by the creator were discovered; they might have been conditions unknown to the tradition, and in the new world, nearly always so because despite the inertia of the vernacular push, which finds correspondence to the so-called scholasticism, the survey for conditions is as a wide net of a complex individualized algorithm that pulls in circumstances of fact and fiction by equal measures that describe some part of the world the architect hopes to build within.

Mystery abounds the creative process of the traditional architect for many facts could not be communicated so default to become secrets. That there are more creators than ever before, at least in the romantic Modernist mind, means a sign of relief and a sign of great things ahead in the common future traditionally safeguarded by the architect. Upon the ocean deep of information and facts that swim and compose the currents are the gems of a thousand years and the diamonds of the next eons. To label such extraordinary finds by the title of "item" or "condition" vastly cancel the yearning for mystery and good, for the truth of principle and the myth of reality. Returning the discoveries to a domain recognizable for the exercises of analysis is the path on which treading happens to recall the so called facts and cases so that something as mundane as concrete could be made beautiful. The composition of a machine, ay, abstract machine, that could project from the expression of such world as it stands as returned from the beauty and reflectance of contemplation is too the task of the architect. The machine is thus recollected as a tool and not a machine to live in in this age where the tool have expanded into internetworking and computing generating wholly new spaces whose dimensions advance by leaps and bounds. Not to discard to desolation the extensibility of the digital dimensions into the final frontier, that beyond the cosmic shore of the moon. How to keep all in one world, all the material, the substantial, the essential…. The projection with the projective tool of the abstract machine from the conditions discovered opens the probabilistic space that encompasses the physical forms plus space within its operative domain. The state of existence of such a possibility and such a possibility oscillates in the design procedure for such a probability space is too an abstract machine proposed by our contemporaries, the physicists. Retaining the factual as what case of affairs had been curated from the plethora of possible realities concerning some particular precursor to a design is the responsible and decisive action that takes the common reality shared with those whom the eventual design is intended as primary.

Primacy of the design entertains the tendencies and inclinations of the times, drawing from everywhere and nowhere, from the puddles of momentous ephemeral, from the truly monumental, from the present, future, and past. The design is as a small skewed atlas of the times, temproaneity less a concern as the true and real, what is heartfelt to a people, a folk, s land. If the upwards motion of the times is known, oftentimes the design follow, and following, spirit up and almost away but never really so, for architecture for the most part is still grounded on the plane we pronounce as the floor through form. Were the way downwards, architecture finds it to fall on its own responsibility to create lift to elevate and suspend for at least a few moments so the crews, the staffs, the workers, the employees, the patrons, the clients, the bystanders, the passerby can all come on board at this location and all these times for this always will be a place for rest and sanctuary. That design of architecture is always of a sanctuary traces back to ancient times when the discovery were sufficient to generate a shelter that is at its basis only an enclosure. But yet sanctuary soared so high in times following this age and that epoch to dream so high that one day it reached the soaring heights achieved by the Gothic Cathedrals. That each instance of architecture, even the fairly small particular instances of the vernacular, has the orientational ability for a times and a place like that of.a navigational instrument while providing sanctuary to house a variety of prescribed and unintended functions, in these harbors the freedom of creativity in design. In this way, architecture slow as it may be is a mediation up for the interventions for society in design that at once unites and orients bears its mark as an artistic practice at once constrained by the function of socialization.

The comparison of instances of architecture is less a metaphor or if it were a metaphor then it is one with very real dimensions. Scaling up one building to an urban landscape we see that it bears correspondence with the city map. That it too shares qualities to the map lies in the fact that the urban enactment is specialized into built form in architecture. Architecture as a whole as the city is too orientational for its own inhabitants, its neighbors in country, all those who look upon it and wonder what the lives of those who live and work within are like. What is it that they do and as a community what are their contributions to their world? By export alone such contributions cannot be encompassed for the fact of being that it is in existence in such and such a way is living proof of something important regarding humanity and the state of the world. This is true of any township, city, or even settlement. There stays the value of the built enactment for it not only guides in provision of physical form, it not only provides in the sense that it provides sanctuary, it not only makes the impossible possible, it also orients and explains, and serves as one cohesive dimension that furthermore has permanence and endurance to resist against abrupt and disruptive changes brought in from unknown sources.

The origin of design of course must find dress and not appear naked to the world at large, for the act of creation is mystical and true and of a greater source and potential than of human make. Above was described some of the ways in which to found a design, but the act of creation however small is indescribable but seems to draw from sources unknowable, as though it were a gift from the God or the muses where even true genius could not be had by any individual but rather attributable to a multitude of realities, worlds, and sources, and most of all, to the great unknown which we had always worshipped, yes, sometimes and oftentimes inside architecture of worship. The act of creating is a form of worship in itself and thus we have the word “works”, similarly derived all from the same root of an archaic tongue. The mystery of the sweat and blood, the refinement of logic and the extreme elegance of mathematics, such are the foundations ultimate for the return from new and foreign to the world of the self in which origin must find part. In the soul, we say, but only with mind and body does an architect find toil and labor - the labor of love, the object of creation. Upon some high pedestal sometimes the architect is seen, and but for his lowly position he must first place himself to always be able to return to the same place of origin, it would be true that it is on some definitely very high ground that the act of creation is realized with the most pleasure and satisfaction. This is not some abstract place generated by the mind, nor some physical place created with stone or brick by the body, not strictly - it is some place granted by serendipity and fine worship that it is granted mysteriously, perhaps made by the Muses to be. It is no low place to speak of when it is of the ground the architect shares with his designers and builders, who too must seek their own pedestal upon which to contemplate and ponder the realization of their works. Such.a ground is increasingly shared with all those interested in architecture and building, and that is almost everybody. Nobody says we deal in the realm of only the possible, but too the improbable must find condition in which realization is possible.

The raising of vertical architecture is particularly complex, itself bearing the mark of the monumental by being very tall or very big, but in truth it is complex not for its monumentality but in its effects from bearing a large number of in habitants and its being of high technique of technology that rends it a particular form of architecture that is admired in many places and many ways. The notion that it further bears consequences lies in the reality that its erection takes the agreement of many groups and individuals, its presence being one of towering, reminiscent of the old towers like of the fortress or the clocktower, though the implications be different, and its reality is felt across the community in the neighborhoods. The tendency for one tower to stimulate the raising of another lies in the perception too of movement up and down being novel and the reality that the place high up possible in a skyscraper affords a view quite unlike any other. It is as though we have erected a column draw from a tall mountain that now stands in the midst of a city. We are not constrained to reach only the top by teleportation, nor are we restrained to the plaza or foyer at the bottom. IN reality no top or bottom could be perceived on a daily moment to moment basis whether a person situates outside the tower or inside. It is with habit that the views afforded sometimes become a sort of background in the actualization of daily business functions and use. So the argument then becomes one of why only offices in the vertical architecture. Why not the arts, why not performance, or leisure, or archival, or computing, or even yes, meditation and contemplation?

Where conditions exist for the raising of vertical architecture is neither everywhere or only here or there. Demands for the extraordinary is of course everywhere but where on the earth to place these sought after instances of the great? Anywhere is not this particular place where it has all this wealth necessarily, nor is anywhere somewhere devoid of tall buildings for the fact of their absence. The potential of the skyscraper is not one merely to be beheld nor is it simply to raise the status of such and such individuals, rather, the potential's true worth is being a new erection of the imaginary where new and rejuvenated and continuing activities can bloom and worthwhile functions be enacted. When the conditions are ripe, some are wont to say, to be observed are the records in the memory of the people of a city. It is again neither in the having nor the lack that we find the what of the circumstances. The exploration of a city's consciousness through the encounters of its people will find the what that ascribes which conditions exist and how they do so in preparation and readiness for enacting a new imaginary in the form of a very tall building. So it is too for any architecture outside the common. Only the common exists by a de facto status; somehow the common is already known by experience, by trial-and-error, by repetition and iterations, to be just right and always appropriate. Any exception to the common is requisite of a procedure of discovery whereby the reality as known by those who commission and provide and those who ultimately make use of the architecture the correspondence is made by the architect and those around him to the design in the making. By the knowability and the particulars discovered creation is drawn through the mystery of the act of creation and up upon the spirit of the free is created the design for the inspection and review so to make the final realization a possibility.

Everything motions forward. The stabilizing abilities of architecture sometimes seemingly long forgotten in a world paced to change as per the moment’s desires, requests, need. So momentary the need, yet so urgent everything appears all of a sudden. The abrupt, it is traumatizing to some extent for the collective consciousness - changes that are inexplicable, yet still motioning forwards as though without a mind of rationality that guides, what architecture had always had the capacity to fulfill for the collective consciousness. Not just the monumental, but the common too, each and every like soldiers marching forward in the beat of time, which never slowed for anybody, it was said some time long ago half in jest. To recall what had been important which was brought by architecture so the knowledge could be applied drop by drop we only have to consider the monumental and the sacred in architectural form. While the outward appearance had stayed, enduring the centuries without barely breaking a crack, in its own times the truth of the architecture in its essence was within each one and every individual. It was made in the making and the physical form almost a residual trace in memory of the consciousnesses that had made it. The multitude of the common speaks of the needs and everyday happenings, but the monumental speaks of the truth of the depths of experiences by the human soul. What currents through the minds of all if not that which is the most important. What holds the people together if not a thought of such complexity and beauty that all who had behold it could only grasp onto it as the boat on which they sail? The sacred so too carries the souls and along too the bodies and minds of an all for whom it is built. The role of the architect through the centuries is to bear witness to what transpires not so much just in the material realm, as is sometimes a modern superstition, but rather what is in propulsion and propels the togetherness of a community that can span a country.

3

Traversal through the old world must be like sailing when many sights appear that bewilder and awe. The unexplained and inexplicable, to be found in a time so long past yet still present in the built forms within which is the present self. What intervention, what reality, behold! It is new again, with sight casted upon such forms. Erected by hands and tools, brick of rock over brick of rock, thin fine wall whose origin is unknown and perhaps unknowable, that stands today like a lonely apparition whose functions have disappeared but not the form. It stretches yet encloses nothing in particular, a stone erection long and thin, too short to protect indefinitely but has stood the trials of time and weather, over these green pastures. Looking at the ground, there is no hint of what battle had taken place. Was it a road, along which was a wall? By whose intention does this wall, so short yet so long, now stands? Perhaps there was a market here, and some temporary partition that separated kiosks for awhile, in the afternoon after the bell of the church, before Sunday supper. Were the grasses stomped and did they fight in resilience to stand back up, or were they stained with blood of battle whose mark would not last its instant? Was it of a secret trade, that it was built at night secretively, when all had fallen into slumber, before the call of angels by dawn? That men transported stone after stone, and shaped them, to puzzle together a puzzle to last all of the eons? The pasture is so wide, and expanse so vast the horizon disappears into a blur of the field. Vision could not capture the very ends, yet the moment of the horizon posited this exact question, in what does the world end - does it have an end? So upon such a conundrum genius was raised in the form of stone to the form of a long winding wall that snakes across the landscape in positivity, to say, positions itself as a positive form on the given lands. It was a statement of self in being, having commenced and perhaps one day could cease, but that day is not today, so this moment of revelation was given over in the presence of the Muses to this particular positive form.

How this became a castle has been a mystery that befuddled the ages. The trajectories history’s figures take gave no clue as to the secrets of the societies that created and enacted before the passing of passerby, who presumably were delighted at the sign of the novel, who appreciated deeply the kindness of those who dared to take the arts of forgotten ages as the Stone Age and the Iron Age, to mold forms that were never to be by ancestors of the animal nature. There were elements of the forbidden for the world was so big - the depths of the well of the universe not only mystified but bewildered and awed the delicate human soul. The pasture seemed so green and vibrant with life and truth and all beauty when there exists the fact of having conquered through the reality of our artificial prowess, yet before such event and such event occurred, even the minute insects and the billion movements evoked only imagery and sounds of a silent threatening roar, simmering below the perception of higher spirits. Such was the reality recalled after the fact for enactment of creativity drew deeply from the good of the world, of Nature, of Beauty, and all that is grand, that stays on this earth even today. That there had been beasts is nor was any secret, that there were beings of apparently strange nature, to say, different from our own immediate perceptible self, these all struck us deep inside as something, how dare different, yet who are we? So the trade must grow, for a few knew all along, this here as ourselves was exactly as intended, by some mysterious force or grander nature we were made. From the same well springs of will and spirit, of good and beauty, of that inexplicable and unknowable force of creation are drawn our own small creations. And return us to the original state the modesty and humility to stand and walk naked in the world so created - the facts of how remained unknowable for eons then.

The virtual today is as though new, but the fact stays our excitement in that the physical had never been merely that of tactility and the delimited senses. Blake wrote, it was not with the eye, but thro’ the eye that one finally sees. There was no sacred text widely circulated that outlines the depths and the breadth of the civilization of us we small makers. How through the worlds when we travelled barely as tourists but as children, we see more than our eyes could note. How wondrous and true upon the years of perception that such a world surrounded us now, and this new world environs us then. The world is one in the making but by just our own hands, but by our ears, and nose, by too our speech and our written word. These are all worlds, and not only, so too enacted are many more, much beside the idea of many possibilities in probabilistic competition as neutral as they may be, yet with one another. These are the material worlds certifiable and qualifiable and verifiable by science that gives us applications engendering many more possible actions and experiences and events that too bewilder and awe. So in this world, beyond the original undying universe, such is the unity of the world shared by humanity in the material realm, is in expanding - the expansion this one, bears an explanation intelligible to common sense by everybody through rationality and logic applied to the everyday common phenomena. When stripped bare, logic and rationality stand in front and defensive of the delicate human soul, and encounters the natural given world through a return to an earlier state; by its nature which is its own it could know some other world, too of human make but by not hands or brain, but by something more fundamental to human nature yet of the same creative force is generated or conceived as though from the original becoming of the true World. But by what holds are such worlds beheld, with what gates are such realities beheld, how beheld and how known, what is the nature of the architecture, or does this question raised a moot one for the tectonics we know belong only to the material world; if so, then lamenting we shall go as though on a shore to see a ship departing, into the field that is the horizon.

And now we are on the bridge. The abyss below sometimes very shallow, for it is a creek or a brook or a small river; at times it is deep, a gorge or a canyon, the drop seemingly enormous and unimaginable for our fragile bodies. By what way and whose hands, with what tools now grown through the generations into ones that amass and tower over our little presences, that this span of a way now holds the two places impossible to be simultaneous, together as though two points on a paper that by the will of a wisp the line is drawn? Now a ship is passing through, below the bridge in the up position; and now an army is passing through, through the gate into the city over the indefinitely deep and furnished moat. Residual from those long lost age were the materials - even then, the notion of alloy was found, by crude or pianist hands they were formed over the timeless fire, perhaps in a bowl, perhaps in the rawly amidst the tinder and flame. That such tools are still about today, the first signs of architecture; for it was not the cave that we first molded, but the tools. To replace the soft nail and agile finger and fingertips, the tools to carve and cut were devised, later matched by the selection marquee and the ctrl-x keys in the so-called new virtual world. Nobody took anything for granted in those ages - they were the wizards and gurus who knew a little more, and enabled a little more food, who assembled the rings of the magical stones, and erected the columns never to become antiquated. Perhaps the columns will be erected on the moon, of the regolith cured with a chemical cocktail, that rise again to renew the vow in the ancient age, when their magic was celebrated in the heights they soar to, never to disappear yet. If they should be enacted for reasons unable to be given, they shall once more be given the primacy of the magic of the construct, unknowable yet understandable and repeatable, the pure monumentality of the act of creation, in built form no less, so as to serve as the function, yet still unnamed though identified, of standing tall as our heroes and our gods.

The fact was that the design of the monumental arose not with some very singular source in one single individual, as is sometimes romanticized, but it is the extreme distillation from collective consciousness and appear to the afflicted, the solitary genius, the social wonder, the extraordinary in moments of insights and revelation so that it was and is often understood to be the work by entities beyond our material world. To speak of angels and muses, of gods and heroes, is to pay homage to the grandeur that arrives in moments of least suspicion, something from communion with what is there before judgment, before word. The creative, now such a coveted title, was never meant to be the name of a person, but a dress, a style, a movement - we knew too much then we knew too little and one day we knew it all when it all departed. Such is the paradox, human scaled, of those moments when realities seem to have collapsed in and onto itself, in our subjective perception only while the world marches on by the clockwork or divinity, so that in a moment of concentration by above and beyond arrives that moment of a small creation. The perception of the collective will, in so many and many instances, of this particular mystery, or that particular embodiment of beauty, beheld before it became an object for so long and by so many that a countermeasure arrived by the actuality of will, and transformed thus, became the precursor to material form to be molded by our hands and tools. The raging glory of the yet knowable propels the human apirits to heights unknown - so we then chose willfully and regrettably to later generations forgotten to call it Love. The not yet happened, the couldn't happen, and that forbidden fear drove some to cower in corners but Love withdrew the arms of illusory make and recall us to the world yet knowable.

If the accounting of so long so much architecture be amiss, for the consciousness grand is embodied in the body that dwells and motions, the discovery in the rediscovery found that proper realities were greater and grander than imagination could recall. For imagination move forward, we bring the past in the memories solidified and crystallized into stone and concrete something better yet already experienced and known in times past. Yes, times and not time for in each time the age before was brought forwarded this way, curated by the natural force of history in reassurance and rediscovery is the past known again, over and over the times past in being selected for by care or accident reveal once more the grandeur of ages past. No one or multiple account could possibly consume and give utterance to the whisper of the wind or the beauty of the flower, the infinitude of the heavens above, for nothing could be known in light or darkness but only by the soul. No lies were given but narratives taken and depicted in picture and in words in language as in music though the composition of music is by a caliber finer, the original form of architecture so the romance proffers. No moderation were sufficient to recall the revelatory or the sacred, no story extended enough but for the epics of the Ancients. It seems as though by incremental measures time marches forward when in truth the reflection of the water and the ripple of the pond gave more truth than a thousand castle fortified, but this the trade has believed and so make its small contributions that pull the blinds over men’s eyes to fantasize they are entirely inside, internal to human make when in truth reality was merely scrambled and reassembled and then we call it architecture. So it is too true that architecture was never initially made of stone nor brick, nor even word, but already within a world we had been. Only that architectonics is the logos and the matter is the secret shown by the guise of a word that the logic of architecture may have been discovered by the mind but the mind never did make it in the first.

Although the word “patron” had lost its circulation in the use by the common man, as had the name of “Muse”, the patron was in fact the onlooker who noted slyly the secret of the trade. In recognition of craftsmanship and techno, the appropriation of a force much beyond human beings, the patron selects the ones with the mastership of craft and creative genius to salvage the lost and the missing in the percepts of everyday to recall into form, here in architecture into built physical form, the hints and small realizations of the force that gives us birth from moment to moment that never misses even a bare instant in the march of the metronome that also gave us the emulation of the heartbeat and footstep and the Moonlight Sonata. The executive act of the architect was not to prescribe as one from above but one from outside, what first appears irreversibly tragic, but in the end the architect is returned by a motion of his own intention, into the folds of events and actions that must transpire to give rise to forms real to the percepts and interactions of everyday patrons, those who did not commission the act and the final form however small. Grounded in that which was discussed, the objects commonly recognized and the feelings commonly sensed, as well the spirit and ways of being natural to the human being, so each could be shared so the forms of the built environment were found. Only later does a multiplicity arose, at first in the times of the Ancients, they were all of one act, the various merely instantiations of the universal felt and perceived by all. Each took part and though some never arrive at the trade then known as one way of becoming, they too understood in comprehension the grandeur of the making way which only sometimes is realized as a column or an arch. The perspective of later architect hopes never to lament of times past but rediscover it and this time account for it for additions to the annals even if millenia past constitutes a cause for celebration.

The presence of architecture from the past - we sometimes call this as architecture from history, but mostly built forms did arise before the account. So odd a reality that word did not precede the actualization of built forms that a new word was later found, that of historiography. There was no accident, but which account was given was in fact partially accidental - so this the historian shares with the architect for what circumstances and conditions inscribed into stone and mortar by his builders were like what facts and dialogue recovered by the historian and inscribed into the records of the written word. There is correspondence but what particular linkages between any two are too later to be discovered by yet other architects and historians and students, which is not to undermine but rather augment to the merit of these three fields. What is recorded and kept in history goes through the selection process as in architecture, and not unlike in science’s own evolutionary theory as first propounded by Darwin, there appears after the fact the phenomenon of competition, yet so little was up for conflict and converse dialog at the time when we are all distributed with the mind and the patrons to support and realize the dreams to be enacted into a medium. The pace of the world is such that it is of young people’s mind to be quick and rapid, to keep up and to advance, as quickly as possible doing as much as possible so we know now that we have erected a bazaar or agora, or a plaza for public utility, though where it stands nobody knows for sure. It is everywhere and nowhere, simply existent, perhaps in the metaverse, perhaps in the imaginary; and too now exist sanctuaries of small human scale as Corbusier envisioned in the single dwellings, for contemplation, for philosophy, for art - but these too are independently found and not already made. What great forums exist could only clue into how in millennia our age shall be understood.

How should future graphicologists recall these times a new Golden Age? The virtual of the new intersecting with the common with the spiritual of the old, the technological blossoming as proliferative enterprise stably advancing in scaffolding of computing and internetowk, the design materialized into metallic and superconductive structure, giving form to public imagination and history’s knowledge. What remained hidden now with new means of unfolding into sight for disclosure by few or many, what distances could be had in the leap by imagination and the traffic of the mind into the new dimensions? What would be surely recalled are the bits and pieces remnants of a nascent culture of internetworking technology, the content already uptake and assimilated into hyperorganic techniques impossible to imagine today. Or the external technological channels and their material foundations had multiplied and these prototypal initial assays are being displayed in units and fragments in repositories held of human knowledge and civilizations. Or would amnesia had taken hold in some dystopian future, and precious pieces of our present slowly melting away to make tin cans and bare fortress walls by which knowledge itself have fallen to the amnesia of the hyper state of data and information as superior to raw animalistic information and percepts? In any case, it is by the lens of the present in which future that we will behold the past which is our present today. The vastness of the universe has inspired some vastness of content collected from all and every individual effort and contribution, with gratitude to the virtual infinite storage capacity relative to relatively small contributions though hundreds of thousands of which are possible in a lifetime.

While voices are already diverse today in the virtual dimensions, still more diversity is sought. Beyond the immediate set of differences found without further adieu in each our daily lives, only more beyond the known horizons could satisfy the desire towards a total repository of our times. This be a golden era, possibly, and the more and greater a spectrum of the human civilized knowledge the better and grander the memory of our times. Architecture follows these inclinations for more more and greater diversity in all the many projects ascribed under a name and all the different functions a form could inspire. While architecture, in particularly the monumental and the vernacular, could inspire later generations to reflect appropriately on the content of consciousness of a previous era, architecture was never representational by its fundamental impulse. Never a means to signify some particular phrase or turn of mind, nor a method with which to encode and collect, nor even the synopsis of a yearning of an age, architecture was always a direct response and enactment to the sentiment and aspiration so that it has been all and more of such functions and more. The trick to the creative life carrying the creative endeavors points to the primacy of the creative life whose reality draws directly from the existential reality of a time and place. The soul of the architecture as that of the artist is of such strength as to stand unified and as unity is counterposed to the currents experienced about itself. The spirit pushes forward and about against what is there at the moment of encounter and coincidence and pushing realizes its own in extension including those forms we call architecture and art into the world it founds itself. Extending the self reaches as though beyond himself but in truth realizes at a hyper level himself in the world. In the world, that extended gain a reality of its own: a new somewhat by the act of conception.

Then in retrospect as in stereospect, the new somewhat is an object to be beheld and looked upon and experienced by those other selves, to same, those others with whom is shared in common for instance the times or the place or some circumstance or an inclination and so on. Stereospect of the object in the present is active engagement though mediation, as necessarily so, with the architect or the artist - the social arrangement that is centered upon the circulatory motions of the forms whose momentum is retained usually at least initially by the movement of the progenitor. His motion is necessary of the most restraint, as in Michelangelo, for most is centered upon the forms of his extension, his percepts governed by the nature of his design. Where the design be in conflict with the currents of the times, his motions shall become unnatural, generally, for its motions would be at odds with the sentiments in oscillatory pass-pass of their age. The consciousness of the folks or people if rather than in harmony with each other, such occurs rarely but could be incident to foreign invasion, then the design shall too be of conflict. It is only that harmony could be found in any pattern, so theorizing could hold, that concurrence with the times and aspiration to the Good were possible. The aspiration for the monumental offers the singularity of focus where the designation of such a problematic could yield at least local if distributed harmony, in search of the common sight by a collective to arrive at particular somewhats in design that could at least be a clue to comprehend the age.

The potential in a singular architecture for the spectator and patron and all who walk through to reflect and discover the spectacular, the unusual, the grand, the great, the wonderful and awesome - this as architects we strive to do. The possibilities therein within an architecture for the realization of new forms in the mind’s eye for those who behold it and experience it are sometimes known in advance and sometimes beyond the expectation of he who erected it. The highest form of the possible which could be realized at the encounter is that of sense, something beyond the encapsulation of words. It is a sense of profundity, of being found, of founding, of realization, and of knowing. Language did not enter the question, in these cases, no word emerged from the experience until much later. What is significant is what brought about such an experience. Here on earth, there must be some basics in form that outstretched into complexity, which then in its self presentation as a cohesive surrounds encompassing the space to which one responds presences just so. The gravity of such architecture to bring experience into the realm of the physics in which the mind and body are one is immense and difficult to explicate. The alignment of physical forms into conjunction precisely surrounding the person brings the sense into the present moment, however it may include other or even many moments of temporally grounded human history. The normal orientation of everyday artificial surrounding is such that it sometimes is so ill as to have the opposite effect - that of closing off rather than opens. Changing conditions in which is found any architecture in its transformation gives a dynamics to be read; where none is apparent the architect is at fault for not catching the details and mistaking the sum of particulars as an undifferentiated flux. The dynamics being of a higher order lends itself for discovery and discernment for the architect in his search of the higher orders. Meaning is to be found in order as forms are founded in raw materials.

The affair of discovery is premised upon the creative and active action of actualizing in the mind’s eye realities that are particular which may or may not be discernible in the true continuum of the real. It is an orderly act in that some objective is known before hand, though often unarticuclable, a view of the Good or the True, or in the cases of the religious architecture a view of the Sacred - these views constitute the Regard with which one is to gaze upon what is. Sometimes it is falsely presumed that some immediate comprehension can be grasped if one just holds the right Regard; it may well be so, but the affair concerns one of habit. It is of holding true the objective of one’s regarding, and holding it, exercise it upon each and every that the gaze finds. Should Order be of one’s regard as well, then the each and every are placed into loose and definite association with each other; with habit, many each and every are indexed and archived, to be put into association and relation with one another where appropriate. The proper relations discovered in time discovers the particular orders sought. Such is an analytical approach towards the discovery of order. Yet architecture is more about the orders of sense and the orders of experience. To arrive by intentional venture upon such an understanding in the forms extended, the architect has no choice but to sharpen his rationality in his thorough exercise, and beyond this basic requirement, make attempts in trials and errors in small and subtle generation of form, and seek not only his own reception, probably at a date later than the date of genesis, but also that of his peers and anybody in his social circles. Only in having returned some notion of what his forms are about do what is apparent to all or most become apparent for a certain fact to he who generates form in the name of architecture. Of course, in that forms are everywhere, most of which the architect was never responsible for, the reaction and response of those to that surrounding all of us are lessons indeed towards such ends.

This is no boring topic; quite the contrary, this is a topic primarily floating at the surface in the appearance and the percept. All is apparent: the unusual as well as the awesome, the ill as well as the good, the extraordinary and the marvelous, the grand and the minute - they all are at the surface at which appearance is made. Only that some particulars are more obvious to somebody at a time than others give the surface an appearance of depth. Some details seem to float to the surface in the light, and some details, barely caught for a second, seem to sink into the darks. Here this apparent, how that disappears. So it is with day to day phenomena, so it is too with any architecture of complexity and depth. Undefined at last is what is to be beheld. At the ideal scenario all is beheld at once, to say, one is incorporated, assimilated, subsumed, only to emerge as one’s own self, in the architecture suddenly revealing itself in a new light at the exact same moment as the self is too suddenly revealed. But these moments of coincidence are sometimes not always for each person, but rather comes and goes, and thus the same architecture may not be experienced in this way by everybody all the time. In these other moments, it is experienced as an assemblage, of such details which are not to be revealed all at the same time in an experience of the profound, and lend itself to the analytical, the thinking of the parts and how they hold relations together. This is why we say such an architecture was read in such and such a way. The goal no less is the experience described as uniformed as well as the experience of the universal - this is an experience common to great architecture.