#spatial transformations

[thedowntown500]

[darknanigans]

misc skst doodlings from last night

[truuskn]

The way I see it: Ratchet and Elita are similar in a way that makes them get eachother like no one would. Ratchet and Prowl are similar in a way that makes them want to jump at the other's throat 24/7

what actually fascinates me about this trio is how similar they all are to each other to some extent. of course, the main reason is that every time one of them is introduced as op's right-hand man, their character is, to one degree or another, tailored to his needs and the needs of the plot, but still... i mean, just look at them!! they are so alike and so different at the same time. it's amazing

each of them is optimus' closest associate, a hard realist who truly believes in his leader, ready to follow him to the ends of the earth, but not blinded by the faith in him. they are always here for him, to support unconditionally one moment… and to knock some sense into him on another :D

by the way a little addition to this topic, did you notice how differently (but still similar!) they react to optimus' death?? ratchet wallows in despair until he remembers that he's not alone. prowl is being torn apart by pain, continuing to follow the beliefs of his prime, but slowly losing himself. elita is crushed and broken but she doesn't let herself give up, never ceasing the fight for the cause that optimus thought was right. MAN---

so now about the duos. yes, i agree and this is the way i see them:

elita-1 and ratchet

oh, those two will never let optimus get away with anything. i think that's what makes prowl different from them, even when he disagrees with his prime, he'd rather keep his opinion to himself, believing in op's and the matrix's rightness, knowing that everything happens for a reason. but with ratchet and elita it won't be that easy. they're a sobering effect. a hard fair slap. but they're prime's backbone also. they're here to open his eyes to what's going on, just as they're here to proudly stand by his side. they're optimus' oldest friends, they know him in a way that no one else does, and sometimes they feel that this is the reason for their closeness, the reason they understand each other so well. they share a common history, views and responsibilities. when advice, support, respite, comfortable understanding silence is needed, getting together is all they require. when they want to rest, to let go of the cares and burdens of their lives, this company is their joint salvation. i'll say something that not everyone will agree with, but i don't particularly like the fact that the place of prime's closest friend is now being taken by bumblebee. i like him and i'm also glad that elita is coming back and becoming an important part of optimus' life too, but i'm saddened by the fact that ratchet is being distanced from him :(

prowl and elita-1

prowl deeply respects elita, admires her, he sees her not as a soul mate, but as a worthy loyal companion to whom he would trust his life without questions. these two share the concerns of the leaders, it is because of them the autobots stand and will continue to stand, unable to break under any pressure or obstacle. elita is glad to have someone like prowl on optimus's side, she's not always ready to give her dear prime that kind of support and protection, and it scared her until she realised that she doesn't always have to be strong for him - if she can't, prowl will. they only know the military versions of each other, but they are glad that fate brought them together, albeit under these circumstances. they feel stronger, braver together, thanks to each other, they don't give up and keep fighting. we had a few scenes with them in wfc and tfe and i'll be honest i was ready to explode every time i saw them together :DD

ratchet and prowl

sometimes they are frightened by how similar they can be. it's like looking in a mirror. they are alike in so many details, from a banal grumpy temper to much smaller, more specific things: boundless care and love for their people, tenderness hidden behind layers of callousness, unfair self-hatred for not trying hard enough, for not being able to help everyone. this "unity of souls", of course, does not prevent them from arguing with each other to the gills every chance they get, but that's the beauty of having such a friend, isn't it? :) there is no anger or desire for offence in their quarrels, and nothing will ever undo the fact of what a close-knit and powerful team they can be. prowl knows he can always rely on ratchet, knows that there is no one kinder or more devoted than he is, and ratchet knows that autobots are in good hands, that they are always protected and safe. really love their little duo in marvel comics and also genuinely think ratchet would be very happy to have prowl as part of the tfp team. the main thing they also have in common, i think, is a sincere belief that the two of them are the only reasonable beings in the entire galaxy. or at least within this faction...

[morrigan-sims]

someone tagged my Areelu post as "bg3", which is very funny to me. BG3 wishes it had a "villain" character as interesting as Areelu. She's a genius, she's a monster, she's a goddess. She did what a literal demon lord couldn't do and tore open a rift in the worlds. She tortured an angel for centuries. She caused the apocalypse. She became a demon, but answers to no demon lord. She experimented on the Commander and made them into a supernatural entity, setting the entire events of the entire game in motion. She's pulling the strings, she's watching without intervening. Oh, and she can turn you into a god. She's FASCINATING.

Anyways, this is your sign to go play Pathfinder: Wrath of the Righteous. I honestly enjoyed several parts of it even more than BG3.

[russellmoreton]

Between Bodies : Abjecting Human and Spatial Bodies by Russell Moreton

[bspoquemagazine]

Welcome to Loacker Galaxy 🌌✨ To celebrate 100 years of hazelnut wafer magic, @modus.architects reimagines @loacker's flagship store in Heinfels, Austria into a world of flavor, form & fun. 🍫🛠️ From rotating totem displays to a hands-on wafer lab, every detail invites you to taste, play, and explore. #LoackerGalaxy #MoDusArchitects #Loacker #FlagshipStore #RetailDesign #ArchitectureLovers #DesignInspo #AustrianDesign #InteriorDesign #StoreDesign #FutureOfRetail

[bettreworld]

Moving from a 2D space to 3D with Emma Ridderstad

[scienceviz]

Understanding Hybrid Spaces . Now online at arXiv

Understanding Hybrid Spaces: Designing a Spacetime Model to Represent Dynamic Topologies of Hybrid Spaces . Now online at Cornell Universities arXiv repository.This paper develops a spatiotemporal model for the visualization of dynamic topologies of hybrid spaces. The visualization of spatiotemporal data is a well-known problem, for example in digital twins in urban planning. There is also a lack…

[studiokultuurscape]

Stop in motion.

Your walk is essential to shape the memory of space and the space of your memory.

~Part of the thesis "The building and the city": Vertical walk through the city of Arles_ Heritage mediates city transformation. Find the full thesis in the archive of KU Leuven.

[aitalksblog]

Powered by AI: Redefining the Office Landscape and Work Dynamics

(Images made by author with Microsoft Copilot) The landscape of work has undergone significant transformation in recent decades, propelled by the rapid development and adoption of telecommunication and information technologies, as well as the growing influence of artificial intelligence (AI). The traditional office, once regarded as the cornerstone of administrative work organization and…

[ssa-dado]

Breaking down Hotch's apartment layout until someone from Criminal Minds slides into my DMs with the damn floorplans

- CASE BRIEFING: HOW HOTCH'S APARTMENT GASLIT US ALL

As an architecture student, I have a very strong (borderline obsessive) interest in analyzing spaces and locations... especially when they don’t quite add up. And one that has always messed with my brain (sometimes in a good way, but mostly in a frustrating way) is Hotch’s apartment from seasons 4–11.

The transformation from the bare, depressing space in s5 to the warm, cozy atmosphere with antique furniture and clever spatial tricks later on… it’s fascinating.

But also confusing as hell.

Because one question has always haunted me:

Is the apartment we see in Season 4/5 (where Hotch was stabbed and possibly SA’d) the same one he’s living in by Season 10?

(And since I’m a visual learner, here are the pics, because this mystery needs solving... I'll try my best)

(05x01 ; 10x05 don't zoom in, you freaks)

Seems easy to solve, right? The civil number is the same! Great.

121

...But hold on - what’s this?

(07x23)

...Damn, Aaron, your mailman must be going through it - 121? 123? Pick a struggle.

So… is it the same apartment or not? Because at this point, I’m losing my mind.

- VICTIMOLOGY (TYPOLOGY)

As you all know, the starting point is always victimology—but in architecture, my go-to is typology.

So, what kind of apartment building does Hotch live in?

Because once we figure that out, we can finally make sense of all the architectural crimes committed in his apartment.

We get a glimpse of his building in 5x02, and - without dragging you through a full historical deep dive (unless you want me to, in which case, buckle up) - here’s what we do know: it looks like this...

The building looks pre-WWII, likely built in the late 1920s–1930s, or designed more recently to mimic that era.

My guess is primarily based on the architectural detailing of the ground floor - the stonework, arches, and classical elements that give it a grander, more “expensive” look - and the distinct visual separation from the upper levels.

Spencer Reid moment - you can skip it if you'd like -> This actually follows a common design principle (partly influenced by Louis Sullivan’s theories) where different sections of a building reflect their function. The ground floor, being more public-facing, is more decorative and inviting, while the upper floors (where the apartments are) are plainer, emphasizing privacy.

However, the upper levels look stripped down, almost too plain, like they went through a more recent renovation that removed some of the og character. While it was normal in the 1920s/30s to emphasize the lower level, the upper floors would still have had some kind of textured finish brick, terracotta, or even decorative stone accents. Instead, here, it looks like someone just painted over everything... a bit sad, honestly… much like the man living in one of these apartments. Sorry Hotch but it is the truth.

That said, based on the photos, I hypothesized a possible volumetry diagram and main floor plan of the apartment building, including its functions and layout.

Knowing that Hotch lives in 121 (or 123… whatever it is today), he could very well be on the first floor. Old man isn’t about to risk climbing seven flights of stairs, understandable.

(Or, if we lean into the conspiracy theory that he has childhood trauma related to fire, it’s very telling that he chose a first-floor unit, making for an easier escape in case of danger…)

Our lovely Emily Prentiss gave us a sneak peek at the ground floor interior in 5x01, which - combined with a study of the window placement on the facade - helped me piece together a small section of the central layout.

From what we see, I feel even more confident about the building’s era - especially because of the beautiful wooden decorated elevators (yes, those are elevators, not doors... check the buttons on the side)

And now, for another Spencer Reid moment, part two -> In the early 1900s, when elevators were first being introduced in residential buildings, they didn’t look like the modern ones we see today.

Why?

Because men fear change.

Just like with any new technology, people were hesitant, so architects and designers made elevators blend in by disguising them as something more familiar - often looking like grand wooden doors or classic entryways rather than the industrial metal boxes we think of today.

This same pattern happened with building structures - steel (and concrete too!) was widely adopted in the early 1900s because of its strength, allowing for taller buildings, but architects still hid the steel frame behind stone or brick facades to maintain the look of traditional palaces. Even early cars looked like carriages because people weren’t ready to embrace a completely new form.

So, Hotch’s apartment building? It’s yet another classic case of early 20th-century architectural reluctance to embrace modernity - which, honestly, fits him a little too well. The man bottles up his emotions behind the calmest face just like his home hides its innovations behind classic detailing.

I see you, Aaron. You’re not fooling me.

Now, you may be asking - "Phi, weren’t you supposed to expose all the inconsistencies in Hotch’s apartment and finally solve whether it’s the same place or if they changed it?"

To that, I say… we’re getting there.

Because before we dive into the madness, there’s something that really messes with my brain - the window placement in Hotch’s apartment.

But to even begin analyzing that, we first need to understand how a typical floor plan in a building like this would be structured. And once again, our queen Emily Prentiss in 5x01 unknowingly led us straight to the answer.

The bastard even has a vaulted ceiling - right where I believe the main distribution area (aka elevators and stairs) is located. You can spot it in the pictures near the exit signs.

Also, just a heads-up... in the diagrams, the apartments look smaller than they actually are because I was too lazy to make multiple detailed drawings. (But hey, if someone paid me - hi, CM - I absolutely would) So, for now, I’m using that as a quick reference.

Now… the interior! Or should I say… the everchanging interior.

In this issue, I’ll be analyzing the Season 5 version - I even sketched out a small section of the floor plan (which could be completely wrong, because things change every episode).

From these pics, we can see that his windows are on the opposite side of the entrance - which, so far, checks out.

But wait... look down here! Check out the window placement in the kitchen. Thanks to that little detail, we can hypothesize that Hotch’s apartment is located in what I’ve labeled as "Unit B" - aka the unit with double exposure (great for ventilation, Aaron, solid choice).

From this pic down here from the s4 finale, we also get a fun little bonus detail - there’s what looks like a tiny dryer (or washing machine?) just sitting out in plain sight. And right behind Hotch, there’s a door that, based on the dimensions, I suspect leads to a bathroom.

Enough details to sketch out a partial floor plan… and there you have it!

A (partial) floor plan of Hotch’s apartment in its saddest era: bare, empty, and drowning in case files from seasons 4–5

And seeing more of his apartment in later seasons should be a blessing, right? It should help us map out the whole thing, right?...

Right?

...Wait.

Is that... a full-ass door on the right that totally wasn’t there before?!

Aaron, you hypocrite - you shut down Spencer Reid’s physics magic, yet here you are summoning entire new rooms into existence in your apartment.

(05x02 ; 10x05)

Alright, fine... where does that door lead?

(10x20)

Hot damn.

Referring to the home office, of course… and here’s some solid proof of its placement. Now, I’m gonna… step away for a minute… process... this... architectural betrayal… but YOU - you make sure to study these pics. I’ll be quizzing you later, got it?

Alright… and now… now that you’ve hopefully been studying (and totally not getting distracted by Hotch’s shirt hanging on for dear life - OMG LOOK AT THE [REDACTED])… focus.

You nasty.

Window placement.

Where’s the home office window? Exactly... on the same side as the others in the living and dining area (you can tell by the way the light enters the room in the pic on the right)

And since you’re all very interested in the architecture (and definitely not drooling over a certain Unit Chief), let me ask you this:

WHY THE HELL IS THERE A WHOLE FIREPLACE IN HIS HOME OFFICE?!

Don’t worry - I’ll answer for you. Since y’all are nasty.

Can I just say that it UPSETS ME to the point where I’m considering a 30-day diet of just drywall that THAT MAN - THAT FEDERAL AGENT - HAS A FIREPLACE. IN HIS HOME OFFICE.

(HELLO?!?!?!?!?? Whore.)

Unhinged. Because:

1. A fireplace is quite literally a symbol of family and warmth (fun fact: Frank Lloyd Wright always designed homes starting with the fireplace! Oh, wait. You might not know who that is, so now this just sounds confusing. My bad. Anyway, he designed a lot of cool stuff... moving on). A fireplace belongs in a living room or dining area, where people actually gather. And considering Hotch’s building is old, there is no way it was originally designed to have one in a private office. That placement is categorically wrong. You’re a terrible designer if you stick a fireplace in an isolated office but not in the main living space where it actually makes sense.

2. The writers could try to lie to my face and say, “Oh, maybe the room was repurposed into Hotch’s home office.”Wrong. His apartment has a big open-concept living/dining area with the kitchen on the side. And unless his place is secretly Rossi’s mansion (spoiler: it’s not), there’s no way the original layout had a separate formal dining room. And even if it did, the fireplace is still in the wrong damn place because formal dining rooms are typically closer to the entry.

3. They could lie even harder and try to argue that Hotch having a fireplace in his office is some deep, symbolic artistic choice - like, oh, he’s so devoted to his job, he’d rather warm his ass doing paperwork than sit by the fire reading Jack a bedtime story like a decent human being. Like. Come on. He’s a family man, for god’s sake. Either give him a properly placed fireplace or JUST DON’T GIVE HIM ONE AT ALL.

(Less is more, people!!! Unless, of course, we’re talking about Hotch’s [REDACTED]... oof. Damn censorship. Right when I was about to say something deeply unholy. )

Goodbye. See you in the next issue.

Hopefully by the end of this series we'll manage to sketch down the entire floorplan

Phi.

[li-an-nie]

The origin of Isagi’s talent and a message for us (ft. Naruhaya & Kaiser)

Hi! This is something I've been thinking about for quite a while... and today I finally want to share with you my theory, or rather explanation, for Isagi Yoichi – his character, where his talent for adaptability comes from, as well as our own takeaways we can draw from Kaneshiro's characters.

This is a lot, but I think it shows how powerful the story of Blue Lock really can be!

Transformation

People often like to joke about Slursagi - how this ordinary guy with the seemingly most ordinariest of parents has so far spit out some of the wildest insults on the field haha. Well, sadly I don’t have an explanation for all of that, but I do have one for his incredibly fast and exponential progress in Blue Lock. I mean, we all know by now, as Naruhaya has said before and as was kinda picked up in the most recent chapters – it's his innate aptitude for adaptability, learning and change. Destroying yourself and then rebuilding your best version. Abandoning everything else and thinking of yourself as just a means to an end. While everyone else in Blue Lock had good enough soccer skills to manage just fine on their own so far, this is the method Isagi had to use in order to keep up with all the other players.

(see Ch. 53)

The question is just, where did this amazing talent come from? Is this a learned skill or a mutation, as Ego talked about? Is it nurture or nature?

If we look at it, the other guys in Blue Lock have all these sad backstories, traumas and toxic family relationships and whatnot. Yet Isagi has come so far, despite his ordinary background. Or rather... because of it. Or rather... only someone with a background like him could actually pull this off..! Why? Because Isagi has something that many of us don’t – unconditional love and support.

Again, this is just my own interpretation, but think about the term ‘destroying yourself’ first – what the hell does that even mean (if we ignore the edginess in that statement)?

(This is going to get super abstract, and even I don’t 100% know what I’m talking about, but hear me out first.)

It can mean so much – destroying your personality, your preconceptions of the world or a field, your prejudices, your obsessions, your pride, your fears, your regrets, basically anything that is capable of holding you back. Most people can’t simply do that. Naruhaya couldn’t. We all have inhibitions about certain things, no matter how hard we try, it often feels impossible to let go of certain thoughts and emotions. We're tethered to the past, afraid of losing our ‘self’ we’ve built in the process. There’s always a fear – if we fail, if we slip up, we might genuinely end up with nothing but our own ruin and failures, and that’s why we can never really go 100% of the way.

But Isagi can.

(see Ch. 55)

Origin

Isagi grew up in an ordinary household. But I'd say his family, his parents are actually far from ordinary.

We see it in the spin-off novel first, where Isagi’s incredible spatial awareness was apparent from a young age, making him very timid and much like a scaredy-cat in the beginning. But instead of scolding or condemning him, his parents always tried to understand and support him. And the same applied when Isagi first expressed his desire for a soccer ball.

(see BL Spin-Off - Isagi Yoichi Ch.2)

It doesn't matter if he's a crybaby, as long as he grows up healthy. For the first time, their timid, only son showed them what he wanted to do with his own will. That alone was enough to satisfy them completely.

With that out the way, this scene you probably remember from the manga is more than enough to illustrate everything (Ch. 152).

"You’re still our son, whether you’re special or average. What makes me happy is that you’re doing what you want, and giving your best at it."

"Whether you win or lose, no matter what… we’ll always be there for you, Yocchan."

"So live your life as you want."

Jesus Christ. If that’s not the most loving and supportive parents in the world, then what is?

Isagi’s parents have simply no expectations of him. They love and support him so unconditionally. They encourage and adore him, and they will always think of him their precious son, no matter if he wins or loses, if he chooses to live an average person’s life or risk everything to become the best striker in the world. Isagi knows this, and he grew up like this, he grew up with a certainty that no matter what you will still be loved. That’s why he can sacrifice everything of himself – because ultimately, under that everything is something that will never leave, and this certainty is what enables him to push so far in the first place. He developed a mindset that could push itself to its limits, and it directly impacted not only his life decisions but his evolution on the soccer field as well.

(see Ch. 55)

Naruhaya, on the other hand, had the same talent for adaptability, but he wasn't able to go as far as Isagi. Because unlike Isagi, there were things he had to protect, the stakes were too high – his sisters, and their precarious financial situation. Even though a dire situation like this should enable him to push himself even further, that stake is also exactly what held him back in the end. In his case, it matters so much whether he wins or loses. When it starts to matter, you ultimately become afraid of what will happen if you do lose, and for him that meant so much more than just the end of his dreams. Isn’t it natural to feel more under stress when the stakes are higher?

Opposites

So because of this foundation that Isagi has, he is different than the rest. This would kind of speak against the assumption I had at the beginning of Blue Lock, that his ordinariness is meant to represent all of us. With basically the message that anyone can evolve and transform themselves for the better, just like Isagi. But to be honest that was already thrown out of the window through the spin-off, where you see that Isagi was already gifted as a child. And I’m not even sure if this was supposed to be Kaneshiro’s intended takeaway to begin with, but there’s another way this message can fit together. The missing piece lies in Kaiser.

Because yeah, we all saw what Isagi realized in Ch. 282 was basically following the same thing Kaiser did 20 chapters before (discard everything but your original ego).

If we take into account what we know Isagi, it becomes all the more heartbreaking and ironic when we actually see Kaiser do the same type of evolution in Ch. 262 for the first time – I quote, “past achievements, pride, everything he ever won”, literally the joy he felt about becoming human, he was willing to destroy and throw it all away, he became zero, despite knowing that if he fails that’s all there would be left – zero.

(see Ch. 262)

He’s always had zero, and the soccer ball is the first thing he ever truly ‘gains’. After his career takes off, he slowly acquired more and more, fame, money, achievements, you name it. This would be the first time he possesses so much, but he doesn’t know the pain of losing something yet, because he never had anything before to begin with. Kaiser built himself a high mountain out of things he never had, but then was willing to risk the pain of losing everything and roll back down into that pit of nothing again, all for the sake of his goal. If that's not strength, then what is?

And it’s also a direct contrast to Isagi.

Isagi and Kaiser are opposites, they are extremes that came from completely different worlds and family backgrounds. And yet they are also exactly the same, because they had the same strengths and resolves and were able to undergo the same kind of evolution. One has all the love and one lived their entire life deprived of it, one never questioned being human and one never believed themself to be one, yet they both were able to discard everything of themselves and then rebuild a better version – all for the sake of their goals.

Takeaway

So coming back to the message, how does that apply to us, the average person? Isagi and Kaiser represent a spectrum, and if you ever feel stuck somewhere in life, then remember – you are somewhere in between those two worlds. Doesn't that mean that you're capable of the same change too? I also don’t think it matters whether you’re a genius or talented learner, in real life there’s no clear line between those things anyway. Every one of us excels at something and every one of us has to learn and adapt in other areas. But what Blue Lock ultimately shows is that no matter what background, age or ambition, in the end, the things that can push us forward the most are our own dreams and ego. We are all capable of change.

Thank you for coming to my TED Talk!

[captainfantasticalright]

Crowley’s Mayfair flat design (concept art) for season 1 was inspired by an art installation in the Royal Academy of Arts called “Sensing Spaces”; in particular this piece from Grafton architects.

This installation “aimed to evoke the experience of contemporary architecture within a neoclassical environment”. Especially the light “coming in” from overhead was the most important aspect.

Most poignant of all was to recreate the light sensation of both moon and sun simultaneously.

The spatial qualities of light and shadow shaped the installation by Yvonne Farrell and Shelley McNamara of Irish firm Grafton Architects. The architects suspended large wooden structures from the ceilings of two galleries to recreate the experiences of both sun and moonlight.

The structures by Grafton Architects, founded by Shelley McNamara and Yvonne Farrell, hover above Gallery IX and the Lecture Room, suspended from the roof lights above. In order to create a strong spatial tension between adjacent rooms and to set up different lighting scenarios, two dramatically different compositions have been made. Choosing only to work with the roof lights, both installations feature a series of suspended surfaces and forms that manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness, with what is referred to as a waterfall of light, and the other being the exact opposite, exploring weight, containment and the formation of carved-out space. In the Lecture Room, a series of dark, brooding and apparently massive solid forms obscure most of the existing ceiling and roof light, articulated by two relatively small, high-level ‘apertures’ or openings of light. In contrast to this, Gallery IX features nine blades, suspended in alignment with the gallery’s exposed trusses to reflect a balance of natural and artificial light filtered through the exposed roof light. While both installations drop down within the galleries to create an implied headroom of 2.5 metres within the 8.5-metre-high spaces, two entirely different relationships are established between the floor and the light. In the Lecture Room, the installation intensifies the perception of distance between the floor and the light, while in Gallery IX the hanging blades bring proximity and unity. By quoting American architect Louis I. Kahn’s statement that ‘to hear a sound is to see a space’, Grafton Architects allude to a consistent ambition in their work to make space tangible. As they put it, they seek to ‘make as much nothing as possible’, and to structure space through the careful orchestration of the passage of light and movement through the void. In response to what they refer to as an ‘amazing generosity of space’ within the Main Galleries of the Royal Academy, their installations set out to radically transform each visitor’s perception of the familiar. As such, between Gallery IX and the Lecture Room the architects have created two distinctly different scenarios which, when experienced side-by-side, set up a powerful spatial duality and tension that reinforces the qualities of the existing rooms while radically transforming them into something new. (for a complete 360 view of the rooms)

‘As well as enabling us to find greater pleasure in the spaces we inhabit, this exhibition will perhaps heighten our awareness of the sensory realm of architecture and thereby encourage the creation of a more rewarding built environment.’

From Michael Ralph: Crowley’s flat was the first piece of concept art he did before booking the job, and it stayed the same. He sent in seven pieces of concept art before he went for an interview, and four of them stayed exactly as they were – nothing changed from his original instinct. The idea of the apartment was for it to be almost a cement tomb but with a very high ceiling (hanging in mid-air) so there was a sense of light coming in from a very high level.

And just a piece I want to highlight: "manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness, with what is referred to as a waterfall of light, and the other being the exact opposite, exploring weight, containment and the formation of carved-out space."

In a way, the flat has always possessed a bit of light and shadow, something reflected in Aziraphale and Crowley's own essences.

[archatlas]

Sacred Sites

Taking us on a journey through the history of sacred art and architecture, Sacred Sites explores the myriads of ways in which we imbue our environments with profound and enduring meaning. From our early designation of nature and the body as temple to our futuristic embrace of imaginary realms, we travel the vast and mystical landscapes of myth, religion, and imagination.

Library of Esoterica series, Sacred Sites, by TASCHEN. A visual pilgrimage through holy mountains, great pyramids, and golden shrines, Sacred Sites celebrates the ways we transform the world around us through ritual, creativity, and worship. Essays, interviews and more than 400 images explore spaces ranging from ancient temples to modern works of spatial art.

[finelythreadedsky]

JSTOR wrapped: top ten JSTOR articles read in 2024

Bakola, Emmanuela. 2014. “Interiority, the ‘Deep Earth’ and the Spatial Symbolism of Darius’ Apparition in the Persians of Aeschylus.” Cambridge Classical Journal 60: 1–36.

Griffith, Robert Drew. 1988. “Disrobing in the Oresteia.” Classical Quarterly 38 (2): 552–54.

Johnston, Brian. 1993. “The Metamorphoses of Theseus in Oedipus at Colonus.” Comparative Drama 27 (3): 271–85.

Marshall, C. W. 2003. “Casting the Oresteia.” The Classical Journal 98 (3): 257–74.

Mueller, Melissa. 2011. “The Politics of Gesture in Sophocles’ Antigone.” Classical Quarterly 61 (2): 412–25.

Ormand, Kirk. 1996. “Silent by Convention? Sophocles’ Tekmessa.” American Journal of Philology 117 (1): 37–64.

Skouroumouni Stavrinou, Aspasia. 2014. “Inside and Out: The Dynamics of Domestic Space in Euripides’ Andromache.” Hermes 142 (4): 385–403.

Starkey, Jennifer. 2018. “The Origin and Purpose of the Three-Actor Rule.” Transactions of the American Philological Association 148 (2): 269–97.

Stehle, Eva. 2002. “The Body and Its Representations in Aristophanes’ Thesmophoriazousai: Where Does the Costume End?” American Journal of Philology 123 (3): 369–406.

Worman, Nancy. 2001. “The Herkos Achaion Transformed: Character Type and Spatial Meaning in the Ajax.” Classical Philology 96 (3): 228–52.

[literaryvein-reblogs]

How to write genius level characters? :(

One of the most reliable measures of intelligence today is the Stanford-Binet Intelligence Scale—currently in its 5th edition, with an upcoming edition in the works.

Using the tool/scale, scores are converted into nominal categories designated by certain cutoff boundaries for quick reference:

Measured IQ Range — Category

145-160: Very gifted or highly advanced

130–144: Gifted or very advanced

120–129: Superior

110–119: High average

90–109: Average

80–89: Low average

70–79: Borderline impaired or delayed

55–69: Mildly impaired or delayed

40–54: Moderately impaired or delayed

To write your "genius" character, you may want them within the Gifted to Very Gifted categories.

Note: With reference to this list, Roid (2003) cautioned that “the important concern is to describe the examinee’s skills and abilities in detail, going beyond the label itself”. The primary value of such labels is as a shorthand reference in some psychological reports.

These are the factors measured by the scale, and you ideally should aim for your "genius" character/s to exhibit high levels of:

Fluid Reasoning: Novel problem solving; understanding of relationships that are not culturally bound

Knowledge: Skills and knowledge acquired by formal and informal education

Quantitative Reasoning: Knowledge of mathematical thinking including number concepts, estimation, problem solving, and measurement

Visual-Spatial Processing: Ability to see patterns and relationships and spatial orientation as well as the gestalt among diverse visual stimuli

Working Memory: Cognitive process of temporarily storing and then transforming or sorting information in memory

Or maybe your character doesn't excel in all of these areas but in a specific one, or just a few of these. Maybe they perform within the average or high average in some, but are highly gifted in other areas.

The following may also guide you in writing your genius character, based on research compiled by Dr. J. Renzulli, which can be found in the Mensa Gifted Youth Handbook:

Characteristics of Giftedness

LEARNING CHARACTERISTICS

Has unusually advanced vocabulary for age or grade level

Has quick mastery and recall of factual information

Wants to know what makes things or people tick

Usually sees more or gets more out of a story, film, etc., than others

Reads a great deal on his or her own; usually prefers adult-level books; does not avoid difficult materials

Reasons things out for him- or herself

MOTIVATIONAL CHARACTERISTICS

Becomes easily absorbed with and truly involved in certain topics or problems

Is easily bored with routine tasks

Needs little external motivation to follow through in work that initially excited him or her

Strives toward perfection; is self-critical; is not easily satisfied with his or her own speed and products

Prefers to work independently; requires little direction from teachers

Is interested in many "adult" problems such as religion, politics, sex and race

Stubborn in his or her beliefs

Concerned with right and wrong, good and bad

CREATIVITY CHARACTERISTICS

Constantly asking questions about anything and everything

Often offers unusual, unique or clever responses

Is uninhibited in expressions of opinion

Is a high-risk taker; is adventurous and speculative

Is often concerned with adapting, improving and modifying institutions, objects and systems

Displays a keen sense of humor

Shows emotional sensitivity

Is sensitive to beauty

Is nonconforming; accepts disorder; is not interested in details; is individualistic; does not fear being different

Is unwilling to accept authoritarian pronouncements without critical examination

LEADERSHIP CHARACTERISTICS

Carries responsibility well

Is self-confident with children his or her own age as well as adults

Can express him- or herself well

Adapts readily to new situations

Is sociable and prefers not to be alone

Generally directs the activity in which he or she is involved

Sources: 1 2 3 4 5 6 7 8 9 ⚜ Writing Notes & References

Hope this helps with your writing. Do tag me, or send me a link. I'd love to read your work!