Feeling as the origin of the artistic whole

I assert again the very close connection between feeling and wholeness. When I say that we should aim towards the feeling created by a building, I might equally say, we should always try to shape each part so that it works to create the whole. These two rules are essentially one and the same.
If I work towards making a thing which has true feeling, I am necessarily aiming at, conceiving, imagining, and thinking, about the quality of the whole. And it is true, then, that I will, because of my mental concentration, work in such a way that each part supports the whole, and is shaped by its presence in the whole and by its contribution to the whole. Easily said. But not trivial.
It does mean that what is made, to create a whole, must originate from the effort to create feeling in the whole, not from intellect. Intellect is too crude a net to catch the whole.

Such a statistical distribution for overall material percentages is no less important than the expression of the overall type of plan, or the broad brush configuration of the plan. In each case one makes that choice which has the most profound feeling, and which fits — emanates most successfully from — that particular site.

Now, when people visit that room, they often comment on an enormous silence which appears to emanate from the room. A stillness one can hear in the room, even before entering.
It is easy enough to understand the idea that an existing wholeness is helped by a small center, if it is done right. However, what I have found, is that people have difficulty seeing the wholeness accurately, so that they know what to do there.

#book/The Nature of Order/2 The process of creating life/14 Deep feeling#