John Brevard is an American designer, architect, artist / sculptor, investor, developer, and entrepreneur. Brevard is the Creative Director, Chairman, and Co-Founder of the Six Senses Ossura Valley in Iceland.
After a near death experience at age 14, Brevard became fascinated by the life cycle and transpersonal experiences as they relate to natural patterns and theoretical sciences. As such, his designs are often inspired by fractal geometries found in nature.
In 2007, Brevard started his namesake lifestyle brand, which includes accessories, furniture, art, architecture, design, and sculpture. His products can be found at various retail stores and galleries around the world. In 2015, Brevard launched the Thoscene customization platform. Thoscene is an online parametric modeling platform that utilizes biomimetic structures and astrological algorithms to create unique forms (sculpture, furniture, jewelry, architecture, etc.) inspired by the user’s inputs (date, time, location of birth).
Brevard is a member of the Council of Fashion Designers of America (CFDA) and his work has been featured in publications around the world from Vogue to Forbes and Vanity Fair.
The way that we perceive the world is a function of our state of consciousness; such structures unfold in a developmental sequence, from complete unconsciousness at one end of the spectrum, through the various levels of egoism, existentialism and transpersonalism, all the way to complete consciousness or enlightenment at the other end of the spectrum. This applies to all scales of development, from the maturation of an individual organism to the evolution of a species as a whole.
Through the early development of our species humans were embedded in nature and lived off of the land, much like other animals. In this primitive, pre-personal fusion state there was no distinction between self and environment; we were instinctually absorbed in a dreamy immersion and oneness with the biosphere.
As we evolved self-consciousness, humans began to set themselves apart from the world and reflect upon, conceptualize, and analyze their experience. In time, we became less and less alive to the ever-present ground state of being until finally, the separated “ego” no longer identified with the rest of creation and experienced only “other”. This disassociation of humanity with the natural world is the underlying cause of our current environmental crisis.
Our culture at present seeks a higher integration, which lies beyond the man versus nature dualism. Individual and collective perception is progressively shifting and a new baseline structure of consciousness is emerging; it is characterized by the realization of a unitive, transcendent state of being in which the distance between man and nature, self and other, becomes transparent. In such a state the subject moves into expressive unity with the world, simultaneously retaining self-consciousness and autonomy, while uniting in a communion with the larger whole.
This is exactly what Brevard intends to communicate through these works. Inspired by a deep ecological awareness and transpersonal experiences beyond the realm of ordinary consciousness, he uses architectural design to depict his own stage of self-understanding and to point the way to an integrated world culture.
Architecture is a reflection of humanity’s predominate world view. As the collective consciousness of sentient beings further shifts into higher frequencies of awareness, design and architecture will reflect this shift. In some ways we are witnessing these changes now as building fabric begins to no longer serve as a barrier but a uniting element. Space is no longer the unit which holds the physical body but rather a medium through which information is dispersed. A rise in multidimensional architecture will culminate parallel virtual spaces to exist simultaneously. This development in architecture could potentially widen perception and accelerate mass media into altered states of electronic communication. Operating at a macroscale, the internet is accelerating globalization into a new hybrid condition which the global network proliferates and the link between local and global has disintegrated.
On an individual scale, architecture impacts collective perceptions by manifesting and formulating a spatial construct with which the observer interacts. If planners and architects develop strategies to create interactions with nature, hyperspace, and other sentient beings through a spatial experience, the architecture will ensue as leverage for subconscious change. Additionally, the electromagnetic fields created by these digital constructs should be taken into consideration due to the fact that they have an effect on the human energetic field. Ideally this connection would be further examined so the subtle energy is positively engaged by the spaces.
Humans are already beginning to become immersed in an age of electronics where the ability to perceive and interact with space is unconsciously shifting the observers perspective. This architecture is becoming immaterial, multi-medial and multidimensional. Currently, immateriality is commonly expressed by transparency while the widespread use of glass is beginning the process of disassociations with materialism. The multidimensional aspect is seen in our ability to inhabit multiple dimensions simultaneously.
Centuries ago, there was an emphasis on the development of “spiritual spaces.” As human consciousness develops further, we will see a reemergence of this architecture that will elevate the human frequency and realign humans with natural order and hyper-dimensional realities. This new architecture will be a direct reflection of this great shift in consciousness which is beginning to occur now. These designs will consider the implications of human bioenergy, electromagnetism, astrology, earth energy, sacred geometries (fractals), sustainability, and the sacred traditions of Feng Shui and Vastu Shastra. Hopefully we can create spaces that will help align sentient beings with natural order, hyper-dimensional realities, and our highest selves.
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