THE CREATIVE GAP:
A Theory of FORM, BEAUTY, SPIRIT and MEANING
” For a work to speak beyond the personal, for it to connect as all great works do, with the collective psyche of its generation, then it needs to speak, perhaps in just some small way, of the perfection of nature, of the excellence that lies within the core of ourselves, of that ground of being, that infinite transcendental field that sustains our life. A great building therefore serves as a foothold on that qualitative axis of excellence and brings us culturally one step closer to a realignment with the perfection of the natural world. ”from chapter 1 ‘Quality and the Quest for Excellence’ pp.11
” The ‘Organic Logic’ of the nervous system so much a part of the natural functioning of ourselves, will; given half a chance return us to the organic and spiritual order of Nature. These ideas which are really no more than a return to natural order, a return to Natural Law, have the capacity to re‐integrate life and establish a deep connection between cultural contributors and their public. If we want it, they show us a way to create a more humane culture and offer the opportunity for a spiritual regeneration of architecture and the arts. ”from chapter 7 ‘Divine Order: Meaning in Unity’ pp.28
About the Book:
The books seeks to re-establish a link between architecture and the arts, and spirituality. The ideas set out in the book; develop a theory of architecture and the arts based on a fuller reading of humanity than the Renaissance view of humanism that led eventually to the birth of modernism. Amongst other things it argues for greater importance to be placed on the ordinary, the sensual and the experiential, perhaps feminine dimensions of culture, to complement the abstract and conceptual, perhaps masculine approach, so important to modernism and which has remained a dominant preoccupation in contemporary culture.
The title of the book, ‘The Creative Gap’ is perhaps ambiguous. It could be read as a commentary on something that is missing in contemporary culture. Its real meaning however is much more than this and is explored in the second half of the book. The creative gap refers not to an absence of something but rather to a fullness of something. As the text and analyses show in the book, it is when a cultural contributor is able to open up the creative gaps in their work that real life and vitality is experienced by those reading and using the work.
I explain how the creation of the gap is a subtle and dynamic process of balance and judgement; of function and aesthetics. The sense of spirit in a great work; the greater vitality, expanded awareness, or raised consciousness enjoyed by the users of a good building or work of art, is demonstrated to be directly related to the success of these processes of balance and judgement. Aesthetics properly related to use is thus shown to be the way to reintroduce spirit into architecture and the arts, just as its absence is able to account for the anaesthetic and deadening effect of many contemporary environments.
See PDF files: Vulnerability_and_Architecture_Nov_2009
|Chapter One:||Quality and the Quest for Excellence:|
|Chapter Two:||Ordinariness and a New Set of Values:|
|Chapter Three:||Human Error: Right or Wrong:|
|Chapter Four:||Natural Order, Natural Law and the Power of Form:|
|Chapter Five:||Symbols, Sensuality and Rationality:|
|Chapter Six:||Balance and the Organic Logic of Creativity:|
|Chapter Seven:||Divine Order: Meaning and Unity in the Gap:|