more test examples

Design sample

Here is a design I felt may be useful towards our concept.

-margolit steiner

Symbolism of 'Tree'

The Tree of Life is a universal symbol found in many spiritual traditions. It symbolizes many things, including wisdom, protection, strength, bounty, beauty, and redemption. This tree is symbolic of the Creator as it sustains creation with its abundant fruit, protection and regeneration. The Tree also represents humans as we too develop roots, strengthen our trunk and branch out to a wider vision of life as we grow. The tree provides provide shelter. Tall and strong, it has deep roots. It reaches skyward. It loses its leaves and grows new ones àbears fruit àgives shelter. With nurture and care, it lives for generations.

An important symbol in cultures and faiths around the world, The Tree of Life links the heavens, the earth, and all that is hidden and growing below. It seemed only natural to adopt it for pastoral counseling and learning programs promoting spiritual, creative and personal growth for people of all faiths and beliefs. A tree also bears seeds or fruits, which contain the essence of the tree, and this continuous regeneration is a potent symbol of immortality. It is the fruit of a tree that confers immortality in the Jewish creation story.

The Tree of Life is a universal symbol found in many spiritual traditions. It symbolizes many things, including wisdom, protection, strength, bounty, beauty, and redemption. This tree is symbolic of the Creator as it sustains creation with its abundant fruit, protection and regeneration. The Tree also represents humans as we too develop roots, strengthen our trunk and branch out to a wider vision of life as we grow. The tree provides provide shelter. Tall and strong, it has deep roots. It reaches skyward. It loses its leaves and grows new ones àbears fruit àgives shelter. With nurture and care, it lives for generations.

An important symbol in cultures and faiths around the world, The Tree of Life links the heavens, the earth, and all that is hidden and growing below. It seemed only natural to adopt it for pastoral counseling and learning programs promoting spiritual, creative and personal growth for people of all faiths and beliefs. A tree also bears seeds or fruits, which contain the essence of the tree, and this continuous regeneration is a potent symbol of immortality. It is the fruit of a tree that confers immortality in the Jewish creation story.

[ Young Rho ] Design concept

My idea is wooden door without a door.

This door frame is symbolizing ‘openness’.

so it does not have a door, and this represent, it opens always and to everyone as the idea of Homeboy Industry.

Material for this, I chose wood, because I want to merge with the symbolism of Tree.

Moreover, names or other important words or sentences can be easily placed or write on wood to memorize.

Also this door divides a space with invisible line.

A space where is created by this, can be a special place.

Pictures or other things can be placed, and it is opened to public.

Idea

My idea is to utilize the pole in the lobby area.. The tree represents life and as Dr. Flores said in class, the roots represent the underworld and the trunk/top part goes to heaven.. I was thinking to use a blue fabric to represents the flowing water and we can design the pattern on the fabric to represent the homeboy culture... The LED lights on the tree trunks represents each of the homies that passed away (LED could be somewhat permanent as it lasts for quite a long time).

Here is a concept of mine. Its rough but i will polish it later. My idea was to use the olive tree to provide shade on the alter and let the sun come in reflect off the water. The water reflects the picture that is interchangeable but for all the homies who have passed. I also made it big enough so that people can put candles on the steps and put things of that persons inside the area. It is solid squarish area that stands for solidity and staying strong. The Olive tree resembles peace and there could be a plaque that stands for all the homeboys who have fallen. It pretty much is a place of reflection and resolution.

a couple sketches

So these sketches are SUPER ROUGH but I think we can get the idea.
Here are two. One for the inside in the lobby area where that box was, and then one outside near the pillars in the front.

The tree I was sketching is not specific, but I know Hunter pointed out that the Olive tree might be the tree we use, considering its symbol and meaning.. so just imagine an olive tree instead of the mutated hand looking trees I sketched.

So this is a sketch for the front of the building. I was thinking it could be something inset into the pillar in the front. that way we don't necessarily have to make a new base or frame for it, but instead dig one out and then embellish it as we see necessary. I saw a half circle coming out of the wall where the water could sit. Then I imagined the tree to either be rooting from within the bottom of the half circle bowl, or sitting on an island built into the bowl amidst the water. Either way I saw the tree as a sculptural form that could sit within the water bowl and be either surrounded by or decorated with lights. I thought we could use the fabric or other textiles to embellish the inside of what is inset.. so what is shaded in in the sketch. I thought then it would be nice to have a poetic message engraved into the remaining section of the pillar.. that would need to match the rest of the altar either with the fabric or changing the material to mimic that of the altar.

This is the sketch for what could go on the inside.. although I suppose these sketches could be interchangeable for either site since they are somewhat similar with some simple differences. I imagined this to be structured similarly with a half circle bowl that would be filled with water with a tree coming out of it. Only this time the tree would be printed or painted/ collaged on the back of the altar so that it is not necessarily sitting in the water bowl. So the image would sit at the wall where the half circle bowl of water would meet and therefore reflect the image of the tree into the water. I saw the fabric and lighting working in similar ways, draped around the inside and bottom to frame it. For this sketch I also remember Jose talking about how hands might be an interesting element to bring in and I liked the idea that the altar is being held by hands, God's hands, or the hands of friends, loved ones, neighbors etc. So I thought it would be interesting to see how we can incorporate hands into the altar.

ALSO!! I didn't sketch this, but I really liked the use of the labyrinth, and maybe we can impose a labyrinth within the water bowl, it might have an intersting effect sitting in water, and it could be a nice design/texture/detail to have in the water bowl mixed with other collaged symbols or imagery. Just a thought.

Significance of Light

- Some schools say that spiritual Essence is some kind of light. This again does not create any difficulty with the view of Presence. Pres

ence is nothing but the presence of spiritual light; spiritual light can be experienced as a fundamental reality, which has an ontological property. The ontological property of spiritual light is Presence, where light and Presence are not two separate things. By spiritual light, we do not mean the common experience of seeing light in on

e's psyche. The spiritual light we are referring to is a fundamental light of consciousness and awareness.

http://www.ahalmaas.com/Glossary/s/spi

ritual_light.htm

- Light symbolises knowledge and darknes, ignorance. The Lord is the "knowledge principle" (chaitanya) who is the source, the enlivener and the illuminator of all knowledge. Hence light is worshipped as the Lord Himself.

Knowledge removes ignorance just as light rem

oves darkness.

Also, the oil or ghee in the lamp symbo

lises

our vasanas or negative thoughts and the wick, the ego. When lit by spiritual knowledge, the negative thoughts get

exhausted slowly and our ego too finally perishes. The flame of a lamp always burns upwards. Similarly, we should acquire such knowle

dge as to take us t

owards higher ideals.

http://www.mail-archive.com/noragging@yahoogroups.com/msg00658.html

From these examples, light are said to represent the greater force or higher beings in human spirituality. Light is universal and directly connected to life, death, power, and a presence.

Some reference for tree and lights:

Color significance

Color significance chart from different cultures

Red

China: Good luck, celebration, summoning
Cherokees: Success, triumph
India: Purity
South Africa: Color of mourning
Russia: Bolsheviks and Communism
Eastern: Worn by brides
Western: Excitement, danger, love, passion, stop, Christmas (with green)

Orange

Ireland : Religious (Protestants)

Western : Halloween (with black), creativity, autumn

Yellow:

China: Nourishing

Egypt: Color of mourning

Japan : Courage

India : Merchants

Western : Hope, hazards, coward

Green

China : Green hats indicate a man's wife is cheating on him, exorcism

India: Islam

Ireland : Symbol of the entire country

Western: Spring, new birth, go, St. Patrick's day, Christmas (with red)

Blue

Cherokees: Defeat, trouble

Iran : Color of heaven, spirituality

Western : Depression, sadness, conservative, corporate.

Purple

Thailand : Color of mourning

Western: Royalty

White

Japan: White carnation symbolizes death

Eastern: Funerals

Western : Brides, angels, good guys, hospitals, doctors, peace

Black

China : Color for young boys

Western: Funerals, death, rebellion.

Color Psychology:

Written by Kate Smith, CMG, CfYH

Our reaction to color is instantaneous and has a profound impact on the choices we make.

Below is a quick look at general responses to colors based on research, historical significance of color, and word association studies. Different cultures react to colors differently, and this brief overview focuses on the responses of people in the Western Hemisphere.

	Red has more personal associations than any other color. Recognized as a stimulant, red is inherently exciting and the amount of red is directly related to the level of energy perceived. Red draws attention, and a keen use of red as an accent can immediately focus attention on a particular element.
	Orange, a close relative of red, sparks more controversy than any other hue. There is usually strong positive or negative association to orange and true orange generally elicits a stronger "love it" or "hate it" response than other colors. Fun and flamboyant orange radiates warmth and energy.
	Yellow shines with optimism, enlightenment, and happiness. Shades of golden yellow carry the promise of a positive future. Yellow will advance from surrounding colors and instill optimism and energy, as well as spark creative thoughts.
	Green occupies more space in the spectrum visible to the human eye than most colors, and is second only to blue as a favorite color. Green is the pervasive color in the natural world, making it an ideal backdrop in interior design because we are so used to seeing it everywhere. The natural greens, from forest to lime, are seen as tranquil and refreshing, with a natural balance of cool and warm (blue and yellow) undertones. Green is considered the color of peace and ecology. However, there is an "institutional" side to green, associated with illness and government-issued green cards, that conjures up negative emotions, as do the "slimy" or "bilious" greens.
	Blue is the overwhelming "favorite color." Blue is seen as trustworthy, dependable, and committed. The color of ocean and sky, blue is perceived as a constant in our lives. As the collective color of the spirit, it invokes rest and can cause the body to produce chemicals that are calming; however, not all blues are serene and sedate. Electric or brilliant blues become dynamic and dramatic -- an engaging color that expresses exhilaration. Some shades of blue may come across as cold or uncaring. Indigo, a deeper blue, symbolizes a mystical borderland of wisdom, self-mastery, and spiritual realization. So, while blue is typically the color of communication with others, indigo turns the blue inward to increase personal thought, profound insights, and instant understandings. Blue is the least "gender specific" color, having equal appeal to both men and women.
	Purple embodies the balance of red's stimulation and blue's calm. This dichotomy can cause unrest or uneasiness unless the undertone is clearly defined, at which point the purple takes on the characteristics of its undertone. With a sense of mystic and royal qualities, purple is a color often well liked by very creative or eccentric types and is the favorite color of adolescent girls.
	Pinks can be youthful, fun, and exciting, and some have the same high energy as red; they are sensual and passionate without being too aggressive. Toning down the passion of red with the purity of white results in the softer pinks that are associated with romance and the blush of a young woman's cheeks. It's not surprising that when giving or receiving flowers, pink blossoms are a favorite. Pink is the color of happiness and is sometimes seen as lighthearted. For women who are often overworked and overburdened, an attraction to pink may speak of a desire for the more carefree days of childhood.
	Brown says stability, reliability, and approachability. It is the color of our earth and is associated with all things natural or organic.
	Gray is the color of intellect, knowledge, and wisdom. It is perceived as long-lasting, classic, and often as sleek or refined. It is a color that is dignified, conservative, and carries authority. Gray is controlled and inconspicuous and is considered a color of compromise, perhaps because it sits between the extremes of black and white. Gray is a perfect neutral, which is why designers often use it as a background color.
	Black is authoritative and powerful; because black can evoke strong emotions, too much can be overwhelming. Black represents a lack of color, the primordial void, emptiness. It is a classic color for clothing, possibly because it makes the wearer appear thinner and more sophisticated.
	White projects purity, cleanliness, and neutrality. Doctors don white coats, brides traditionally wear white gowns, and a white picket fence surrounds a safe and happy home.

ALTAR/SACRED SPACE VISUAL RESEARCH

Here is a group of images for visual research concerning these themes/subjects: monuments, sacred space/monuments, ritual, water (reflecting pools) labyrinths and other forms used for ritual and or reflection.

ALTAR CLOTHS.

Altar cloth

Altar covered with white altar cloths.

An altar cloth is used by various religious groups to cover an altar. Christianity, ancient Judaism, and Buddhism are among the world religions that use altar cloths.

Because many altars are made of wood and are often ornate and unique, cloth is commonly used to protect the altar surface. In other cases, the cloth serves to beautify the rather mundane construction underneath. Covering an altar with cloth may also be a sign of respect towards the holiness of the altar.

Christian altar cloths

Western Churches

The High Altar at St. John the Divine, Kennington, London.

Altar linens

Special cloths (not necessarily made of linen) cover the altar in many Christian churches during services and celebrations, and are often left on the altar when it is not in use. According to the Roman Catholic Church ^[1] and the Anglican Communion ^[2] the only materials acceptable for use as an altar cloth are linen made from flax or hemp. The cloths historically used by Roman Catholic and Anglican churches are (working from the table of the altar itself up through the layers):

• The cere cloth was originally a piece of heavy linen treated with wax (cere is the Latin word for "wax") to protect the other linens from the dampness of a stone altar, and also to prevent the altar from being stained by any wine that may be spilled. It is exactly the same size as the 'mensa', or the flat rectangular top of the altar.

• The linen cloth is, like the cere cloth, made of heavy linen exactly the same size as the mensa of the altar. It acts as a cushion and, with the cere cloth, prevents the altar from being dented by heavy vases or communion vessels placed on top. Two of these cloths are traditionally placed over the cere cloth and thus under the fair linen.

• The fair linen is the long, white linen cloth laid over the linen cloth. Like the two cloths laid before it, it is the same depth as the mensa of the altar, but is longer, so it hangs over the edges to within a few inches of the floor. Some authorities say it should hang eighteen inches over the edge of the ends of the mensa. It is usually trimmed with lace on the ends, and should be hemmed by hand, with a one or two inch hem on all sides. Five small crosses are embroidered on the fair linen - one to fall at each corner of the mensa, and one in the middle of the front edge. These symbolise the five wounds of Jesus. The fair linen should be left on the altar at all times. When it is removed for replacement it should be rolled and not folded. It symbolizes the shroud in which Jesus was wrapped for burial.

• The coverlet is of the same heavy linen as the cere cloth and the linen cloth, the same length and width as the fair linen, and is left on the altar whenever it is not in use. It simply protects the altar from dust and debris.

Eastern Churches

A Russian Orthodox priest celebratingDivine Liturgy. On the Holy Table (altar) is a green indítia, and the Antimens (gold) with its eileton (red) has been opened.

In the Eastern Orthodox and Eastern Catholic Churches, the altar is referred to as the Holy Table or Throne (Church Slavonic: Prestol). Although there are variations, normally it will be completely covered on all four sides with three clothes.

• The Strachítsa is the first cloth to cover the Holy Table. It is a plain linen cover which is bound to the altar with cords at the time of itsconsecration, and is never removed. This linen covering symbolizes the winding sheet in which the body of Christ was wrapped when he was laid in the tomb. Since the altar is never seen uncovered thereafter, these tend to be constructed more with sturdiness than aesthetics in mind.

• The Indítia is placed above this first cover and is an ornamented cover, often in a brocade of a color that may change with the liturgical season. This outer covering usually comes all the way to the floor and represents the glory of God's Throne.^[10] When the Indítia is laid out flat it forms aGreek cross, with the center covering the top of the Holy Table, and the "arms" of the cross covering the four sides.^[10]

• A third covering is made of the same material as the Indítia, but is smaller and square, covering the top of the Holy Table and coming down only a few inches on all four sides, something like the Western frontlet.

Judaism

According to the Bible the Jews were using altar cloths at the time of the Exodus, "...And the table and his furniture, and the pure candlestick with all his furniture, and the altar of incense ... and the altar of burnt offering with all his furniture, and the laver and his foot, and the cloths of service..." (Exodus 31:8-10)

The Jews traditionally used colour, "And of the blue, and purple, and scarlet, they made cloths of service..." which were to be used by the priests inside the tabernacle. Since all of the other items made from fabric for use in the tabernacle were made from fine linen it is reasonable to assume that the cloths of service were also made from linen.(Exodus 39:1) Unfortunately, Exodus does not give the dimensions of the cloths, nor does it indicate how or when the cloths were to be used.

The practice of using altar cloths disappeared when the Temple in Jerusalem was destroyed in 70 AD. The focus of worship turned towards the synagogue and the need for an altar disappeared. There is a table where the Torah scrolls are laid for reading, called a bimah, and another lower table called an amud that is a lectern. The lectern is covered with an embroidered cloth covering the area on which the Torah scroll will rest during the parashah. The Ark in the synagogue is covered with a cloth called the parokhet to recall the veil which covered the entrance to the Holy of Holies.

Buddhism

The altar is simply a table or sometimes two tables (placed together along their widths) and butted up against the wall. The table(s) is usually decorated with a cloth, most commonly silk. Colour is a personal choice but should reflect the intent of the worship.