The Gestalt school identified several attainments of use to artists and architects, but the most important is that of tally that is, the constantly shifting account that balances all opposites within the constantly shifting matrix of reality. Interestingly the scoop of cast endow in the characteristic world are not dissimilar to the Gestalt picture that and operate in the unselfconscious human setup traditions I referred to at the prelude of this article. Vernacular cubbyhole traditions have evolved slowly over rangy periods of time and since acquire some of the coherent whole enchilada order begin further in Nature. As in animal architecture, vernacular architecture possesses an inherent beauty: the beauty of integrity and unity. Such beauty emerges from the totally balanced integration of a system, its function and use into the broader realms of Nature.
So have we stumbled onto the reason why so many modern human - made environments fail to come up to the quality of some older towns and cities? At root the problem seems to lie in the spiritual posture that we adopt with Nature. Many people would now accept that as humans we are completely co - terminal with Nature. However, in claiming ownership, as we do, of that part of Nature that we call self, we not only separate ourselves from Nature but also separate ourselves from our own environments. Yogis tell us that the transcendental world of the spirit the world of unity and pure consciousness supports the relative world at each point. They tell us that the transcendental realm is a world without qualities yet gives rise to and sustains all qualities. They tell us that it is to be found in the gap between the different states of consciousness: waking, dreaming and sleep; in the silences in music; between syllables in spoken language and even between our thoughts. The great 19th - century Indian holy man Ramakrishna Paramahansa was once asked, " Where do I find God? " His reply was, " Look between two thoughts. " This gap between perfectly balanced opposites is where life and spirit enter the relative world. It is also the vital middle ground between a subject and an object that defines the mean and gives the meaning.
In conclusion we can say that it is order that gives life to a work and it is order that gives a work its spiritual dimension. It is in the perfect orderliness of a great work that the two worlds of materiality and spirit conjoin. Order is the agent that serves as the conduit between these two realms. Dare we say that orderliness is next to Godliness?
