Christopher Alexander's series of ground-breaking books including A Pattern Language and The Timeless Way of Building have pointed to fundamental truths of the way we build, revealing what gives life and beauty and true functionality to our buildings and towns. Now, in The Nature of Order, Alexander explores the properties of life itself, highlighting a set of well-defined structures present in all order and in all life from micro-organisms and mountain ranges to good houses and vibrant communities. The foundations of modern scientific thought are firmly rooted in a conception that the universe is a machinelike entity, a play of baubles, machines, trinkets. To this day, our real daily experience of ourselves has no clear place in science. It is little wonder that a machinelike world-view has supported the deadly architecture of the last century. This mechanistic thinking and the consequent investment-oriented tracts of houses, condominiums and offices have dehumanized our cities and our lives. How are spirit, soul, emotion, feeling to be introduced into a building, or a street, or a development project, in modern times? The Luminous Ground, the fourth book of The Nature of Order, contains what is perhaps the deepest revelation in the four-volume work. Here is a geometrical view of space and matter seamlessly connected to our own private, personal experience as sentient and knowing creatures. This is not merely an emotional appendix to the scientific theory of the other books. It is at the core of the entire work, and is rooted in the fact that our two sides our analytical thinking selves, and our vulnerable emotional personalities as human beings are coterminous. They must be harnessed at one and the same time if we are ever to really make sense of what is around us, and be able to create a living world. Alexander breaks away completely from the one-sided mechanical model of buildings or neighbourhoods as mere assemblages of technically generated interchangeable parts. He shows us conclusively that a spiritual, emotional, and personal basis must underlie every act of building. His buildings and works of art demonstrate in detail what he means. And then, in the middle of the book, comes the linchpin of the work: a one-hundred page chapter on colour, which lavishly illustrates and dramatically conveys the way that consciousness and spirit can make their appearance in the world. Altogether, present throughout this fourth and final book, is a new cosmology