Our Instrumentalist Architecture is invented to calibrate, fine tuned with technology and culture, shaped to balance and stimulate positive growth through the calibrating cyclic holistic healing process. This approach and philosophy are at the source of all of our work.

--- Heather Hoeksema, Architect











State Licensure/ California, et al
Certifications/ LEED, WBE
Academy/ MArch II, SCIArc Inst of Arch
MArch studies, Harvard GSD, U of VA
BS Arch, U of MI Arch + Urban Plng
Loyola University/ Pre Med program
Teaching/ USC, Chicago Art Inst, UVA, SCIArc
Honors/ Wileke Portfolio Comp HM 1994
Binda Scholarship Recipient 1992
Culture/ Singing in Carnegie Hall, '88
Community/ Yoga Instructor L100 '08
Women in Film Member '12


The Short Story:

Ms. Hoeksema is an architect, cultural observer, and inventor. With a background in the human sciences and an extensive history in the cultural arts, she has developed a conceptual foundation for her environmental practice HHEAL over the course of two decades. This foundation intuitively and intentionally integrates healthy living and healing environments with architecture through a physiological understanding of fabricated place. She is a licensed Professional Architect and has exhibited and produced work internationally.

She expanded her focus from the study of health at the human scale to the scale of the built environment after receiving a scholarship to the University of Michigan School of Architecture + Urban Planning. Also having become an experimental artist and curator of painting, textiles, and photographic media; she began to integrate her work in the arts with her scientific background. This lead to her inventive approach for shaping architecture as living environments; from the perspective of both the sciences and the arts.

The breadth of Ms. Hoeksema's experience includes roles on globally significant architectural developments such as the Music and Dance Theatre in Chicago's Millennium Park. She has worked with the likes of historically renowned architects including Eric Lloyd Wright as well as internationally significant firms. Through her private practice she has been commissioned nationally shaping both interior cultural arts spaces and fabricating structures.

She has taught at a number of higher learning institutions including the School of the Art Institute of Chicago; in addition to public speaking and volunteer work with organizations like Rush University Medical Center and Free Arts for Abused Children. She is founder of the entity Institute of Environmental Intellect which offers a unique approach to education in addition to guidance for environmentally based research projects. Her multidiciplinary architecture lab, HHEAL, has been active for over a decade. She has been involved in the practice and academia of Architecture, integrating healing and environments with Instrumentalist Architecture, for over 20 years.


The Lab:

HHEAL (Heather Hoeksema Environmental Arts Labyrinth) is a multidimensional architectural practice that defines Architecture as Instrument, living and organic, invented to Calibrate our surroundings. At HHEAL we shape our architecture as a physiological system, responding with and within the natural physiology of our environment, as a calibrating instrument. We integrate art with environmental science. Architecture habiting the space between. Our work starts with facilitating Balance.

We approach each project from a diagnostic standpoint, utilizing systematic properties of Nature as our templates. We fabricate healing invention in the form of Instrumentalist Architecture. When we breath life into our architecture, our architecture will breath life into us. At HHEAL we invent architecture as Instrument, a living organism for calibrating habitation and stimulating cultural growth.



Visit our Architectural Developments at HHEAL.COM



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INSTRUMENTALIST PAPERS___________________________
Writings on (Instrumentalist Architecture (TM))


PAPER 1:3/ 1 Dimension => 3 Dimension



The Butterfly. Simultaneously one of nature's descretely humble and yet, most important creatures. The butterfly order, termed Lepidoptera, is comprised of approximately 20,000 species, some of which are becoming extinct. They utilize microscopic amounts of earth food and in exchange facilitate pollination of flowers across our continents. They are one of most effective and efficient agents of pollination, species like the Monarch often migrating across entire continents. Their physiology stretches beyond the limitations of scale in our environment, with their ability to fly such great distances one of their primary assets contributing to ecological balance.

At the microscopic scale, their instrumental wings are composed of tiny, well articulated nanoscales. These microscopic scales are composites, integrated structure and shaped surface. This composite fabrication makes for a lightweight wing, allowing the butterfly to float and flicker with expending only a very small amount of energy. This architecture of its natural butterfly wing anatomy, results in efficiency in flight, and severe effectiveness within the network of its expanded ecosystem. The light weight efficiency of flight gives the butterfly its ability to fly the expansive distances for pollenating fields and for stimulating biodiversity around our macroscopic global environment. The microscopic network of scales expands beyond their immediate organization, into the vast systematic network of environmental physiology from flower field to flower field. This systematic physiological network, scaling the microscopic to the macrocosmic, is Instrumentalist Architecture. This is the physiological framework of the universal butterfly effect.


A natural intrigue about the organization of these tiny scales, is the perceived color variation of the wing. It is based both on pigment and structure. The anatomy of the scales is an integration of a curved tubular network structure, through which breathing happens, thermoregulation, integrated with flat chitin scales. The system of tubules is a sort of microstructure to the scales that make up the two wings. The color perceived by the tubular network is a result of the curved shape of the infrastructure and how the light reflects off of it. These are the dark colors of the wing. This perceived coloration is the scattering of light of the shaping of the microstructure, through an electromagnetic effect interaction iwth the photonic crystaline structure. The other part of the scalar wing composite, the microscopic protein chitin, are like operable architectural windows inbetween the tubular framework. The perceived color inbetween the structure is from actual pigment, melanin within the stretched tissue between the structure. Interestingly in humans, much of our melanin content composed within the underlying filiments of our eye iris and within the spiral stria vascularis our inner ear. This method nature has developed for coloration of the butterfly is instrumental in it sustaining life. It functions to camouflage, mimic, conceal, and warn so the butterfly can survive and fulfill its role within the ecosystem. It is an intricate system of Instrumentalist Architecture.


The butterfly iterates universal balance, and healing cycles, with its anatomical structure, its dynamics with natural systems, and its effect on natural ecology. The duality of the microstructure and the chitin infill between, is balanced. The butterfly wing is a dual composite fabrication, articulately combining function with shape. Not only is this important for the individual butterfly. The architecture of the butterfly wing is a universal balancing system that transcends from the microscopic to the macrocosmic. It is one of nature's instruments for facilitating rebirth and ecological healing. The wings balance environments in multiple ways at multiple scales. At the micro scale, the wings balance the butterfly aerodynamically, with the tiny scales counteracting aerodynamic drag with lift. At the next scale, the community of butterflies, the wings are integral with sensory mechanisms that balance the collective swarm in murmuration. At an even more expansive environmental scale, the systematic nature of the wing integrates with balancing ecologies. The long flights afforded by the effectiveness architeccture wing assist the butterfly in pollination of fields of flowers. The way swarms of butterflies pollinate, effectively through distance more than speed, is essential to ecological balance. Slow and steady wins the race. Then at the global scale of the planet, the butterfly wing can have the power to balance climactic events in atmospheric systems. In example, he butterfly effect states that the flap of one butterfly wing can shape shift the direction of a tornado from great distances. This is the power of the architecture of the butterfly wing. The systematic organization of nature, in connection with the butterfly, weaves a network of balance. The physiology of the butterfly, and the extended network of dynamic systems integrated with composite fabrication of its wing, is a natural template for Instrumental Architecture.

The dynamic movement of the butterfly wings in flight is fluid dynamics in action. Fluid dynamics is the study of forces in fluid motion. It relates to the architecture of physiological environmental networks, specifically to the transfer of energy through various mediums. Temperture, humidy, and acid base balance are a few environmental conditions resulting from fluid dynamics. All living things transfer energy, and respond to and have effects on environmental surroundings. The butterfly, with its uniquely fabricated wing composite of breathing structural tubules and chitin infill, generates energy. It gets its fuel from the nectar of flowers, and transfers the energy to its wings. This generates a cyclic wing movement in the shape of the moving figure 8, which stimulates flight. The organized system of mircoscales across the surface of the wings helps to physiologically translate this energy to flight, and in return absorbs and transfers energy from the wind, sun, and many other environmental stimuli to the physiological anatomy of the butterfly. This dialogic, dynamic system of energy transfer is what facilitates the micro calibration of the individual butterfly in flight, simultaneously with the expansive macro physiologal fabric of Mother Earth. The systems are interconnected, and how the dynamic movemenet of energy happens through the system determines how it is calibrated. The Instrumentalist Architecture is in the living fabrication of the butterfly wing, and the other field systems between environments. This living architecture is what facilitates the calibration, through the cyclic healing process.

The motion of the wings is in the shape of the figure 8, and happens in cycles. This path of motion is severely efficient in the way it propagates energy through it flection and restabilization. It emits energy as it absorbs it. At its slowest point in the cycle, when the top and bottom wings are in vertical alignment, the wings are energetically balanced. They have slowed to a moment of stabilization. Then the figure 8 cycle begins again. The moment of alignment, this balanced position when the wing are in verticle alignment, is the home position o f the wing cycle. When the wings slow to this phase, the butterfly can float without expending much energy. This is in part, what gives it the power to travel long distances for pollenating vast fields of wild flowers and migrating across continents. The butterfly finds balance individually, through the dynamic movement of its wings. When it swarms with other butterflies, shaping a fluid dynamic field systematic community, the sensory stimuli translated through its wing movement helps it balance with other through dynamic interchange between the energy of the individual and the energetic system of the collective.


Wing shape is critical to butterflies, especially species like the Monarch that travel epic distances during migration. Currently the Monarch butterfly is decreasing in population, lower in numbers than at any point in the past 20 years in Mexico. Recent studies have indicated that some Monarchs are being birthed with stunted wings, seemingly due to lack of enough food and the right kind of nutritions in the food available to the caterpiller in the larva stage. This is much a result of pesticides in feeding areas where the Monarchs lay eggs. Milkweed, the Monarchs primary food source has been desimated by pesticides across the continents. With this food source becoming limited, the caterpillars are feeding on different plant growth, less sufficient for growth while shape shifting into a butterfly within the architecture of the crysalis. The resulting stunted wings are less efficient than the Monarch's natural wing shape. Thus they are unable to efficiently fly great distances required to escape cold front, hence many can die before reaching the warm migration end point. This shows how specifically articulated the wings are originally, to work effectively within the larger ecosystem. The shape is instrumental as a system interconnected and nested within other natural networks at the mircroscopic and ecologically macro holistic nature of things.

The butterflies migrate in swarms, in an organizational system termed murmuration. This is similar to how birds fly in flocks and fish swim in schools, and how bees commune in flight. This is how the individual butterfly integrates with the collective. The shaping of the murmuration starts with the calibration between two butterflies. Once this connection is balanced, more butterflies join in. The natural survival concpet of teh swarm is safety in numbers. The butterflies in murmuration shape a safe home in the sky. The two balanced in flight, are joined by more as the commune grows. The more that collect together, the more they diffuse the chance that they will be eaten by predators. They are their own home in the sky, and their balancing in the architecture of murmuration is like the balancing act of entering a home. They fabricate their safe place in the sky by finding a collective state of balance in a swarm. This equilibrium in the sky is a dynamic system, fluid just like the organized configuration of the scalar wings in flight. Except this is at the next scale, that of the collective. This dynamic collective system integrates with the dynamic of the each individual butterfly in flight. This is where is gets interesting. Studies have shown that murmuration is an organized fabric of energy exchange between the individuals, with the natural inclination of keeping calibration, maintaining the collective condition. The cyclic calibration of the swarm is a determinant of the survival of each individual. The electromagnetic energy exchanges between the individual are detected within the sensitive microfiber of the wings, and anatomical balancing mechanisms of the insect. It has been recognized that species in murmuration are organized in subgroups of 8. One butterfly generationally detects its spacing relative of the butterflies around it, frequently seven other butterflies, in order to orient itself in the collective. Its curious if this potential octahedral organization is related to the dynamic of the figure eithg wing movement, and if this is a basic organizational template within the butterfly's ecosystem. Is this a common dynamic in this system that facilitates the combining of one butterfly into many? The overlap of these systems is where the architecture happens. The Instrumentalist Architecture is in the space between the systems, it is the window of transition between the scale of the individual and the scale of the colletive. It translates, and transitions fluidly and dynamically in keeping with cycles of calibration and the holistic nature of things.


The next scale of the system is the connection between the collective dynamic swarm of butterflies, between the community and the surrounding habitable environment. The physiology of this environment is in essence, the ecosystem. The ecosystem is the dynamic living nature of the butterfly's habitation. The physioecological system, like the collective murmuration, is integrated with the smaller systems of the butterfly. The wing shape and fabrication, as already discussed in the example of the Monarch, determines the insect's ability to travel expansive distance for climate based migration and reproduction. The microsystem of the wing determines the wings shape, and therefore is a determinant of the butterfly's integration with the expansive ecosystem. In balancing the ecosystem, butterflies may not be the fastest pollinators, still they are effective in another way. The speed position is held by the bees who pollinate a small area expeditiously with their hair filled bodies collecting large amounts of pollen within a small area of flowers. The butterfly takes its time, picking up pollen from the flowers, using a highly selective process. They can travel extraordinarily long distances for pollination, unlike other insects. They are migratory round trip pollenators. Therefore their long flight patterns allow them to carry pollen on their legs these lengthy distances pollenating evenly among vast fields of wildflowers. The butterfly can see ultraviolet information as well as the color red. This ability, unlike that of bees and humans, allows the butterfly a high level of articulation in the pollination and nectar finding process. This supports the entire field of flowers, holistically, and strengthens the prowise of the community of flower species. This enforces biodiversity. This biodiversity is an essential part of natural system balancing, and the patience of the butterfly is instrumental in this process.


This brings us to the macroscale system and its connection to the butterfly dynamics of the wing. Coined chaos theory my modern science, this paper refers to a butterfly effect as something similar but not quite the same. This encompasses the vast dynamic system of the earth atmosphere, the fluid physiology of climate change within it, and its connection to the simple figure eight cycle of the flap of a butterfly wing. This theory states, in metaphor, that one cycle of motion of the butterfly wing can influence something as magnified as the formation and direction of a hurricane in another place and time. The basic question of validation of this theory, which is based on quantum physics models, is what would be the initial point of influence, the beginning of this domino effect? Nonetheless, the sequence of events, the cause and effect between natural systems is unquestionable. Holistic physiology transfers energy between these systems, and calibrates the transitions between systems at microscale and macroscale. It does this through the time and space of energy transfer, the holistic healing cycle.

The systematic fabrication of the butterfly wing, its natural organization, is articulated to be part of the universal physiological system beyond its immediate physical existance. The dynamic capability of the wing's fabrication, the movement afforded by the physical duality of the composite of the wings, integrates the butterfly physiologically with an expanded systematic network of energy. Systems transcend scale, and integrate, through cycles of movement. This is how cycles of rebirth calibrate, and heal, our selves and our surroundings. The individual butterfly insect integrates with another, and then more join the murmuration shaping the swarm. This collective swarm then interacts with the expanded ecological system of flower pollenation, which is connected to other plant and animal life support. This ecosystem is connected to the vast climate systems, through the physiological network of energy flow, shape shifting atmospheric events around the planet. This is what Instrumentalist Architecture understands as the butterfly effect. It is not exactly the same as chaos theory, as modern science would say. It is derivative. In essence, the flapping of one butterfly wing can effect the evolution of a tonado in another part of the world as understood by chaos theory. Instrumentalist Architecture would agree, still it would state that it is linked, but through these interconnected layers of dynamic natural systems. These systems are biological as well as physical. These systems overlap, and the dynamic calibration of these systems happens in this overlap. This architectural space, the translating window, between the scales of systems facilitates the healing integration of the systems. The architecture calibrates by balancing each connection dyanmically, like an operable window opening and closing, allowing physiological transparency between natural spaces. The calibrated network is holistic, universally functioning framework, shaped to sustain life on earth. In constant dynamic flux and flex, this Instrumentalist Architecture facilitates the holistic nature of things.

So we may wonder what does this have to do with human architectural environments that we fabricate for ourselves? Simply, the more we understand how nature works so specifically and so well, the more we can shape the human environment to operate with the same principles, which are based on sustaining life. Nature's principles are based on calibrating and healing. They facilitate cycles of rebirth, at the micro and macro scale. Natural Earth heals itself. Shaping human habitation around these principles, results in a human environments that stimulates self healing. Human intervension in the environment has caused illness. To counteract the profound illnesses, potentially leading to dramatic extinction processes, humans must align their way of living on earth with the holistic natural system. After all, aside from human intervention, nature functions quite fluidly on its own. It is a self calibrating, dynamic system. It was been invented with basic organizing principles, ever changing and adapting systems for sustaining life. The more we understand nature's basic principles, the more effectively we can align our human habitation within the natural holistic system and shape Instrumentalist Architecture as a similie of this natural healing.

If nature is organized in systems, which is the case, then how are these systems organized as healing environments? Already established in this writing is the knowledge that the cycles are healing, specifically natural cycles based on existing natural principles. Cycles of rebirth are healing, within the context of the holistic nature of things. Cycles are sequences of movement through time and space, transcending scale, that facilitate calibration of interfabrication of systems into one holistic system. These cycles is composed of balance, incubation, generation, and interactivity. So if a natural system is comprised of many overlapping systems, these cycles calibrate the woven connections of the systems. The overlap is where the healing takes place, the threshold, where the systems find common ground to operate as symbiotic networks. This is where growth happens within systems of nature, and where culture can happen within human architecture. The overlap is literally the window of opportunity, within the dynamic fluid movement of naturally organized systems, where nature works its magic. It is the space between where Instrumentalist Architecture can facilitate healing and cultural growth.

We have already addressed how the butterfly insect is part of an integration of nested dynamic systems: the pair of wings in dynamic flight, the swarm in murmuration, the extended pollenation of fields of flowers through migration patterns, and the butterfly effect connecting the flapping of a wing to climate events around the globe. So how does architecture nest into nature's complete organization? How can architecture integrate and facilitate the calibrating of the life sustaining holistic nature o things? This is a simple concept and complex in planning and execution. How can the modern disassociation from nature be healed, reconnecting our habitable environments with the basic physiological principles of our natural systems which already have inherent healing actions? We have to shape architecture as instruments to recalibrate environments to recur closer to nature's initial state.

The most important part of this equation is to shape architecture as a physiological entity, a dynamic system, fabricated to calibrate its surroundings through the holistic healing cycle. Basing our understanding of this cycle on the habitable physiology of the womb is the point of departure for this Instrumentalist Architecture, physiologically, biologically, materially, sociologically, and philosophically. So for each architectural opportunity, the immediate environment is assessed for what is needed to heal it and the people habitating it to reconnect with natural sensory experience. This architecture is shaped and fabricated as an instrument to facilitate self healing processes, healing as rebirth and growth in quality, from one generation to the next. Growing young through rebirth.

The tectonics of the window shapes Instrumentalist Architecture, it is distinguished from modern architecture in how it operates, kinetically. The new window is part of the physiological environment, a translator between two places, people, and cultures. The window as a a basic element, a cellular component of the architecture environment, the architectural membrane. It is fabricated to balance, and ultimately facilitate the calibrating cycles of healing the space between two entities. The window is to our new architecture, what the brick was to old architecture. The window is a fabricating element, as opposed to the brick as a building block. The window responds to the physiology of the environment, not only gravity.

If we take the window and multiply it, like nature shapes a swarm in murmuration from multiplying individual butterflies, we can create a field of windows. This field of windows is the architecture, and operates as a kinetic instrument for calibrating the physiological environment. Operable environmental membranes are fabrications in motion, they are fluid and dynamic like a field system in nature. This window system, this organic inclusive translator, facilitates the physiological healing cycle. It calibrates the physiological experiences of the habitant, their sensory experience. As a field system, the architecture balances many things like air circulation. Humidity, acoustics, light, wind currents, views, air pressure, and privacy are some of the mediumistic varients that cycle through the environmental physiology. The environment, shaped like a field, can even translate physiological experiences like vibration and sound, helping manage sensory pollution for the wellness of the habitants. The systematic architecture of Instrumentalist Architecture gives the habitants the opportunities to heal themselves by interacting with it, by playing their environment like an instrument. Our architecture transitions fluidly between things, it slows and diffuses reactionary abruptness. The cycle start with a slowing to stillness, balanced state of conscious instinct.

If we imagine this field as a three dimensional composition of kinetic planes, folding and stretching, we can start to understand the tectonics of the architectural field in alignment with the most basic principles of nature. Nature's inclination is to sustain life. This is known through Gaia Theory by renowned environmentalist and biologist Dr. James Lovelock, et al. He discusses how nature is organized systematically to acheive sustaining of life. This process happens cyclically. The healing is in the translation between the field systems, from the microscopic to the macrocosmic. Understanding human fabricated architectural environments as systems, eclosures that breathe, is a start point. Knowing this system to be composed of kinetic surfaces is critical. This allows for fluid transitions, and healthy overlap between systems in maintaining one holistic system. In example, a garden wall next to a field of windows facilitates natural physiology. If the windows open, the oxygen given from the organic plant matter enters through the windows and chemistates healthy air for the human habitants. If the architecture were an enclosure, it would not allow the air in and help the people inside, nor facilitate calibration. The field of windows blends with the system of plants. The architecture becomes part of the organic and supports and iterates natural processes. It operates kinetically as a living organism, and an instrument for healing naturally.

So say this wall of windows is partnered with a lattice of planted food, an edible garden, on the outside. This starts to establish what was known in the nineteen seventies as double envelope construction. Double envelope design, also termed shell design, by Lee Porter Butler was an expereimental method for building a shell within a shell so as to create a space between two envelopes within which air could circulate. This was thought to calibrate environments passively. It was successful in many ways, and criticized in others. The important points, relative to Instrumentalist Architecture are that the double envelope worked passively without adding additional energy to the system. Energy conservation is essential. The double envelope was a thermal buffer, which connects it directly to Instrumentalist Architecture theory one way, in that the Circadian Rythms theory is based on thermodynamics. This is a part of how Instrumentalist Architecture works, in cycles, one of them being the 24 hour Circadian Rythm cycle. The difference with Instrumentalist Architecture wall double layered fabrication, the dual eclosure, is that it is kinetic. It is adaptive to changes in its surroundings and the needs of the habitants. It breathes symbiotically with its holistic interior and exterior, calibrating in the space between.

If you think about it, this brings us full circle, back to the architecture of the womb. The habited female body, and the baby within, are nested dynamic physiological systems. The architecture of the womb translates between the two. The placenta, from the Latin word for cake, is the lining inside the uterine wall between the baby and amniotic fluid, and the outer part of the womb eclosure. The layers of the womb are a composite of the inner endometrium , middle myometrium, and outer perimetrium. These layers serve different purposes, and still operate as a composite. It is a layered membrane like the nested architecture of the dual eclosure. Their functions include but are not limited to structural, hormonal, nutrient transport. Holistically, the womb is a dynamic environment that allows circulating processes instrumental in keeping a healthy environment for the mother and child, by calibrating symbiotically between the two. When habited by another, the womb architecture is activated to a higher level of speciality facilitating calibration in its finest natural form, to shape a healthy healing environment for the cyclic birth experience.

Relationships between people and place are in constant dynamic motion. Architecture that calibrates that movement, facilitates a healing habitation experience. Architecture shaped from fields of operable elements can operate kinetically, to optimally tune these relationships. The way people interact with operable architecture allows them to engage the healing cycle, starting with balancing these connections with others and with their surrounding environment. If the window is the basic element of the architecture field, and the field is a dual eclosure, nested wall system, shaped to modulate transitions between environments, then the field of windows become kinetic and multdimensional moving into and out of the interior and exterior spaces. When this multidimensional fabric is engaged with fluid movement, the Instrumentalist Architecture becomes its own modulating organism, an attuning instrument for the habitant to calibrate their own environments in alignment with their healing processes. It becomes the architecturally fabricated curtain wall of the future. Its environmental calibrating effect is magnified when this kinetics is part of the entire holistic eclosure, including walls, roof, and floor, and its ability to heal happens exponentially. The fluid dynamics of Instrumentalist Architecture between people and place facilitates personal health, cultural healing, and growth.

Architecture of the future is not built, it is fabricated. It is real, it is tangible, and it is living. Like the physiological tissue of the womb, Instrumentalist Architecture calibrates between habitable environments, and faciliates the cycle of rebirth. Alike, consider the life cycle of the butterfly. Similar to the calibrating, healing cycle is the life cycle of the butterfly. The butterfly experiences four phases metamorphosis to its birth life process: caterpillar, chrysalis, butterfly, egg. These align with the Instrumentalist Architecture healing cycle of birth: balance, chrysalis, butterfly, egg.

Within this cycle, is the effervescent stage of the chrysalis. The butterfly caterpillar is a slow organic insect, crawling and balancing on stems to get to leaves it can munch for food energy. When it finds a home for its next phase in the metamorphic life cycle, it slows down. It spins a silky hook from its cremaster, which is a silky hook commonly connected to the underside of a leaf of one of its food plants. It spins this fabric hook. This hook becomes the beginning of its home place, the entry to home where the caterpillar can find stillness and incubate. Then the chrysalis starts to take shape. This chrysalis established during the pupa phase, from the Greek word chrysallis, also known as aurelia is the outer layer of skin of the caterpillar that protects it during incubation. The most important part of this fabrication is the cremestral hook, this silky fabric spring, facilitates stillness for the incubating caterpillar. While it absorbs movement on the plant to some extent, it also gives a warning indication to the caterpillar. It vibrates into the abdomenal cremaster of the incubating insect. This principal is incredibly fundemental to Instrumentalist Architecture.


The fabric hook is an instrument of safety, much like the silken web strings the spider weaves as trip chords to vibrationally detect intruders. If this hook-like is a properly tuned, finely fabricated architectural instrument, then the chrysalis is an eclosure instead of an enclosure. The chrysalis can facilitate generation, as the cremestral hook is providing the safety for the home. If architecture is shaped instrumentally, it does not bind the caterpillar like an enclosure, it liberates the butterfly like an eclosure. The butterfly breaking open the chrysalis for flight, is the shape shift from formalism to instrumentalism. The architecture of the chrysalis turns form into shape.

This is culturally, methodologically, and conceptually an extremently important aspect of Instrumentalist Architecture. Holistic architecture is derived through shaping, instead of forming. It is not a formalist pursuit nor process. Form not only follows function, shape supercedes form. It is generated by having a desired end product with a specific functional purpose, it is shaped as an instrument. Form is defined in terms of volumes. Shaping involves articulation of outlines combined as organizational infrastructure. The intent in shaping versus forming architecture the architecture is to fabricate the circulation, the movement of the architecture. Forming results in an enclosure, whereas the action of shaping makes architecture kinetic and physiological.

The distinction between shape and form is important in understanding the architecture of the future. We discussed the transition from the point to the first dimension, the drawing of a line, in Paper 1:1 within reference to the cycle. In Paper 1:2 the transition between the first dimension and the second dimension, the shaping of the plane, was conceptualized. The architectural element for this relationship is the window. Currently, we address these first transitions and next transition, two dimension to three dimension, as the transition from the plane to the three dimensional shape. This transition is outlined in reference to the architectural fabrication of the system, or field. The important point is that if the third dimension becomes what it is by way of growth of a field, then it is shaped, not formed. This fabrication concept will be further critiqued and articulated in reference to calibration in future papers, in detail. Within the context of the transition from architectural windows to fields, the critical scientific articulation is bifurcation. When we take the two dimensional plane of the window and fold it, that dyanamic action shapes three dimensions.

Bifurcation is essentially the division of one thing into two parts. When we study the anatomy of the butterfly, we see this in its organization. The body of the insect operates like a hinge, to allow folding of the plane of the wing span from plane to three dimensional shape. This action of bifurcating the span transfers the energy from the body of the butterfly to the wings. This energy is kinetic, and gives the butterfly the ability to fly. If we compare this basic geometry, the wing span is generated by folding a square in half along its diagonal. Folding it in half again gives the basic triangular shape of the bifurcated wing span. Bifurcation, the action of folding, transfers energy. Bifurcation is a method of shape making. Propagating the individual shape into a field system introduces exponential diagnostics for transferring energy from one state to another for the purpose of sustainable habitation.


Bifurcation is an action witnessed at the microscopic and macrovescent scale of nature, kinetically. The anatomy of the butterfly, a product of bifurcation, allows it to function in alignment with its own survival and within the natural organization of the holistic nature of things. This flight allows it to establish murmuration with a swarm of butterflies, shaping a moving home. It gives it wings to fly great distances to pollenate fields of flowers, as part of the essential ecosystem of the natural world. This movment of the butterfly wing, around its hinge, can shape climate change over vast distances. Bifurcation is kinetic, it is the action of shaping. The tuning fork is a bifurcation. The tuning fork is an instrument for calibrating waves. The dualist relationship between the two branches of the tuning fork, shaped by bifurcation, results in a space between that allows vibrational energy aligned with pure natural tone. At the vast scale of the earth continents is another kinetic example of bifurcation, the Continental Divide. This duality, between the east and the west of the middle america continental topography, facilitates the calibration of water movement. Water falling on the west side of the Great Divide flows to the Pacific Ocean and water landing on the east flows to the Atlantic.

Interestingly, there are two very specific migration patterns for Monarch butterflies. There is one on the west of the Rocky Mountain divide and one on the east. These circumnavation patterns of the butterfly are facilitated and calibrated byt eh insects internal compass and relationship to the inclincation angle of the sun. The Monarch is being challenged by modern human living, in that milkweed and other plants within its ecosystem are being destroyed by pesticides. Less addressed regarding the Monarch extinction is the sensory noise created by human habitation, which is thought to interfere with the butterfly compass, and ability to sense electromagnetic frequencies which direct its circumnavigation for migration. This is also thought to happen with bees and other species, interfering with the natural organization of energy within the earth ecosystem, and the natural balance of systems. It injects the holistic nature of things with imbalance and dischord. Instrumentalist Architecture is not only intended to operate within alignment of these natural systems, but also faciliate healing within the translation between human habitation and nature. The healing of human kind.


A specific architectural feature shaped for water conservation is the butterfly roof. If we take the concept of the continental divide, which directs water flow away, we can invert it. This is bifurcation. It makes a roof that collects water down the seam, or hinge, for water reuse. This is recently becoming a prominent feature in warmer climates where snow collection, and other environmental factors, do no impede the process. Water collection is becoming one of the primary implementations of sustainable architecture, as drought and water availability to population ratios shift. There has been lack of healthy water for centuries in some places, and now it is a part of modern civilization as a result of pollution and lack of conservation and proper planning. A simple shape change to roof feature of architecture can not only provide an immediate motion to remedy but also bring attention to the issue asthetically. Utilizing this template of the anatomy of the butterfly, Instrumental Architecture shapes a roof bifurcation that facilitates conservation and environmental calibration.


The butterfly roof is essentially an interior corner. Corners are a part of all architecture, interior and exterior. If we take the roof plane, rotate it, and stand it on its edge, we get the corner of a building. The principles of Corner Flow, relative to wind, sound, and other forms of energy circulation, relate directly to sensory experience in architectural environments. A corner is a plane, a two dimensional surface, bifurcated into a shape. Shaping the flow around and into corners is part of fabricating architecture as instrument. Corner Flow is part of fluid dynamics theory and a modeling method for Potential Flow which relates to fields and gradients, as scalar functions. This framework of fluid dynamics and Potential flow, Velocity Potential, is one of the most basic concepts in acoustic wave analysis and understanding sound in space. This makes it applicable to understanding sensory experience, and Instrumental Architecture in that sound dynamics, and fluid dynamics in general, can be translated to multiple mediums of energy circulation. This gives the architect more knowledge to shape an architectural instrument. The instrument is articulated to give the users, the habitants, an experience with which they interact as if they were playing an instrument, that has physiological effects on themselves and their surroundings.

Bifurcation also relates to chaos theory, otherwise known as the butterfly effect, in terms of logistics mapping. Logistics mapping assigns array value to dynamic systems and can operate as a method for predicting possible outcomes. Logistics mapping, in a dual process of folding and stretching time and space, can lead to critical understandings of calibration of growth. In reference to my writing about cycles and growth, logistics mapping can lead to an optimization of the cultural healing process via time and space dependent on the articulation of cycles, windows, systems, and future organizations that will be addressed in these papers. One of the most important factors in this investigation is where the point of initiation started. What was the beginning, and how do we get back to it? Or one may ask, how does human kind return to a dynamic course not leading to chaos? There was a point of departure from natural organization on the part of the human race, the hyper focus on modern progress. The abosolute intent of Instrumentalist Architecture is to initiate the counter return of humanity to a healing cycle, calibrating human kind in recurrence, to an initial point of natural systems.

This starts with people understanding the importance of the holistic nature of things, this knowledge is the origin for mapping logic to our future. Placing our understanding of cause and effect of our actions, like the cyclic movement of the butterfly wing actually being able to effect global climate systems, allows us to operate toward generating momentum toward generational provement of sustainable abundance. This is the movement, the direction, of Instrumentalist Architecture.

The butterfly effect is about systems, and growth. The individual butterfly balances with another. This makes two. The connection between the butterflies is balanced in the space between, like tuning the string of an instrument. Then another butterfly comes closer, the systems starts to grow. They calibrate. Another joins in. That makes four. It grows more and eventually doubles. That's eight. A murmuration is organized, the shape of an octahedron. They move in dynamic calibration, cycles of eight. Then they start to fold and stretch. The optimization ratio of growt to starvation begins when the period is halved, this means the threshold of the disctance a cycle must travel to be completed is reduced to half. This is a product of Fibonacci sequencing. Growth is exponential. Cultural growth is the result. Let's open our eyes, and cut to the chase. Start folding.

When the period of the cycle is halved, or folded, the pitch doubles. The pitch in music, is the quality of sound governed by the rate of vibrations producing it, the highness or lowness of tone. Pitch is the gradient, the inclination. Pitch is a product of gravity, or perhaps gravitation. If we look at the butterfly, we see how it folds its wings. When it folds, it moves vertically. Completely folded, the butterfly is at rest. It slows to a stand still. It is stabilized on a flower with its wings hinged together, in maximized pitch. Any other position induces flight. This horizontal position, a maximum pitch, becomes equivalet to depth. Stillness breathes a state of consciousness, an in depth experience.

Imagine a butterfly flying through the city. What would it be thinking? Would it be thinking at all? Of course. It would also be following its conscious instinct, in my opinion. A single butterfly. An individual. Let's look at the word individual. Dividing inwardly is folding, yes? How does that butterfly navigate through the urban environment? We've already established that is uses sensory navigation. It interprets the inclination angle of the sun. It translates electromagnetic energy to find its way. So how do humans find their way through environments? In the modern world, human beings read signs.What if we shaped our habitable environments to be navigated, and circumnavigated, by conscious instince like the butterfly? The if we increased the sensory depth of field so people could instinctually find their way, that would be more universal. That would be the labyrinth of Instrumentalist Architecture. The depth would increase, and therefore the pitch would increase, or vice versa. This approach to shaping human habitation is aligned with the holistic nature of things. Making environmental windows makes for a sensory experience, a system of windows. This facilitates depth of field. If the pitch doubles, and the period mirrors back, and becomes infinity.

Energy is neither created nor destroyed, it is transferred between mediums, changing state. Buckminster Fuller, the most inventive architect of the the 20th Century, knew this. His focus in architecture was centered on making more with less, meeting the threshold where human habitation could be accomadated by utilizing as few planetary energy resources as possible. He understood logistics mapping, and believed that the threshold of population growth to starvation would be reached around eight billion human habitants. The tipping point, based on Fibonacci sequencing and exponential growth ratio to energy food resource. He understood the imperitive need for implementing nature's sytematic organization into the shaping of architecture. His sense of the butterfly effect was that one person could devise one invention that could support tens of thousands habitants. He believed in inventive, effective resourcing. This is a complex issue. Essentially, modern habitation has detached people's understanding of this resulting in social anxiety and impairment, perhaps paralysis. A base cure for this dillusion, is sensory reattachment to nature. This has to happen as a break from clinging to modernism, and a restart at a point of departure closer to what chaos theory would term the intial conditions. Architecture can assist in this healing process by fabricating architecturual environments that re-attach human kind to natural principles and cycles of healing habitation, one infinite figure eight cycle of the butterfly wing at a time.

Neverland was a place where people never grew up. First introduced in J.M. Barrie's play as The Never Never Land at the turn of the 19th century. Peter Pan was a boy who refused to grow up. But what if the New Neverland was a place where people could fly, and growth did happen? Well I suppose this would be Utopia. This would be a place where people did not fear over lack of food and shelter. This would be a time and place where calibration with earth's natural systems would be the emphasis. Attachment to nature would stimulate collective senses, there would be natural instinct of cause and effect. The architecture of habitation would support this experience by iteration of natural principles. There is movement in this direction, by the implementation of, the seeding of natural growth into habitable human environments. Still the race toward modern development needs to be balanced with this movement. Acceptance that modernism has misguided humanity is part of the equation. The pace of human population growth has led to blind production and processing, resulting in gross imbalance of resource use and distribution. Slowing this cycle, refinding balance in alignment with the holistic cycles, is imperative for avoiding array into chaos. Engaging a slowing to stillness, consciousness, and the rebirth of the healing cycles of the holistic nature of things is not a choice, it's a necessity. Shaping habitation as Instrumentalist Architecture will facilitate this rebirth and reconnection with sense, and the making of The New Neverland.

Lepidoptera is the natural order of butterflies and moths. It means scaly wings. The Earth system is limitless in scale, from the electric atoms on the microscopic chitin scales of the butterfly wing, to the macrocosmic network of space and time beyond the grain of sand upon which we live. Instrumentalist Architecture, healing human habitation, fits in somewhere inbetween. Like Dr. Lovelock talks about with Gaia Theory, systems in nature are shaped to sustain life. Orchestrating our human habitation to exist in harmony with what existed, a long time before we did, will help us do the same. At present, the need is to conserve and reinvent our way of being so future generations will not suffer. In the future, the desire will be continue to fine tune this new system of sustainable being such that each successor generation will have an even healthier existance in whole, than those that came before. Like butterflies, they'll never have to land.

By Heather Hoeksema


(All material contained herein is Copyright 2012 © Heather A. Hoeksema Architect & HHEAL LLC)






PAPER 1:2/ 1 Dimension => 2 Dimension



No sun without moon, left without right, nor on without off. These dualities are part of natural organization, they are part of the universal order. They are why universal balance is such an important part of the cycle of calibration, in maintaining healthy environments. Instrumentalist Architecture blurs the line between inside and out, object and subject, one and another. The line is blurred, and boundaries diffused. The space between two entities is habited by organic architecture that translates between the two. The windows within the architecture facilitate this balance. The window is a fabrication element of Instrumentalist Architecture. A point only exists as part of a line, connecting it to another entity in space. This line is like a string, an architectural instrument, that moves and attunes the space between. Like the physiological architecture of the womb, the tuning of the relationship between things is a natural inclination of the organization natural earth. The symbiotic balancing of atomic energy shapes the nature of an environment, it shapes the experience of habitation. It is a slowing of time in space, to stillness. Individuals share a habitation experience within an environment, the window is the elemental part of the Instrumentalist Architecture which balances people. This fabricated, natural organic system facilitates universal balance.

Calibrating environments are healing environments, and the calibrating cycle starts with balance. Instrumentalist Architecture iterates nature's inclination to balance, this critical phase in the natural environmental rebirth. In environments fabricated for human habitation, Instrumentalist Architecture facilitates calibration, starting with balance, between two people as part of a more expansive system. This human fabricated architecture, if it is shaped to align and support an organization of healing like in nature, is composed of operable windows. These operable windows can take on many shapes, sizes, and ways of moving. They are breathing portals, between entities and environments. They extend the physiology of organic architecture to the environment within and outside the space, simultaneously at the most atomic level to the vast scale of the cosmos.

Instrumentalist Architecture actions like physiological infrastructure of the womb, the windows are the molecular structures that balance the homeostatic states of the mother and child. Therefore, the architecture of the womb is the natural template for understanding habitation and commonality between people. It provides the information that indicates how we understand our Selves in relation to another being and our first understanding of a habitable environment. It is our window of insight into what composes a healthy sense of individuality in a shared place, the healing cycle of birth, and universal balance. The womb is the one common habitation experience among all human beings, it is the common bond.

Instrumentalist Architecture understands the experience of individuality within the context of the holistic nature of things, different from the modern construct of individuality. Modern individuality developed through a series of philosophical, cultural, and economical indoctrinations perpetuating the importance of self as an autonomous condition, in opposition to the conscious Self. Holistic nature and Instrumentalist Architecture considers individuality to be relational. The individual is shaped and exists, only within reference to another entity. When the connection between is being balanced, by the architecture in the space between, the individual is defined through the calibration, through the healing of the connection. The space between becomes a place between. The calibration is like an instrumental tuning starting with balance, healing the space between by shaping an active architectural place. The architecture has the basic element of the active window, a portal between two entities. The window has the potential energy to initiate balance, growth takes shape, and healing happens. The way the window actions between two entities, determines the individuality of each. The architecture in the space between shapes the relationship, and the individuality is relative.

One specific, important distinction between Instrumentalist Architecture and modern architecture is the nature of the window. The instrumental window is operable, it moves and has life. Instead of the building being an enclosing skin, the fabrication of the architectural environment is inclusive allowing the outside to reach in and the inside to reach out balancing the atmospheres. This is how holistic architecture calibrates, this is its healing mechanism. The result is environmental symbiosis. Through facilitating physiological calibration, the method of Instrumentalist Architecture, these environments meet in a collective physiological place which is a healing event. They blend. This first part of this calibration, the first phase in the cycle of healing, is balance. The window has a function of balance. This balancing is a slowing of time to a point of stillness. How we make our windows operate, determines how our architecture balances. This balancing is the beginning of healing, and the window is the turn key in starting the cycle.

Windows can be thought of in the purely architectural sense, as transparent glass with the surface of a wall. Or they can be understood in a physiological way, environmental windows. Our understanding can even be stretched into our knowledge of time and space, windows in time. They can be seen in at the microscopic scale and in macrocosmic space. There are windows in the atmosphere surrounding the earth. Where the earth meets space, the line is blurred. There is no clearly defined boundary between this earth air layer and outer space. Within this transitional region of the atmosphere, there are windows. These atmospheric windows radio windows, optical windows, and infrared windows. The important aspect of infrared windows is that they allow infrared radiation from the tops of clouds and land-sea surface without any absorption. Therefore they do not heat the atmosphere nor the earth. This is part of the natural air conditioning of the planet earth. This is important in that the two primary functions of our air, our atmospheric gases, are the life sustaining processes breathing and photosynthesis.

The radio and optical windows, the additional two atmospheric windows, are the windows between outer space and earth which allow electromagnetic energy through the atmosphere to the earth ground surface. The long wavelengths of radio waves in the electromagnetic spectrum enter the atmosphere and become propagated in different ways. the physiology of this propagation is not unlike sound entering a smaller scale environment like a home environment. Water vapor and the effects of the Sun are the primary influences of radio wave propagation like reflection, refraction, diffraction, absorption, polarization, and scattering. These acoustical properties of the earth atmosphere are elements of the sensory environments in Instrumentalist Architecture. Sound enters through the window of an architectural space, and becomes a product of the acoustics of that space. Natural windows occurring in the architecture of space are models for the physiological balancing of habitable architecture for life on earth.

Optical windows, in this translucent sphere connecting the earth atmosphere with outer space, allow electromagnetic radiation into our air space that is within the visual optical range frequency of approximately 300-700 nanometers. In example, glowing auroras in the sky like the aurora borealis are electromagnetic energy in visible frequency range. The brightest auroras are the auroral arcs, often described as curtains in the sky. Wavelengths from space that are outside the ranges of optical, radio, and infrared are essentially blocked by the earth atmosphere. Optical wavelengths are detectible by the human eye. They are those frequencies within the visible spectrum, let into our atmosphere through very specific windows between the planet and space beyond.

Our eyes are the windows to our soul. Historically a beautifully metaphor, this has recently become more scientifically true. Like we understand our fingerprints to be a unique identity of our Selves, patterns in our iris are much the same. Each of us has different line structure, colors, and points in the iris within our eyes. This idea can be interpreted by science in many ways, still the important point is that the view looking into the window our eyes present is as significant as how we see things as a singular entity. The beauty of this is that we are no longer defined by only our perspective, one view of things. Our sense of individual identity is shaped by how another looks into our eyes, how another entity gazes into our being. Now it is a little more clear, in fact, how our eyes are the windows to our soul. Our individuality is relational, shaped by how we are seen by another who takes the time to see us in depth and detail.


Individuality as we have come to know it, in today's modern world, is imaginary. Imaginary individuality is a stand alone principle in the modern world, it is a myth of sorts, not the whole picture. It is an illusion. From the 17th century on individuality indicated separateness, and still does. An indivisible entity; this was the modern definition of singular. Much of this belief came from John Locke and other Empiricists prior, who considered the doctrine of individualism as a state starting at the time of birth, exodus from the womb. Instrumentalist Architecture knows birth to be at the time of conception, this is when the balance between two organisms begins. In contrast, the historical doctrine of individuality from Empiricist thinking, which became the basis for modern individualism, considered the human being a blank canvas at the time of birth formed by environment and experience thereafter. This blank canvas, starting outside the womb, really develops into more of an image than a painting. It lacks depth, as time when the child develops the ability to habitat with another being within the womb, is disregarded by this Empirical theory. This essentially modern theory of individuality perpetuated things unreal, things only two dimensional. It perpetuated imaginary individualism. Holistic Nature and Instrumentalist Architecture defines the individual within reference and respect to relationships with other life. The individual, in the heart of the holistic nature of things, starts painting a canvas within the architecture of the womb, before being generated into the outside world. This Holistic individuality paints a canvas is not an image, it tells a story. It is multidimensional, with depth, and real.

Instrumentalist Architecture facilitates calibration of relational individualism by tuning the space between the entities and shaping a common ground. The singular entity is a fluctuation between object and subject, not an isolated entity. The singular entities are part of a system of vibrational flection, the architecture resonates in between, similar to the vibrato effect in singing, or a vibrating string of an instrument. The desired effect of vibrato is to give warmth to the atmosphere. The vibrato is actually shaped by the extent of pitch and rate the pitch is varied, much like the pitch of a butterfly roof on a house can vary and reverberate with the natural forces surrounding the architecture, like rain, wind, and sun. When 2 entities are balanced by the Instrumentalist Architecture between, they sing in this state of singular individuality.

This reverberation, this reflection, is like a vibrating string moving between line and plane affecting the state, the nature of the entity points which it connects. This architectural initiating of balance facilitated between the points is the first phase of the holistic healing cycle of calibration. It is a slowing down to a point of stillness. In example, the balancing and slowing of the physiological relationship between mother and child makes the womb a place of dwelling. If the entities connected by the architecture are living beings, then the state of these individuals fluctuates between 1:2, between object and subject. So the architectural instrument facilitates a 1:2 and 2:1 fluctuating relationship. In other words, if the architecture is habited by two people then the individuality these people experience is actually a flux and flex between being object and subject, their own object entity and their own relational subject within the context of each other and their surrounding environment. This is the ideal state of individuality Instrumentalist Architecture can facilitate when shaping a balance. The dance happens in the space between. This balancing happens between two people, a person and her environment, different organism within environments, and even between entire cultures. Instrumentalist Architecture can facilitate Universal Balance.

Dr. James Lovelock, scientist, environmentalist, futurist and author of the Gaia Theory, understands Earth as one self regulating system. This theory postulates that the biosphere is a self-regulating entity with the capacity to keep our planet healthy by controlling the interconnections of the chemical and physical environment. His hypothesis states that Earth can not keep up with human imposition, and that the greenhouse effect will lead to a dramatic leap in temperature, not simply an incremental increase, therefore resulting in events of human extinction around the planet Earth.

Instrumentalist Architecture and how it functions is understood in a similar way to what Lovelock describes as the Earth being a balancing system. If we see Mother Earth as a system, calibrating its environment through climate modification and natural physiological elements, we can understand architecture similarly and even use Earth as a natural template for fabricating architectural environments. Earth is one layer of Instrumentalist Architecture in action, at the universal scale. The systems that act to calibrate the atmosphere are part of the same systems that calibrate environments at smaller scales, even at the scale of the human body and mind, and the atomic and anatomic level.

Returning to the template of the womb, this idea becomes more clear. The womb is a regulating system, balancing the shared environment between the mother and child. It actions between the two entities, facilitating growth, throughout the healing cycle. The uterine lining is comprised of operable cellular windows calibrating basic metabolic conditions between the host and child. This happens instantly, but this process also occurs over the course of nine months. Balance occurs when the child enters the womb, then there is the incubation period, generation happens through the exist phase, and interactivity starts in the physiological infrastructure outside the womb. The first part of this rebirth cycle is balance, it allows the child to dwell comfortably within the womb. Balance is a slowing of time to stillness, a pause. It is a part of placement, a state of dwelling. The Instrumentalist Architecture of the womb has its calibrating birth cycle: balance, incubation, generation, interaction. This is the cycle of birth, the healing holistic cycle of growth through calibration. Child birth is considered a somatic experience in that through a movement experience, one touches the physical to the spiritual. A somatic experience is part of holistic healing methodology. Integrating this with Gaia theory, healing through movement processes can be applied to the earth and even a greater universal order, starting with Universal Balance. The womb can then be understood as a template for Instrumentalist Architecture and healing invension.

So how does architecture initiate balance? How does Instrumentalist Architecture calibrate between two things in space and time, to facilitate a healing and cultural growth? Balancing starts with a slowing of time. Much like a photograph, Instrumentalist Architecture can frame a still, a moment. This can be a visual and auditorial experience, an experience penetrating all of the physiological senses. Healing architecture facilitates balance. It is the first part of the rebirth cycle, the slowing down of the energy created between two things coming together. It is a down shift that begins the cycle of healing calibration.

Think about a day in the life of a person. We wake up. We generate some energy to fulfill our day. We interact, and then relax. Then we balance, and fall asleep... incubate. This is like the rebirth cycle, in the time frame of the 24 hour day cycle. Balance, Incubation, Generation, Interaction. The cycle of rebirth is directly aligned with 24 hour sun and moon cycle, the turning of light and dark. These phases of rebirth are about time relativity, how fast we are moving through time and space.

The architecture, the environments that surround us during this daily cycle effects our rejuvenation process, its quality and effectiveness in our functioning and how we are prepared for the next day.Within the cycle of the day, balance starts to happen when someone returns home. It's a slowing of time. A person walks through their front door, they are inside a place associated with comfort and safety, if it's an ideal circumstance. The sense of safety arising is balancing. Perhaps there are others in the home environment, people as part of the family organism with whom they balance. The entry through the door into the home symbolizes intense things for each of us, every day. It means it's time to slow down, time to dwell.

The door is a window at the ground plane. It is a portal through which our senses navigate our physical walking path into a place. The door to the home is the entry into something more intimate, subtle and quiet. An entry into stillness. The time and space experienced in the environment outside the home is different. It is fast paced, many in automobiles, in transit. Work days are associated with stress, whether in an office in London or working in fields tending to crops in a third world. The home represents something different to those who have it. It is the opportunity to start a healing process after an energy exhausting day. For those who do not have a home, there is no opportunity for this process to begin. There is not entry point to comfort. The home is the environment where the daily healing process begins.

Slowing of movement. This happens when approaching and entering the portal to the home, in the context of the daily healing cycle. We walk through a door and scenery changes. The state of the mind and body starts to down shift, decompress. The nervous system cools off. Our heart beat frequency decreases. Our visual and audio senses become less active from the softening of environmental sensory stimulation. Our bodies begin to take stock. In an ideal home environment, we connect with people we know more intimately, people around whom we feel safe, safer than strangers in the outside world. There's no need, desire to progress. The sun sets, the daily balancing process begins. The door is an Architectural Instrument for equilibrium between the interior and exterior, an instrument for balance. The door is merely an operable window at the ground plane. This window portal is an exit from and and entry into another state of being of the human body, physically, psychologically, and most essentially physiologically. Balance takes place when moving inward, and the window into a home is the initiator of the balancing phase of the holistic healing cycle of the 24 hour day.

There is a direct physiological healing associated with entering a safe place. In the 24 hour daily ritual, physical, psychological, and the resulting physiological balance is the architectural effect of entering a safe place. The way entry sequences are mapped in the shaping of environments can increase, and potentially maximize, the balancing healing effect. How does an entry stimulate a slowing of time in space? In a simple example, the walkway ramp or stair can be inclined. If we walk upwards while moving toward an entry, we naturally slow down. This slowing blurs the experience of the point of entry, makes a promenade like sequence. This assists in the effect of the environmental facilitation of balancing. The modern day antithesis of this sensation is the abruptness of the car entering the driveway, the quick mechanical exit from the automobile, and stepping across the ground plane directly to the front positioned door. Time and space become jagged and extreme, in the threshold between the environment outside of the home and inside the home. The physiological ritual of entering into comfort is compromised. The intent of Instrumentalist Architecture is to remedy these conditions of entry to align with and facilitate a healing, holistic experience that is more natural to the healthy human experience.

On a more specific level, the tectonics of the architecture can fabricate this sequence. Historically, tectonics is associated with plate tectonics of the earth's geological structure as well as the architectural process of building. Instrumentalist Architecture defines tectonics, as it is related to architectural environments, as the process methods of fabrication, the holistic way of building. Precisely, the tectonics of Instrumentalist Architecture, in the one to two dimensional space, resides in the relationship between window and frame. The eyes are the window to the world. The curtain wall is modern invention of glass and frame, holistic architecture reinvents the curtain wall as an operable organic environmental enclosure, something with natural life. It's a translator of sorts between two environments, most clearly understood as an inside and outside. Instrumentalist Architecture blurs the line between the two, softening transitions and translating. This initiates of balance.

The door is an operable window, a portal through which habitants can navigate. We walk through windows above the walking plane visually, with our eyes, all the time. Our eyes help us navigate towards these windows of light and dark. Some of us gravitate toward excitement, some toward comfort as different times and places. Architecture, enticing people toward the comfortable views, stimulates balance. Looking out of a window can be looking inward and reflecting experience, even though one may be looking out of a literal architectural interior environment. The experience can be inward looking and balancing. This methodology asserts that iteration of inward looking experience facilitates not only balance, but consciousness. Instrumentalist Architecture emphasizes looking to our interior as an ideal, as consciousness is an ideal, as part of the balancing process and the cycle of holistic rebirth, healing. Consciousness, the slowing of the mind; carefulness of thought processing and conclusion making.

Tectonics. Architecture can be a technological tonic, a medicinal, if shaped and fabricated with honest tectonics. The frame and window composite provides for translucency between environments allowing for a balancing between the two places. In example, an operable window blurs the line of enclosure of the architectural skin, making it more instrumental. It allows the habitants to naturally influence the heat, light, sound, privacy, humidity, air flow, oxygen and other elements of the air in their interior surroundings. The fixed window does not provide this opportunity. If we look at the history of the architectural modern icon, the curtain wall, this becomes more clear. The curtain wall defined the glass wall and was revered due to it's ability to let light in. It was non structural to an extent. Interestingly, the curtain wall also was the term used for the outer wall of the castle, a defensive wall between the interior and exterior of the castle. Instrumentalist Architecture introduces a new curtain wall, that is neither defensive nor transparent. It is a translucent fabrication, a biotectonic organism that transitions between environments and calibrates by way of translating, facilitating communicating between the inside and outside, initiating healing. This origination of the term tectonics is in describing plate tectonics, the movement of the earth outer shell responsible for global movement events including earthquakes. This is important in that it references earth as paleantological artifact, associated with memory. Tectonic architecture has the ability to make memory, which compresses the past and future into a presence. It is physiological, and its architectural make up uses nature as a template in the way it operates to facilitate healing.

Sense of presence, resulting consciousness, is an effect of balance. Balance is the slowing of movement, in time and space. The tectonics of architecture, instrumentally fabricated, facilitates this balance. The tectonics is defined in the relationship of the window to the frame, this composite composes the building organism and its ability to translate between the exterior surroundings and the habitants. The window can be understood as a door above the ground plane. A responsive architectural enclosure responds to immediate and vast exterior. It is a multidimensional fabrication that operates to iterate balance for the habitants as the appropriate time. In the case of the home, the architecture is operable and can anticipate the heat build up during the day and begin to cool at the appropriate afternoon time by letting in a natural breeze and shading the interior from heat generating light. This automatically prepares the habitant for the balance needed when arriving home toward the end of the day. Operable windows facilitate this naturally. Another part of this system would be acoustical. We are most hypersensitive to sound stimulus when experiencing life within the womb environment, and also as infants. Reducing sound amplification through strategic acoustics of the architectural instrument, at this time of day, also facilitates slowing of the body's energy and stimulates balance as part of the healing cycle. Degrees of light and sound are only one aspect of this architectural intelligence. Our sight and hearing are our foremost conscious responsors to our environments, and therefore a primary focus of Instrumentalist Architecture.

A derivative of the cyclic process is the existing Circadian rhythm concept. This theory addresses the biological and physiological responses organism have to their environment relative to the 24 hour day. It is based on the knowledge that if organisms can anticipate regular environmental changes, they can capitalize on what the environment has to offer and maximize their ability to access resources for healthy living. Predicting available to food and shelter strengthens the organism's ability to survive. They ideal architecture can assist in this anticipation and prediction and help facilitate the organism's health as part of the daily cycle. Circadian theory specifically relates the organism health to metabolic conditions, including but no limited to hormonal calibration, much related to temperature regulation or the course of a 24 hour cycle. This theory has been expended to include other cycles, Circa meaning circle, of longer time periods related to a more vast scale of environmental cues.

Current theories address how the human race is causing the species to over ride their instinctual daily rhythm, resulting in many medical conditions leading to poor health, ability to survive effectively, and death. This estrangement from instinct has been, in part, attributed to the modern construct of business. One could argue that the patterns of living established through modernism, and the unattainability of resources, have in fact caused this over ride and consequential dehabilitation, and dehabitation. Within the context of Instrumentalist Architecture, we understand the human race instead as human kind referencing the necessary slowing of time, the balancing, as being the beginning of the healing process as antithetical to race, the racing of time and the seduction of progression, linear movement in space and time. Instrumentalist Architecture desires conscious instinct.

There are the obvious modern day pollutants. Acidic oceans, carbon dioxide filled air, polluted infertile soil to name a few. These pollutants are generally products of modern industrial humanity. These pollutants have destroyed the balance of nature and human habitation, potentially irrevocably. These pollutants have compromised human and organic life's accessibility to healthy water and food, caused geological and climate change events that effect the organisms ability to find adequate shelter. They have compromised human health and caused endless ailments, illnesses, and death to human kind and other organisms. These are the more visible pollutants at the forefront of environmental health thinking. They are understood primarily through analysis of environmental chemical properties and physical aspects of the environment, things that can be seen. Instrumentalist Architecture addresses these physical attributes of the environment sustainably through conscious maximization of resources, sustainable architecture. Instrumentalist Architecture would also consider sensory disassociation from natural habitation, a sort of cultural toxicity, to be an underlying cause of the visible physical pollution.

There are other more invisible environmental pollutants. These pollutants are developments in modern society that determine cultural conditioning. They have socio-physiological causes and effects, with associated physical and cultural degradation as a result. For example, the advent of the computer and extraordinary indoctrination of its use has changed the way people interact, it has changed human's sense of reality. The computer screen is a window into another world with different degrees of reality experienced through the monitor frame and screen. The daily disconnects from reality effect the structure of thinking and the conditioning of thinking, even the development of the human mind. The window of the computer screen is often not an inward looking three dimensional window, like that experience facilitated through Instrumentalist Architecture. It is often a flattening of depth, or a distorted derivative of a three dimensional experience into another world disassociated from the habitant looking at the screen.

The computer may very well do much more to dissolve consciousness than to facilitate it. It is a modern invention that often causes imbalance. It breeds of the human desire for speed of processing. There are positive outcomes to its use, yet the lack of consciousness of its cultural effects makes it a sensory pollutant. The same understandings can be established with other modern inventions like the cellular phone and the automobile which cause human isolation, detachment, and disconnect from our natural daily rhythms and flattening effect of our sense of reality. These sensory pollutants can be a source for the other more visible pollutants, which then become the symptoms of this comfort with disconnect from our physiological connection with nature and realness. We begin to loose our connection to nature, to our instinct, and to our holistic Self which leads to acceptance of destruction.

The Instrumentalist Architecture response to this cultural desensitization is to instill healthy relationships to ourselves and our environments, by shaping environments that provide opportunities for cyclic healing experiences. This facilitates calibration, within the time related cycle of balance, incubation, generation, and interaction between people and their surroundings. These cycles can happen while one walks through a an environmental sequence, they can happen instantly within the micro metabolic processes of the human body, they can occur within the scope of the 24 hour day like with the Circadian rhythms, or a long period of time like over the course of centuries.

The window is the most basic architectonic element in understanding instrumental balance within the context of the holistic cycle of calibration. If the brick was the building block of modern architecture, the window is the basic fabricating module for holistic architecture. The window is the transition between the one dimensional line and the two dimensional plane. The window frame is comprised from lines, and becomes a plane when the lines meet at the beginning and the end points. Envision a solid wall, enclosing a dark space. If one draws a series of continuous lines on the wall, then connects the beginning to the end, and cuts along the lines then a window is created. The frame of the window can be mechanically operable so the pane is a moving panel facilitating air flow, sun light energy, and views among other things effecting the physiology of the interior and exterior environments. Strategically placed operable windows within a three dimensional space can maximize the positive, balancing effects of the windows. An entire operable window system including a three dimensional space, an organic curtain wall, is an opportunity for a high degree of attunement of the interior/exterior environment relationship balance. The environmental includer has dimension, has depth, in time and space.

Proven to be significantly healing to the human nervous system are views with specific attributes. Natural views outside of hospital rooms are therapeutic and induce higher healing rates than no views or built views. Instrumentalist Architecture would interpret this effectiveness as variable views being healing. Views with variation stimulate natural rhythmic eye movements, this is healing in that it stimulates simultaneous left and right brain activity. In terms of instrumentalist architecture this facilitates an inward looking experience, meditative in some cases. It is somatic and a balancing experience directly experienced through the planning of architectural window location and the scenery beyond. Shaping a window view like a scenery painting, with depth of field and articulated figure ground relationship, shapes the window like a two dimensional picture plane. The scenery is the visual experience. Artist like Gerhart Richter studied this phenomenon using terms like the gaze and the lure, our visual eye movement relationship to the fluctuation of depth of field in the picture plane. Applying this thinking and intent to framing views through windows facilitates the holistic healing process, it creates a slowing balancing effect by establishing thoughtful relationships between environments inside and outside of the architecture. The window is a visual portal into another world.

Two specific eye movements are functional. Directly related to balance is gaze stabilization, consisting of eye movements that stabilize the eyes when the head moves, vestibulo-ocular and optokinetic systems. The function of these visual eye systems is directly related to the semi circular canals of the bony labyrinth within the ear. These human visualization systems relate directly to navigation through environments and what kind of experience the environments can offer. Strategically articulated, Instrumentalist Architecture can facilitate balance by shaping experiences opportunistic to these biophysical processes. In somatic practices, like yoga, the drishte is a similar kind of motor gazing intended to focus attention, concentrate intent. Different drishte gazes relate to the different yoga poses. They help facilitate balance and add depth to the healing somatics of the yoga experience.

The window is a visual portal between the interior and exterior, a framed two dimensional non opaque surface. When the window is transparent its an opening for light to enter completely. Transparent windows allow light and heat energy into an environment. Sun light facilitates production of Vitamin D and seretonin in humans, vital hormones for bone health, immunity, and a general positive frame of mind. They make people happy. Sun light is an energy source for health in human and other organisms. It is a main energy supply to chlorophyll based plant organisms, by way of the photosynthesis process. Light coming in through an architectural inclusion is nature becoming part of the interior environment. Translucent windows let in diffused light, making the interior less abrupt. This is compromise, as it keeps the interior cooler and also maintain visual privacy of the inside habitat. The operable window as mentioned previously can let in natural light while also letting the environment breathe with natural air instead of air from the mechanical system. All of these attributes, as well as others, connect the habitants of the space with nature and also Circadian rhythms. As well, the natural ways of heating, cooling, and lighting lead to passive energy savings and are often healthier than artificial means of providing the same effects.

If the window elements in an architectural environment can attune balance, in many ways, then understanding the holistic picture of how the sequencing between environments can facilitate a slowing of time, a balancing. Within the context of the home environment, as discussed relative to the 24 hour Circadian rhythm cycle as a potential derivative of the holistic healing cycle, arriving home in the late afternoon and entering upon and through the front door can be balancing. This balancing aligns us with our natural daily metabolic and health rhythms. The sequencing, the approach to the door, can maximize this experience. As mentioned, having an incline leading to the front house entry slows the habitant. Parking on the street leaves more space between the car exit and entry to the home, shaping more of a slowing of time.

The door is a specific kind of window, operable and at ground level, a portal. It can be made of a translucent material, atmospherically connecting the outside and inside. It can be a rotating door, large sized door, or glass door emphasizes a balancing effect. An exterior foyer, a notch in the front facade softens the transition and cools the exterior part of the entryway. This has a slowing effect. Cool air is a slower energy state. A door framed with windows makes that connection between interior and exterior. There are infinite decisions to make in the architectural shaping of the entry to an environment. The sensory movement of the eyes and physical movement of the figure through space are the navigational attributes of the environments. In the study of the home environment, the intent is to make a balancing experience as part of the cycle of daily rebirth, daily healing. This is all within the context of the exterior surrounding the home, as sometimes a disconnect from the exterior environment facilitates a healthier connection with our natural selves if the exterior surroundings are filled with unnatural stimuli. This is a holistic approach to shaping environments, and they way Instrumentalist Architecture diagnoses a set of circumstances to create holistic environments.

The Instrumentalist Architecture is between the two environments. This is unlike modern architecture, which considered the building enclosure the building skin, a thin smoothly wrapped surface with streamlined construction. It emphasized enclosure, a precise line between interior and exterior. This is very different than the holistic nature of architecture as a translator between interior and exterior, architecture with depth. Instrumentalist Architecture diffuses boundaries between people and environments, it is holistic and articulates the interior and exterior as connected balanced entities, connected through the tectonic window. It facilitates inclusion as opposed to enclosure. Physiologically this architecture calibrates environmental relationships, calibrates people within environments, and people in connection with their surroundings. Instrumentalist Architecture sees the fabrication and organic and three dimensional, with depth. The architecture is not simply the skin, it is the physiological energy within and around it. It is a living breathing field of windows, balancing the healing properties of atmospheric nature.

Windows through walls help facilitate physiological environmental balance. They calibrate temperature, air flow, privacy, acoustics, humidity, and light. These environmental properties have immediate and mediating influences on our physiological state around and within our bodies and minds. In example, sun light stimulates seretonin production in the human body. It had been said that when sun light shines on the top of the human head it produces more seretonin than when it shines on other areas of the human topography. So if the intent of the Instrumentalist Architecture shaping a healing place is to stimulate ample seretonin, the architect would consider placing skylights in the space to allow in sun light from the top of the environment. The skylight is a window in a horizontal plane, frequently the ceiling roof plane of an architectural environment. In terms of air flow, the operable sky light can function as a vent stack, allowing an escape for rising hot air from a space in need of natural cooling. As well as letting light in, the skylight gives the habitant views of the moon and stars at night. This connection to the cosmos, things invisible and astronomical, is a healing experience. During the daytime, one can see the blue sky above and meditate on possibilities while watching flocks of birds fly by. Experiencing this sensory balancing in the comfort of a home environment is a balancing experience and when the spaces are articulated instrumentally, facilitates the daily rejuvenating physiological rhythms of our Selves.

The experience of entering the home, and knowing it as an important opportunity for people to engage in the daily healing process is critical in understanding the cultural epidemic of homelessness. A homeless person does not experience the daily calibration provided by the home environment. They do not come home to their own place every day. They do not experience the daily balance of entering into a safe place tward the end of day. This effects their connection to their 24 hour healing Circadian cycle, which has a resulting compounding cascade of effects on their physiological state. In Maslow's chart of human needs, basic needs are at the foundation. This psychological theory is about human motivation. His theory discussed secondary needs, or higher needs, for self actualization and trancendance, and how if the basic needs of food, shelter, and then safety were not met then one could not have motivation for betterment.

Instrumentalist Architecture addresses similar concepts in reference to physiology versus psychology, and within the context of healing cycles. People without a safe home, miss the daily cycle of recalibration. Not only is the motivation for obtaining higher needs subverted as a result of missing safety, according to Maslow. Also not having a home, with the potential for reconnecting to the daily healing cycle, results in disassociation from natural metabolic systems within the human body and mind. this can apply not only to the physically homeless, but also to those who are in home environments that are unsafe, malnourished per se. Dangerous home environments, for example when children are getting molested in their own bedrooms, facilitate long term, potentially deadly distortions, between what are supposed to be daily healing processes like sleep and sickening experiences like sexual assault. It should be noted that the lack of safe shelter also leads to cultural illnesses like sexual assault against homeless women. The sanctuary of the home, physical safety and freedom from attack throughout hisotry of civilization has taken on many forms.

Populations and people not having homes, not having shelter for sleeping and eating nor safety from attack, often become homeless from acute health issues or have underlying issues that become chronic once the individual become homeless. In example, diabetes and heart disease are found at high rates among the US homeless population. Trauma and homelessness is often a simultaneous ocurrance, trauma leading to chronic homelessness or street living leading to trauma, and often substance abuse. The question of cause and effect, and what is the cultural illness that causes the homeless epidemic, is important to understand. Unfortunately it is intensely complicated. The one commonality is the failure of the medical system to provide adequate mental health treatment, before people become homeless and during their homeless condition. This leads to a host of issues, that will be addressed later, relating to pharmaceuticals, the economy of the modern medical system, and Instrumentalist Architecture as an opportunity to implement architectural environments as a proactive means of preventative medicine at the scale of the individual, communities, and cultures.

Perhaps the most obviously influential modern invention is the automobile. It industrialization has resulted in the generation of a catastrophic amount of chemical air pollution. The need for gasoline has been the impetus for global warfare leading to millions of human deaths and resulting socio-cultural dismemberment. This diagnosis has been made within the last few decades, and the response of architects and healing leaders has been to decrease the need for gasoline by inventing different methods of mobility, one being an automobile that do not use gasoline. Yet at the core of the issue of the automobile is desensitization of connection. This is a cultural issues, this is sensory pollution. This is addressed to some extent through the development of infrastructure, and community transit systems, where people can formulate relationships within the public sphere. This calibration of personal relationships in the public sphere can induce cyclic healing processes and generate community interactivity. Instrumentalist Architecture theory would state that this sensory pollution, this desensitization, is actually the cause of the chemical pollution, a symptom of our detachment from nature and each other. The disassociation of driving down a street lined with cardboard boxes, the homeless attempt at shelter, makes forgetting much easier than if we were to walk down the same street. The time space continuum determines our sensory memory experience, and ultimately our degree of consciousness about our environments.

Sensory pollution in the urban environment is invisible much of the time, yet with visible consequences and symptoms. Civilizations on earth have proceeded in various different directions. Modern progress, and modern civilization has become epitomized in urban cultures, antithetically to the cultures of indigenous habitation. High concentrations of humans combined with lessening of natural resources, has magnified the disassociation between day to day human living and natural cyclic healing processes. Density in the cities, the ratio of humans to place available, has compressed time and space. Private experiences are carved out in obscure places within the vast public city, just to shape a modest amount of comfort. This density, and certain resulting urban systems, has desensitized us from our mind body connection, and shifted us to a hyper focus on productive disassociation. This is the modern daily grind in the urban sphere.

Just like the navigational sequencing from our parked automobile through our front doors and into our homes facilitates balance, so can sequences through the urban environments. The holistic healing cycle can happen at the scale of the city. Implementing strategies for this is happening and can continue to happen in a more sophisticated sensory way. The navigation experience through the urban sphere is complicated. We cross paths every with strangers, some safe and some not. We experience a private moment in the most public of places, whether in a busy park or on the subway. We move through the city, from one point to the next, the goal usually to move as fast as possible. So how can Instrumentalist Architecture in the urban sphere facilitate the calibration process, starting with balance and the slowing of time in space? How can windows through the city shape place?

Modern navigation though the urban environment is based on a desire for efficiency, expedient progression. The abrupt starting and stopping is antithetical to shaping healthy sensory experiences in the city. Hard diagnostics about how movement through the city results in illness, individual and cultural, have been touched upon. Essentially, Instrumentalist Architecture motivates to implement methods for slowing human navigation through the city, resulting in a balancing for individuals and cultural collectives. This slowing happens through urban windows, openings in time and space sequences that down shift us into a slower frame of mind and higher level of consciousness.

Just like architectonic windows, these urban windows are both visually accessible and literally accessible. The visual expansion when one turns her head to look down a street is an example of looking through an urban window. The window frame is the street and the facades of the buildings lining the bottom edge and sides of the view frame. This shapes the scenery of the navigation experience. The view is the two dimensional picture plane, the scenery of the persons urban experience. It can result in a pause, and a slowing of time in space. These frames combine in our sequenced movement through the city and create a tempo to our experience. The eyes, and other senses, gives us directional cues for where to walk, literally. When we start to tell a story, instead of rushing from one space to the next, we engage the cyclic healing process. This integration of the visual psychology with the literal physical action of walking combines to make a physiological experience. The way we navigate through space can facilitate balance. When this navigation has the tempo of a story, the people of the urban culture start to weave an urban fabric. The habitants cultivate growth of their culture.

Windows attune environments. As chemist James Lovelock and microbiologist Dr. Lynn Margulis discuss in their Gaia theory, the planet is a system comprised of organic matter that interacts with inorganic matter in one combined self regulating system. If this is the case, as much scientific evidence has accumulated and supported this idea, then this concept can be applied to how we shape our habitable human environments. Considering the earth does have natural systematic regulation, then shaping environments as Instrumentalist Architecture, that are in fact instrumental in facilitating a regulating, or calibrating process aligned with natures self regulating principals. Then human made environments are not in defiance of nature. Additionally, our human made environments can actually align with nature, helping Earth with its natural self regulating process. This is how Instrumentalist Architecture can facilitate healing at the global scale, as well as the scale of the individual person. Windows can translate between these scales of environments, and even beyond the scale of the earth into the cosmos. Instrumentalist Architecture activates from the macrocosmic to the microcosmic.

Just as there are cosmic windows, there are microscopic windows. Physiological windows are alive at all scales. Microcosmic organization of our atmospheric architecture is composed of atoms of unique properties. Atoms are the most basic components of molecules. Combined and recombined, molecules make up the fabric of our environment. These molecules are constantly moving, and changing shape. Different amounts of energy within molecular systems facilitate differing states; solid, liquid, and gas. With these changes in states energy is either absorbed, or used up, or it is created. As most know, there are also resulting unhealthy byproducts from many recombinations of molecular material. These byproducts of energy creation are not natural nor are they aligned with healthy living. They are the real physical pollutants infiltrating our natural resources, making them unusable. One of the most poisonous examples of byproduct on earth today is Carbon Dioxide, produced from gasoline based automobile driving. Human disassociation from the process of energy making, and this disconnection from how and where we resource our energy has devised a false comfort with our day to day actions and the consequences of those actions. The automobile perpetuates a disconnection from others and our surroundings, it's a sort of capsule within the infrastructure. The sensory experience of the automobile perpetuates a false sense of individuality, an imaginary illusion of individuality. This illusion then disassociates us from real physical effects of carbon dioxide poisoning of the environment which in turn destroys more nature. This original sensory pollution of false individuality, is an ignoring of the perpetuating changing state of our atmosphere, and the human dishabitation of our environments. The solution to this conditioning is to produce clean energy, energy without deadly extincting byproducts.

Oxygen is a basic element for life on earth. Carbon dioxide, CO2, makes our air less pure, less breathable. Polluted air is known to cause numerous human illnesses and environmental illness, including children onset asthma. When we breathe life into our architecture it will breathe life into us. This is a basic principle of Instrumentalist Architecture. Living breathing architecture facilitates living environments. These environments are healthy, habitable places for people and organic life. The heating of homes with dirty byproduct producing energy, pollutes just like the automobile. Living in a home that fails to protect the natural state of the earth, disassociates from nature and self realization aligned with the holistic nature of things.

Hydrogen is vastly the most abundant element in the universe. Its atomic number is 1. On earth, it is mostly seen in water. The chemical compound water is H2O, two hydrogen atoms and one oxygen atom. Water, as most know, exists in solid ice, liquid, and gas vapor states. Hydrogen is atomically neutral on it own, but when two hydrogen atoms are combined with oxygen the water molecule the Hydrogen atoms have a slightly positive charge and the Oxygen a slightly negative charge, it is a dipole. This is why water molecules are attracted to each other in the liquid state. The shaping of molecules into a water liquid is natural balancing mechanism. The negative Oxygen is attracted to positive Hydrogen on another molecule in an attempt to neutralize charge, neutralize energy. All the molecules combining make up the water liquid. In understanding water as an organic entity, we can say it seeks balance based on natural law. The balancing of the molecules is a slowing, a neutralizing organic chemistry reaction that makes liquid from vapor. This is what happens when we see water dew on a leaf in the morning. The humidity in the air has cooled overnight, and condensed in liquid on lower earth surfaces.

The Calorie is the unit description for the amount of energy required to raise one gram of water one degree Celcius. This amount of energy eventually reaches a high enough number of Calories to convert a body of water to a vapor state. This is evaporation. Evaporation is defined at the molecular scale and happens at the global scale. By means of the suns energy, the earth's water, most of it the ocean water heats up and converts into vapor rising into the atmosphere. It then transports over land, interacting with the atmosphere above the earths land bodies. Then precipitation takes place, rain over the cities and countries. Following is a sublimation period where this rain follows the river paths back to the ocean. Overall the less water returns back to the ocean than is evaporated in this cyclic process. The only increase in ocean water is from melting ice around the globe. The cyclic process of water evaporating, transporting, precipitating, and sublimating is a global atmospheric cooling process. Secondary events like transpiration from trees and greenery assist in the process. This process calibrates the earth atmosphere and occurs continuously. The relationship between Hydrogen and Oxygen atoms is basic to the cooling of the atmosphere. This calibration system is a cycle of healing, similar to the rebirth process. It is holistic and instrumental in calibrating the planet. Evaporation, transportation, precipitation, and sublimation is aligned with generation, interactivity, balance, and incubation. This is a natural holistic healing cycle seen throughout holistic living. The atmosphere contains an Instrumentalist Architecture mechanism for calibrating the temperature of the planet. The precipitation phase, the slowing of the water molecules into a condensed liquid droplet state, is equivalent to the balancing phase. When it rains, the clouds dissipate, and the sky becomes a window of balance between the earth surface and the space beyond the earth atmosphere.

Windows live at all scales in the natural environment. They facilitate balance between entities, shaping a new holistic understanding of individuality, of Self as something relational. Our sense of Self is relative to our surrounding environment and the entities within it, relative to the system within which we habitate. The balance between connections is the first phase in the healing cycle. The window facilitates this balance between inside and outside environments, public and private places, and people to each other and their surroundings. Windows exist naturally within the Earth regulating system at the macro and micro scale. They also exist as the most basic fabricating element of human made Instrumentalist Architecture. They help us shape architecture that shapes a healthy sense of Self in human culture by facilitating balance and stimulating the healing cycle of calibrating rebirth.

Balance is like harmony. Harmony is simultaneous pitches connected through the fabrication of systematic chords in music theory. Harmonic balance in energy calculations is the equilibrium of a network, it is the steady state of a system. It is a system in a still state, unaffected by transient forces. Instrumentalist Architecture facilitates balance by slowing physiological time in habitable space. Our experiences in our environments can result in discord between ourselves and our surroundings, they can be unhealthy and energy draining. Or our habitation experiences can be healthy and actually healing. Holistically, Instrumentalist Architecture facilitates healing through calibration. It understands nature as a template for this process, this rebirth cycle. By fabricating architecture aligned with this natural system, human kind can create cultural growth and peace on Earth. Mother Nature is so beautiful.

By Heather Hoeksema


(All material contained herein is Copyright 2012 © Heather A. Hoeksema Architect & HHEAL LLC)








A long time ago, thoughts about leaving my place of origin, presented themselves with a persistent mental image. This image, this picture was a blue sky, with a few white clouds and a beautiful clean sky. Eventually this place became California. The ocean communities were simultaneously creative and comforting, a healing state of balance. A culture with a past rooted in holistic thinking, southern California initiated calibration, starting with balance. Grounding in yoga, one method of fluid architectural movement of breath and a practice of somaitc healing, was part of the experience. With experience as an architect, seeing the existing connections between movement through space, and healing environmental experiences, was a result. The calibration between these connections is where the healing took place, just as the calibration of environments facilitates health. This was the beginning of an idea about shaping architecture that can facilitate healing, which has developed into a method called Instrumentalist Architecture. This architecture uses nature as a source of templates for healing and growth of culture.

Los Angeles has a future as a place for the holistic nature of things, healing culture. The making of Instrumentalist Architecture, as the environmental mechanism of this movement, toward shaping the city and surroundings as a healing environment is possible. Healing culture is the common bond between the vast numbers of different people int he urban sphere, the common system for the multiple variation of human habitation. Multiplicity of unique things, systems of variables, comfortable interaction, and cycles of healing rebirth are the opportunity for architecture in the city. Architecture as instrument faciliates this rebirth, healing the environmental spheres and the habitants living and growing within them. Los Angeles is calibrating as a new juxtaposition to modern living, a counter action to unlivable modern time and space. The holistic nature of things is the cultural antidote for modernism. Instrumentalist Architecture is the healing invention for this cyclical motion, this holistic nature of living.

The holistic nature of things is the future of healthy living. Modern lifestyle has proven to be unhealthy. Philosophically, economically, culturally, modern global living has caused many of the ailments that modern health systems claim to be able to fix. This paper discusses a new perspective on environments that is to some extent antithetical to modern perspectives. The development of modernism was based on the ideology of progress. It changed our perception of time and the meaning of time and space and how it relates to our habitation of the earth. I think that the environment is preventative medicine. Considering environments and their importance in preventing poor health, maintaining good health, and facilitating healing was rarely considered in the planning and building of modern architectural environments. This paper proposes a specific idea of architecture, with a precise intent of facilitating healthy, healing environments. This paper starts to outline the cultural frameworks for Instrumentalist Architecture as not only an antidote for modern living, but also the beginning to a new lifestyle, holistic living.

Instrumentalist Architecture is the future of a Universal Architecture. It is a result, and a means to look at and respond to our environment as a whole. While modern culture perceives the environment as of a sum of parts, holistic nature sees the complete picture. Instrumentalist Architecture is holistic. It is the future of shaping holistic environments, from the scale of the Invisible to the scale of the Universe. Holistic environments are healing environments. From the times of the ancients, architecture has been shaped as an instrument to calibrate people on earth with a more universal organization. From Stonehenge to Stone Age the power of architecture as an instrument of holistic healing has been acknowledged, fabricated, and implemented culturally in simply sophisticated ways. Instrumentalist Architecture balances the Universe, it is an instrument facilitating calibration, the result of the cyclic healing process of the holistic nature of things. It facilitates rebirth, calibration, and cultural growth.

During the ancient times, there was architecture that was holistic, connected to things greater and things smaller than itself. This universal nature of architecture made it instrumental in balancing systems of habitation, of people and their surroundings at all scales. Like an instrument, architecture was made and utilized to facilitate a balance between humans on earth and the cosmos, between each other, and between humanity and nature. This calibration facilitated a cyclic healing process, an ongoing rebirth. Though often abstract, it was very real at the human scale, the scale of the invisible, and the Universe and beyond.

Holistic means understanding something as a unified organism, its parts recognized only within reference to the complete interconnected system inside and out. Let us articulate, as a replacement for particulate. The holistic nature of things does not recognize individuality, or autonomy, or singular parts primarily. The nature of the holistic sees the whole entity, or organism, as greater than the sum of the parts. It is antithetical to the propagation of dissecting, a fundamental process of modern thinking. Holistic does not facilitate connections, as the connections already exist. The holistic nature of things balances and calibrates existing connections from the space between. One only exists within the context of more than one. We only really exist relative to another.


Holisticism is aligned with Instrumentalist Philosophy in that empirical thinking is not part of the equation for understanding a circumstance. Natural science provides the tools for holistic thinking, and the instrumentalist. Natural science is not law, it is a set of templates from which we can work pragmatically to approach to solution, an informational systematic barometer for problem solving. In fact, in reference to holistic thinking, circumstances are not seen as problems at all. That is only a modernist perspective. The holistic nature of things does not see things as problems to be fixed per se. It understands a circumstance as something to be calibrated, starting with balancing; the first phase of cyclic healing.

Instrumentalist Architecture is holistic by nature, this intent being to engage and support the natural healing process as a life process. Life is a movement toward birth, instead of the fear inducing concept death. The holistic nature of things understands this healing process as growth through rebirth, a natural part of life. Healing is not an isolated incident per se, it is a cyclical process of rebirth and culturing that happens throughout life.

This is an important aspect of Instrumentalist Architecture and the holistic nature of things within reference to the modern world. Modernism distinguishes that which is right from that which is wrong. The modern world isolates the part or problem to be solved and understands healing as the process of fixing this isolated part. The holistic view knows this is limiting, and understands healing as a healthy process of recognizing wholeness. This is a calibrating process. Instrumentalist Architecture facilitates this process from the scale of the invisible to, the human scale and culture, to the scale of the Universe and beyond.


So how has Architecture been instrumental in healing in the past? What makes Architecture an instrument facilitating healing in today's present? What makes Instrumentalist Architecture instrumental to our future? The universe is not linear, as understood through modern thinking. That idea is historical, in the past. We are moving into an understanding of living cyclically, rebirthing as organisms, as cultures, as a universe. Architecture of the ancients was integrated with healing at times, connecting the earth with the cosmos. Instrumentalist Architecture is the new way of organizing our fabricated architectural environment in response to malnourished modern culture. Instrumentalist Architecture is like preventative medicine. For centuries we, as a species, have been having to turn to medicine to heal the negative effects of modern life. Now we are beginning to redesign our way of life, and our architectural backdrop for this life, to prevent harm, to heal our surroundings, to heal ourselves, and to grow. This is the holistic nature of things. Let's look to the examples of our ancients.

Perhaps the most iconic ancient example of architecture is Stonehenge in Wiltshire England. Current analysis of Stonehenge, by British archeologists, uncovers the configuration of stones as a monolithic instrument. The inner circle of the site is organized by Bluestones, known throughout Wales to be lithophones. Lithophones are rocks that produce unique notes when struck. Stonehenge has been discovered to reverberate. Most of this particular family of stones at Stonehenge is from a Welch village called Maenclochog, which means stone bells. An upside down bell is actually a singing bowl, an instrument used throughout communities in the past and today for holistic healing.

It has been noted by one researcher that the sounds from the Bluestones can be heard from a half mile away. This aligns this current theory with historical theories of the Stonehenge site as one of ceremony. Historically Stonehenge was assessed organizationally, as a cosmic translator for burial ceremony aligning the habitants with the sun, moon, stars, and movement over time. This new theory expands the understanding beyond site organization and visual sight to the dimension of the invisible, the dimension of sound. The sounds may very well have been a calling to the people, much like that of a church bell, to bring a Neolithic community to Stonehenge for ceremonial communion.

So how is this healing? This is healing of community, culture, and the peoples' inner selves. In 2008 British researchers started to assess the dual circular Stonehenge as fabricated as a place for healing. Historically archeologists, et al, have assessed the exterior circle of sandstone arches as a connection between the land of the living and the land of the dead, a translator between the two worlds to bring meaning to the process of death on earth. This involved healing ceremonies that helped the people of the community contend with the dying process, for the sick and dying that sojourned to Stonehenge. The inner circle of stones had healing meaning too. Current analysis looks at the inherent qualities of the inner Bluestones, known as spotted dolomite. Evidence shows that during the Roman period people chipped and moved pieces of the bluestone. This aligns with 12th century monk, Geoffrey of Monmouth, stating that the stones have medicinal properties. Collecting pieces of the stones for their inherent properties suggest that people thought of this material as medicinal. As well, the stones were washed in water which was saved, and reciprocally those who were sickly that came to Stonehenge bathed in that very water to heal.


Some speculate that the unworked Heel Stone, which marks the rising of the sun, is named after Helios, the Greek god of sun. This linguistically links 'heel' with 'heal' associating the Stonehenge with the healing properties of the sun as well. More research must be pursued to understand this correlation that the ancients understood about the sun and the ability of the cosmos to heal the earth and its habitants. Were they more insightful to the powers of nature and the universe than us, the modern human species? Have we basically lost touch with intuitive life on earth? Have modern values based on manufacturability and speed not only polluted our physiological environment and our sense of culture, but also permanently damaged our ability to connect with organic life on earth, to connect with the holistic nature of things?

Excavation and assessment of skeletal remains disclosed that some of the habitants buried at the Stonehenge site had undergone some of the most primitive attempts at surgery, other uncoverings proving that many people buried at the site died of illness, rather than what the habitants of the time may have understood as natural causes. This clarifies that during the time of the development of Stonehenge, human habitants understood that nature manifests real healing properties.

The archetype of the monument may have meant much more to the ancient cultures that shaped and used them, then archeological researchers have previously thought. There is a specific connection between Instrumentalist Architecture, monumental fabrications, ceremony, and holistic healing. Monuments were used to bring the people together and facilitate communal balance between the past and future. Monuments calibrated ancient culture through invisible fabric of vibration, sound and light, and space between earth and the astrological universe.

Modern thinking is based on human progress. Perhaps understanding human habitation, human life as cyclic, something other than linear progression will allow us to see things in a more holistic way. Understanding life organically, as time being a simultaneous cyclic revisiting of past principles of humanity, instead of linear history is moving toward healing culture. History is linear, the her-story of Mother Nature focuses on cyclic of rebirth as a part of the quality of life. Linear history interprets human and organic life as birth moving steadily towards a death. Holistic living aligns with the recycling of birth, this balances the past with the future and allows a sense of rebirth and healing presence critical to living in alignment with the holistic nature of things.


The archetype of the temple was used as a starting point to shape the first hospital, the Cult of Asclepius and the Temples of Healing starting around 350 BC, ancient Rome. The focus of the temples was incubation. The incubation process was first understood within this context of healing architecture as an articulation of the sleep process as healing. This incubation is part of the holistic rebirth process, the cycle of sleep within the 24 hours of the day is a recovery, rejuvenation, and rebirth. Balance, then incubate.

Asclepius, son of Apollo, was the god of medicine and healing. His daughters were Hygieia, Laso, Aglaea, Panacea, and Aceso... the goddess of the healing process. The myth behind Asclepius' conception, somewhat of a dark story, suggests ideas about the ancient understanding of mortality. Asclepius' mother was mortal, and while lay dying Asclepius was cut from her womb. Literally the name Ascleipius means to cut open. This myth suggests the inception of the hospital as being based on precarious notions of nature and healing, perhaps this example actually represents more of a conception of modern healing. Nonetheless, for the purposes of organizing this paper, we will focus on the holistic processes of healing relative to Asclepius.

There were two primary elements to these temples, that of incubation and then the introduction of surgery which, as we noted, is referenced in the myth of Asclepius birth. There is theme of cutting open of the human body, as in the history of Stonehenge, as an attempt to understand the mortal human interior invasively. This iterates a reoccurring contradiction between holistic healing and invasive healing. Invasive healing, surgical attempts, work to dissect and break down the body into parts, contradictory to understanding the human body as a physiological whole as is the case with the holistic perspective. For the purposes of this paper we are focusing on the holistic nature of this archetype of the temple, and perhaps beginning to understand the conflict or shift between the holistic and modern views on the human body and healing even during these ancient times.

The focal point of holistic healing at the Asclepius Temples was incubation. Essentially a process based on fasting, praying, and sleeping which the patient experienced in a chamber. This was called dream healing. This process came to a close once the patient had a dream like vision during which Asclipius or one of his assistants came to help. The dreams were interpreted by the gods as a way to prescribe a method of treatment. The dreams were a medium for ancient diagnosis.

The focus on sleep as healing incubation is interesting in that current medical research is revealing the importance of quality sleep for human health and longevity. Recent findings include the discovery of cerebral spinal fluid circulating around the brain, only during an effective sleep process. This fluid circulation is thought to be a flushing process, clearing our brains of matter that builds up during daily activity. This process is thought to be one aspect of resistance against memory loss, confusion, and many other symptoms of premature aging. So although the ancient Greeks may not have understood the specific fluid cerebral physiology behind sleep, the understood the importance of sleep as a healing process. This supports the perspective again, of cycles and rebirth, even within the 24 hour cycle of the day as being essentially healing to human beings and other organisms in nature.

Beside the theater at the Temples are the remains of a bee hive shaped tholos that once contained a snake ridden labyrinth. It has been said that this labyrinth was for healing the mentally ill, enticed to crawl through the circular darkness and be shocked into health. Perhaps this derivative of a healing labyrinth is less enlightening than other ancient healing labyrinths.


We discussed Stonehenge as monument, an architectural archetype that introduces balance, the first part of the healing cycle of rebirth in the holistic nature of things. The monument is an instrument for balance and a place of ceremony. The monument introduces scale, and the relative relationships of size between habitable places and the human body. It connects the scale of the earth to the scale of the cosmos. The balance between spheres of habitation, for example the human body to the organism of architecture within which it resides, is physiological environmental balance of nature. Balance between the scale of the habitable place, the beings within, and the cosmos is part of the cycles of healing calibration.

The Asclepian Temples introduce the second part of the healing holistic cycle. This second phase is incubation. Balance, incubation. The temple archetype is a place for worship and growth of culture during the rebirth process. The temple archetype is an instrument for incubation. This leads us to the third phase of the cycle of rebirth. The third part of this healing cyclic process is generation. The archetype for generation is the sanctuary. Lourdes in France is one of the most significant examples of past and present healing places. The Sanctuary of Lourdes is the destination point for healing, a place of miracles. Lourdes is an architectural instrument for the third part in the healing cycles; it is a sanctuary of generation. Balance, incubation, generation..

Lourdes is in the southern France foothills of the Pyrenees and has been known instrumental in human healing since the apparition of The Immaculate Conception on February 11, 1858 was envisioned by 14 year old Bernadette Soubirous. She believed her to the Blessed Virgin Mary. Many claimed to see the apparition for years to come. In 1864 the statue Our Lady of the Lords was erected. The Sanctuary of Lourdes, home to the healing waters, was considered a place of safety to those that sojourned there. Sanctuary is our third healing archetype known to be instrumental in generation, the third part of the healing process. Lourdes emphasizes, as have our previous examples, the importance of water as a basic element of healing architecture.

Specifically, the water composing the grotto at Lourdes is considered to have healing properties. The Roman Catholic church has designated 69 miracles to have happened through consuming and bathing in the waters that well from the grotto. These miracles are defined based on a rigorous system of authentication which determines that no other physical or physiological reason existed at the time of the miracle thus attributing the event solely to the healing powers of the water. From a scientific analysis, the water is considered basically inert, although it contains many natural minerals essential to calibrating human physiology. The miracles at Lourdes are considered by the religious community to happen through simple faith in the effects of the spring water.

Our fourth ancient archetype of healing is the village. Chaco Canyon, located in the Southwest and the largest pre-Columbian city in the United States, is our model for the healing village. Most specifically, Chaco Canyon, a community of fabricated pueblos and dwellings by the Anasazi, or Navajo, Native Indians, was a place where over the course of time there were no wars. The Navajo culture is matriarchal. It is the most powerful Native American nation that lives today. The Chaco village of this Indian nation was preserved from war, giving emphasis and strong indication of its natural healing environment. There are signs that at the end of the civilization at Chaco war did exist, with speculation that it was a result of drought and famine. We assign the healing act of ritual to the village archetype, an Architectural Instrument that stimulates interaction. This is the fourth part of the rebirth cycle of holistic healing. All the cycles combined are: Balance, Incubation, Generation, Interaction.

As an instrument facilitating healing through the cycles of rebirth, the civilization is the ancient archetype for interaction and the model for the present day healing community. Some say there was no war at Chaco Canyon, a collective of people starting around 850 AC, and an example of the peaceful community. The Navajo settlers of Chaco abandoned hunting and gathering for food, in favor for cultivating crops. This shift likely changed the nature of the culture to that of a nurturing culture. It also meant that the need for water was essential to the civilization for providing growth to the crops and food to the people.

Chaco thrived for centuries, growing in population and growing as an archetypal agricultural based community. They developed their culture around their crops, instead of hunting and gathering. Ultimately, their dependence on this nature of holistic living, growing water dependent food resources, also became the reason Chaco Canyon was left behind. After a series of droughts, the third one lasting 14 years, the great culture which had grown exponentially in population could not sustain its resources. Its water, and hence its food supply coming to and end, the Navajo culture strategized a mass exodus migrating to smaller communities with more sustainable resources. This marked a decline of the great civilization, the Navajo village of Chaco, falling to famine that is understood to be a result of the limited amount of water available to grow food. So those who remained at the time of realization that the system was no longer sustaining, followed the water to the south and east.

Perhaps the most intriguing Instrumentalist Architecture feature at Chaco is the pair of Sun Spirals, two petroglyph like labyrinth geometries carved in the sandstone at Fajada Butte. At first glance these seem to be simple two dimensional art symbols, but they have been revealed as much more through further study. Coined the Sun Dagger, a sliver of light passes pass through the spiral labyrinth at strategic times of the year, passing through the chinks of sandstone slabs. Summer solstice brought the slice of light down through the center of the large spiral over an 18 minute interval. Spring and autumn equinoxes brought the light dagger through the 4-5 intervals, cutting halfway between the center and the edge just like the equinoxes do to the cycle of the year. The winter solstice brought light flanking the geometric spiral labyrinth. Light from the moon at equally specific seasonal times happens as well. These lunar observations, or Moon Daggers, brought the same patterns as the sun and are also associated with specific lunar eclipses... and the holistic nature of things.


The Anasazi culture was holistically oriented within the spiritual and universal cosmological infrastructure. Examples of architecture from this same period, by the Anasazi people were fabricated to have channels of light coming through openings in the walls so as to shine on key features of the environments like doorways, niches, and corners during the time of the solstices and equinoxes. This was the Navajo way of making architecture as holistic instrument. It was part of their understanding of cycles of life, and the space between the earth and the stars. It was a way for them to integrate their way of life with a healing perspective of the environment.

The Sun Spiral is a visual labyrinth, an organized geometry with one path from the interior to the exterior. The symbol of the labyrinth is known as sacred geometry within the genre of holistic living. The experience of walking through a labyrinth was known as a healing experience and is known also considered as healing within current culture. The Sun Spiral at Chaco Canyon is a symbolic, visual, cosmological, instrumental, and healing labyrinth. Literal, navigational labyrinths have been fabricated throughout time for the purpose of physiological healing. The labyrinth is our fifth archetype, fabricated to facilitate calibration. It is a composite of all of the phases of the cycle of rebirth: balance, incubation, generation, interaction = calibration.

The navigation through the labyrinth is intended to be contemplative, a simple experience allowing the habitant the move through space with the assurance that their path will lead them from the inside to the outside of the path, to a clearing. Labyrinth navigation supports the journey experience as a sequence of decisions which lead only through a safe path, inside to out. It supports the thinking that any choice will be the right choice, stimulating creative thinking within a comfortable framework.


The labyrinth is our most basic and simultaneously sophisticated archetype of the environmental healing instrument, instrumentalist architecture. It is a composite of the processes of cyclic healing from balance, to incubation, regeneration, interaction; the final result being calibration. It is an organizational instrument which facilitates calibration in whole. The labyrinth is an archetype of holistic healing, the archetypal construct and concept for organizing and fabricating healing architecture. This brings growth, and shapes culture.

Revisiting the Sun Spiral at Chaco, we understand the most basic form which the labyrinth can take to be that of the spiral. In nature we see this repeated in organization of organic forms in nature. The sea shell for example, is the most commonly recognized spiral, and is the model for Fibonacci sequencing which is a set of mathematical orders which assign the organization of the natural numbers to natural templates. This templation is seen throughout nature, the basic sequence being each number being the addition of the previous two numbers. Philosophically, one number does not exist without the previous two numbers. For example, 1+1=2. 1+2=3. 2+3=5. The sequence starts with 1,1,2,3,5. Modern use of the sequence includes 0 as the beginning. For the purposes of this paper we will use 1+1 as the starting point.

The architecture of the flower is another natural organism, organized with Fibonacci sequencing. Like the Sun Spiral at Chaco Canyon, the sun flower with its mass of seeds is organized in a spiral aligned with the order of 1,1,2,3,5... it is a natural labyrinth for calibration. Its organizational template is based on its holistic place within systems of nature. The proportional colorful beauty of the sunflower attracts bees and other insects to drink its nectar, during which the insects collect pollen on their hairy legs, transporting it the stigma which then fertilizes the egg. The sunflower is a composite flower, which means is it composed of a number of other small flowers each carrying a seed. One sunflower can produce many new flowers as a result.


Like many seeds in nature, sunflower seeds are medicinal. They contain thiamine, which aids in cognition and functions as a mood stabilizer through its supplies of tryptophan which convert to serotonin in the human body. The composite nature of the sunflower provides this bed of seeds not only for reproduction but also for food. As with most natural food resources, these seeds provide natural healing; they are Instrumentalist Architecture. The geometry is like the spiral, our organic template for organizing the original labyrinth. Coincidence?


Flowers in nature take on many purposes within the symbiotic systems of nature. Their labyrinthed organizational templates, like the sun flower, align with their purposes within nature. The spiral, spinning organization of the sunflower allows maximum growth of the seeds, which results in maximum reproduction of the flower. Like the labyrinth, flowers function through finding the most simple path to a natural solution, like the architecture of the labyrinth is designed to help people find the most simple path to a clearing. Their purpose is to pollinate and proliferate into a field, a community of flowers. Healthy community is the result of intelligently organized natural principles. The community becomes an extension of Instrumentalist Architecture. The field of flowers is a holistic natural community which also is instrumental in natural healing of the environmental within which it exists.

A common shrub, with a communal flower, is the Calluna Vulgaris. Calluna is the genus which means low shrubs. Vulgaris is Latin for common, the base word for community. It is also known as heather, or ling in Chinese. Ling is the root word for linguistics. The organizational template of the flower on the heather shrub is variable, meaning there can be three, four, sometimes five pedals per flower. Counterbalancing of the heather flower often is four pedals rotated 90 degrees up the stem such that from the top of the stem looking down the organization is an 8 pedal variation. The flower rotate, or spiral. The petals provide ultraviolet markings and strategic shapes for attraction and landing aid to pollinators like bees and other insects. The style of the flower, located in the center of the petals, contains the stamen and pistol. The architecture of the style is shaped to maximize natural pollination and the proliferation of the species, and perpetuate the field of heather, a community. Like the sunflower, heather is pollinated by bees and insects.

Bell heather, Erica Cinerea, is a particular type of drought tolerant heather. The flowers are bell shaped and usually purple. The leaves are arranged in whorls of three, pointed at the ends. A spring flower, bell heather like the other heather shrubs, is a bountiful pollinator. The flowering clusters maximize pollination as they provide the Instrumentalist Architecture for habitation of many bees, butterflies, and other insects to pollinate in communities.


For a long time used in veterinary medicine, heather honey has been known to have an equivalent effect and to be much more affordable healing honey than even the medicinal Manuka honey. This elixir of honey has anti-microbial properties which are effective alternatives for wound dressing and fighting off bacteria. Heather flower is also considered, in holistic medicine, when mixed with brandy to treat narcissism an ailment considered as untreatable within the context of modern medicine. The shoots of this Calluna Vulgaris contain chlorogenic acid which boasts biological effects like balancing blood pressure, neuroinflammation on dopaminergic neurons, and protective roles against cancer through DNA spiral helix repair. Many flowers are considered medicinal in holistic culture, they are Instrumentalist Architecture in nature.

The systems in nature are healing. This healing is how nature grows, produces culture. The holistic nature of things knows these systems to be interdependent, interconnected. Holistic recognizes the elements of nature within the context of the whole picture. Organization of organic systems in nature provides cues and formulae for architecture made as Instrumental Architecture. The properties in nature which are scientific lead us to discover templates for fabricating architecture as healing instrument. Culture is the desire.


This is why we have seasons. Seasons are our earths cycles of rebirth, cycles of healing. Balance, incubation, generation, interaction. Fall, winter, spring, summer. Holistic living is aligned with the seasons, our universal cycles of rebirth. The seasons are rebirth for Mother Earth. The annual seasons facilitate balance, incubation, regeneration, and interaction shaping universal calibration, a holistic rebirth process. The Instrumental Architecture in nature facilitates this calibration.

The holistic nature of things recognizes birth as an ongoing cyclic growth process in nature. Nature balances, incubates, generates, and interacts in a continuum attempt to calibrate itself and to calibrate the effects of impositions on nature by modern human life. The intent of Instrumentalist Architecture is to iterate the architectural derivative of this natural phenomenon with the intent of healing in alignment with nature and to continuously initiate the cyclic healing process to stimulate positive growth of human communities, human fields per se, through universal calibration supporting the whole. Instrumentalist Architecture recreates the healing physiology of nature. Culture is an extension of calibrated environmental physiology.

Like the seasons on earth, our bodies also have seasons. Our cellular infrastructure calibrates the environment within us, as organism, like the seasons calibrate the planetary universe. It does this physiologically and this recycling is an ongoing healing process. It is directly linked to the helical, spiral structure of our DNA. It is effected by the environments we habitate. The environment is instrumental in facilitating our internal calibration. It has it's own physiological infrastructure. Our environments have their own natural encoding, like DNA. This is our imprint. This makes shaping healing environments as Instrumentalist Architecture even more imperative. When we breath life into our architecture, it will breath life into us.


Humans are a primary habitant of Instrumentalist Architecture, therefore ideological calibration is aligned with not only the spaces between people which formulate communities, but also the space inside the human body. Architecture affects us physiologically. It affects our inner health relative to our fabricated surroundings, relative the other people around us, and relative to nature's attempt to calibrate with the fabricated human environment. With this thought, we return to the idea of the labyrinth.

The Labyrinth, as an architectural instrument, facilitates calibration. Calibration is a composite of the processes of rebirth, starting with balance. The labyrinth as Instrumentalist Architecture facilitates physiological balance, incubation, generation, interaction from the inside out as a healing rebirth experience. One walks the labyrinth from the inside out, making decisions that can only lead to the outside, the clearing. This process to the clearing is healing, physiologically, the space between the physical and the psychological. This physiological rebirth is a balance in the architectural space between the physical and psychological. The assured navigation of simultaneous walking and thinking through the organic organization of the labyrinth facilitates this balance, and eventual holistic calibration.

This physiological balance occurs within the human body, by calibrating the connection between the body and the environment. Understanding the labyrinth at the scale of the architecture of the human body iterates this formula, the importance of this template. What, very literally, facilitates balance of the human body? Human science has determined that the composite of the exterior bony labyrinth, labyrinthus osseus, and the interior membranous labyrinth, labyrinth artery, of the inner ear is the part of the organic human fabric most instrumental in facilitating balance. This starts to happen by orientation of the human experience within three dimensional, habitable space. The perilymph, between the bony and membranous lymph, and endolymph inside the membranous, are clear fluids contained within the labyrinths.

Through holistic systematic processes this concert of fluid dynamics in the ear, which is integrated with the cerebral spinal fluid surrounding the brain, calibrates us. Analysis at yet a more microscopic scale helps us understand the architecture of this labyrinth and how it functions. In essence this process works holistically is a combination of circumstances involving multiple anatomical systems directed by metabolic potentials working synchroniously, stimulated by the pressure of the fluid waves of the perilymph and endolymph within the labyrinth composite. This is where and when the micro process of rebirth starts. These mechanisms of the two human ears originate the calibration cycle, with the initiation of balance and motion.

The composite of bony and membranous labyrinth, this inner ear, has two systems; the chochlear labyrinth and the vestibular labyrinth. These work together as a sensory system, the chochlear translating sound and the vestibular working in tandem with the visual system and joints and muscles to maintain balance, one primary way by keeping objects in focus when the head is moving. Both labyrinths achieve these calibrating synopsis through fluid responses in the inner ear which translate sound and head movement to the brain within the inner ear labyrinths. The basilar membrane, structured like a psyeudo-resonant structure varying in width and stiffness, like strings on an instrument, translating sound into different frequencies. The motion along this membrane is often described as a travelling wave.


This natural system in the human ear is Instrumentalist Architecture. It is connected to the human brain and the other systems within the body. Understanding this mechanism helps us understand human body as a holistic organism. The inner ear labyrinth translates our location in space, and helps us orient ourselves in both micro and macro space. The architectural labyrinth, our fifth archetype, does the same thing. The labyrinth is essential for our organizing our movement through space and our responses to our environment. Like the archetypal labyrinth, the human labyrinth is a source providing the means for healing from the inside out when nurtured and strengthened through holistic experiences like yoga, a meditative practice.

Stonehenge is based on the labyrinth archetype, and connects sound and balance with Instrumentalist Architecture that resonated both near and far. With its inner circle of sounding bluestones and the outer circle of arches, this most ancient ceremonial site was fabricated to draw people to its communal center for healing and then to guide them from the earth to the spiritual world. They came from afar, being summoned by the upside-down bell, the bowl, being sounded with inviting frequencies engaging the inner ear labyrinths of the habitants of the community. The architecture of Stonehenge inhabited the space between the land and sky, and facilitated the balance between the two places. It shaped what modern thinking considers a death experience as an experience of rebirth, through ceremony. In the event of passing, Stonehenge moved people from the lumen of the center circle of the circular space toward the source of light, what some today may call heaven. In the event of healing the rebirth experience remained earthly and the healed may have likely found their pathway out of the labyrinth through the heel stone. Stonehenge calibrated connections between universe, earth, habitants, and community.

Nature is our template, and the understanding of birth as cycles of rebirth is the most basic organizational template for Instrumentalist Architecture. Birth is our common bond, the one thing we all experience in life, that experience that makes the community of human kind. It is the essence of the holistic nature of life, our seeing the whole picture as a precedent for understanding the systems and parts from which it is composed. Life starts with a balance between two organisms, the conception of the sperm and egg. Then the calibration of the mother and child continues within the physiology of the womb. Contrary to modern thinking, centered around individuality, holistic life is understood in reference to the shared place between two or more organic living things. The holistic nature of things does not focus in the singular, it is about dialog. It is about existing connections and finding calibration, between the places. Instrumentalist Architecture inhabits the space between two, and lives within this space as an organic calibrator of physiological energy.

The architecture of the womb, the mother and child, is the origin of the birth process. It is the template for healing rebirth throughout life. It is the original labyrinth of life source. It is our common origin, and our common understanding of habiting a place. It is our first connection with another organism. The womb is the common bond for humanity, it is universal architecture. It is our first holistic experience, our first community. Within the womb, holistic cycles of rebirth take place on the micro and macro scale. The connection between the mother and child is the first part of the calibration process, balance. The balance between connected organisms happens in the physiological architecture in the space between the organisms. The architecture of the womb is a sophisticated physiological system shaped for organic calibration. The initial balance is a symbiotic shared place for sustaining life and the relationship is the template for universal calibration.


The Latin meaning for Lumen is an opening or light. In biology, a lumen is the inside space of a tubular structure. This is pure architecture, this is Instrumentalist Architecture. The lumen of the uterus, where the fertilized egg grows into a baby, is a physiological system. This lumen architecture is a calibrating instrument between the two organisms, the mother and child. It facilitates balances as the first phase of the growth process, the cycles of rebirth. It is lined with epithelial cells which undergo dramatic changes during the pregnancy. The apical plasma membrane of these epithelial cells exhibits compositional variations during implantation and controls the physiological cytosis processes. The lateral plasma membrane is responsible for cell adhesion and transport of fluid and electrolytes, and contributes to cell-to-cell communication tuning the cellular community within the uterus. The basal plasma membrane of the epithelial cells contributes to adhesion and communication between the epithelium and the stroma. The architecture of the uterus is physiological, and an architecture that facilitates calibration between the mother and child through holistic rebirth: balance, incubation, generation, interaction,, leading to physiological calibration.

The architecture of the womb is that of a labyrinth, inhabited by the child, experiencing cyclical physiological calibration of body and mind. Eventually the child is birthed into a clearing, as is the experience of the architectural labyrinth. The labyrinth is a growth experience, the same as the experience of the womb. The cycles of calibration stimulate cultural growth for the child. A community experiences rebirth and growth just like the child. This happens holistically through cycles of healing and growth. The cultural architecture of the labyrinth can shape a healthy community culture. There is a growth experience, the phases of fine tuned physiological calibration, both physical and psychological. With the child, there is one path out of the uterine labyrinth into the clearing, from the lumen moving toward the light. The uterus is Instrumentalist Architecture, habiting and calibrating from the space between the connection of the mother and child.

Thinking of the community as a womb, a nurturing place for comfort and growth, we can see how the same principles apply. Community is the child of Mother Earth. To stay healthy, communities need to go through change, to calibrate. The holistic community experiences life as processes of rebirth, cycles of healing. The story of the community is the cultural infrastructure, the labyrinth framework within which balance, incubation, generation, and interaction happen.

The pregnant woman's uterus is an amniotic sac. An amniotic sac is an organic space filled with water. This water provides warmth, lubrication for growth, and assistance in lung development for the child. It also provides shock absorption to keep the baby cushioned and to keep the mother comfortable. It provides drinking water for the baby starting around the fourth month. The water filled womb provides methods for calibrating symbiosis. The water is the translator. We are birthed in water. This is essential to understanding the origin of this holistic nature of things. Water is the most basic natural element for the healing process. Water calibrates the child in the womb. Water calibrates our Earth.


If we think of the earth as the womb for the universe we can start to contemplate the importance of water on earth and the importance of all the basic elements on earth: water, air, earth, and fire. The water on earth balances just as water in the womb. It calibrates the relationships between the earth and the sky and helps cool fire. Most essentially, water feeds our crops, just like during the ancient times of Chaco Canyon. When we can cultivate crops we can live agriculturally, instead of hunting and gathering. Living by way of the land nurtures peace.

Water calibrates the humidity of the universe. Light and sound move through water at space and time frequencies different then through dry air. Our experience of light and sound in the universe is set by the calibration of water, earth, air, and fire. The holistic systems in nature work in tandem to keep calibration, to keep peace. The challenges imposed by modern human living have resulted in a fast paced series of mal effects with which nature is having difficulty correcting. Nature moves carefully, modern human lifestyle is reckless. The effects have been devastating. Acidic oceans, soil embedded with toxins, air that makes us choke, and out of control wildfires. The evidence is in.

Vibration and sound frequency are experienced by the fetus in the womb architecture, starting around week 16, through the fluid filled uterine membrane. The ears and the skin are the first sensory organs to receive vibrational experience. Sound travels at 5 times the speed in water as in air. Research has indicated that lower frequencies are detected by the inner ear of the fetus more clearly and higher frequencies are more muffled. This tells us that making out vowel sounds is easier than consonants. Primordial sounds from the host organism, the mother, like the human heartbeat, blood pulsing through vessels, and breathing are magnified in the womb and embossed as vibrational memory in the fetus, assigning emotions to the nervous system like comfort and safety. Imagine the effects on earth, the importance of the health of our water systems, to our global community physiology.

If we start to understand vibration in a physical way, we can think of the wine glass shattering in the presence of high frequencies. Physical resonance occurs in matter, and in human tissue. As well, every particular substance enters an 'excited' state at certain frequencies. Therefore, the human architecture responds this way as well. The physical nature becomes physiological. The spinal column, brain, and cerebral spinal fluid are just some examples of potential healing points through vibration. Vibrational effects like synchronization occur with introducing systems like coupled oscillation and binaural beats. The methods actually calibrate tissue in the body. Therefore, we can start to understand how the architecture of the womb becomes an Architectural Instrument for calibration, translating sound, frequency, and vibration. Then we can understand how using this as a natural template can inform us of how architecture which we fabricate can be holistic and instrumentalist in the calibration process of the planet. Mother as womb, earth as womb. Make architecture that heals.

Instrumentalist Architecture is invented by using nature as template. Holistic nature knows the birth process as the one thing organic life on earth has in common. This manifesto for fabricating things in our environment demonstrates how we establish community, commonality, and culture. Therefore, this one common thing, the birth experience, is the template from which this architecture is derived. The holistic community is a community that heals itself, supports itself, and shares consciousness. Holistic cycles of rebirth are the universal healing process of life as birth, not death.

Life is a healing process, a natural growth process, from the holistic perspective. Calibrating, healing and growth, happen through cyclic rebirth. Instrumentalist Architecture heals by facilitating this calibration, this regeneration, and functioning as an active energy source for holistic life on Earth.

The holistic nature of things understands birth as cycles of growing, as the process of rebirth shaping our life. This cycle is instrumental in healing and growth, it facilitates calibration. The process is a composition of experiences of balance, incubation, regeneration, and interaction. Living life as birth, specifically rebirth, is a holistic way of life. It happens at many scales of organic matter. As humans we can choose to understand and live life this way. Organic nature generates life in this way. That is how our earth continues to calibrate, and recalibrate the dynamics of living matter on the planet. It is how the Universe calibrates the stars, and planets, and vast endless systems of energy. Fabricating our environments as Instrumentalist Architecture aligns us with the intent of nature, facilitating calibration through holistic cycles of healing, resulting in the most ideal, healthy way of life habitation.

Instrumentalist Architecture makes architecture as an instrument for facilitating the most ideal habitation from the micro scale to the macro scale. It is a flexible organic responsive system, integrated with environments within and around it, that calibrates life from our molecular balance to our solar system. Its calibrating mechanisms happen from the micro scale to the macro scale. This rebirth process stimulates organic growth and culture in alignment with nature. It works with Mother Nature and assists her with her intention to calibrate, and to do whatever she can to patiently keep peace.

By Heather Hoeksema






(All material contained herein is Copyright 2012 © Heather A. Hoeksema Architect & HHEAL LLC)