DOCSLIB.ORG

Chapter 6 1946 C

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter 6 1946 C Chapter 6 1946 C. Jinarajadasa becomes President February 17, Adyar Day Claude Bragdon books on architectural theory, “The Beautiful Necessity” (1910), “Architecture and Democracy” (1918), and “The Frozen Fountain” (1932), advocated a theosophical approach to building design, urging an “organic” Gothic style (which he thought of as reflective of the natural order) over the “arranged” Beaux-Arts architecture of the classical revival. In 1922 Bragdon helped translate and publish P.D. Ouspensky’s “Tertium Organum”, for which he also wrote an introduction to the English translation. Claude Fayette Bragdon Born August 1, 1866 in Oberlin, Ohio. Died September 17, 1946 (aged 80). Based in Rochester, New York City, New York, up to World War I, then lived in New York City as Nationality American, with an occupation as an Architect, writer, and stage designer through the years 1890-1946. Some of Claude Bragdon’s notable works can be observed at Rochester’s New York Central Railroad terminal, (1909-13), Chamber of Commerce, (1915-17) Rochester First Universalist Church, Bevier Memorial Building, Shingleside, and the Rochester Italian Presbyterian Church, as well as many other public buildings and private residences. Bragdon enjoyed a national reputation as an architect working in the progressive tradition associated with Louis Sullivan and Frank Lloyd Wright. Along with members of the Prairie School and other regional movements, these architects developed new approaches to the planning, design, and ornamentation of buildings that embraced industrial techniques and building types while reaffirming democratic traditions threatened by the rise of urban mass society. In numerous essays and books, Bragdon argued that only an “organic architecture” based on nature could foster 159 democratic community in industrial capitalist society Los Angeles Lodge the Theosophical Society 1047 ½ S. Kenmore Ave., Los Angeles 6, CA Dear Mr. Casselberry: Several members have asked me to invite you to take a Sunday meeting for us with some theosophical talk, as they enjoyed the one you gave some years ago. Will you give us a talk some time in April, and let me know the date and subject, as we print up a leaflet like this, and I am making up the program right up to the end of May to complete this season. Could you phone me at PA-2184 during business hours, or write me to my house, since I get that quicker than at the lodge rooms. I have heard so much of you I do hope you will accept our invitation for a Sunday in April, or earlier if you prefer for any reason. Cordially yours, Alice Warren Hamaker Chairman February 5 1946 Shelton Hotel Lexington Ave., 48th to 49th Streets New York Dear Mr. Sutton: I read your letter with very mixed emotions indeed. I am mindful of the compliment implicit in the effort to put on “The Immortal Beloved” but I am also mindful of the difficulties involved as an artist in the theatre. I am exceedingly apprehensive of the results in the hands of even no matter how enthusiastic amateurs, lacking the full resources of the modern theatre and the skilled direction and assistance of experts in the various fields involved. Forgive me if I say I should much prefer not to see your production than to see it and to request that my name be not connected with it in any way but I perceive from your announcement that is already out of the question; however, I have such sympathy for your enthusiasm and undaunted effort that I avert my eyes and mind and simply 160 murmur, “God bless you all”. I have nothing to send you and would not if I could, my feeling being, as a skilled worker in the professional theatre with all its resources to draw upon (this is already in the past) “Whole Hog or none”. Here speaks the perfectionist. My hope is that there may be moments of beauty in your production. You must expect to better that if you accomplish anything at all, but more I, in the nature of things, can hardly expect. Yours sincerely, Claude Bragdon The following letter from Dickson-Kenwin according to records, was born in 1882 in London. His birth name in Britain was George William Dickson-Kenwin. He was professionally known for “Encounter” (1952), “Hawkeye as the Last of the Mohicans” (1957), and “Hudson’s Bay” (1959), and many more. He passed away on November 15, 1966 in Toronto, Ontario, Canada. February 18 1946 Dickson-Kenwin 83 Yorkville Avenue, Toronto Canada Dear Mr. Sutton; May I congratulate you on your splendid presentation of the “The Immortal Beloved” yesterday afternoon. Your narrative was most interesting. Particularly, I was most intrigued with the stage lighting and simple setting. In my opinion “The Immortal Beloved” was like a slice out of a New York Production and I wish that Bragdon had seen it. Merle Nichols was superb and proved herself to be a fine interpretive dancer. I am so glad you offer her these opportunities to display her exceptional talents and she enjoys the work so much. I am sure you have been greatly encouraged in this innovation at the T.S. and I have already heard some very dine comments. With my best wishes, Yours sincerely, Dickson-Kenwin 161 February 17, Adyar Day, N. Sri Ram, the Vice-President paid tribute to the great leaders of the past declared C. Jinarajadasa elected as President of the Theosophical Society by placing on his finger the signet-ring worn by Mme. Blavatsky, Dr. Besant and Dr. Arundale. There was much controversies over the ring when it was altered and changed. The President nominated Sidney A. Cook as the new Vice-President and elected by the General Council. Sidney Cook had retired the previous year, after fourteen years of work, from his post as National President of the Theosophical Society in America. C. Jinarajadasa in his address reminded the members that one of the greatest of Adepts had said that the Society “was chosen as the corner-stone, the foundation of the future religions of humanity”. And during the 71 years the Society had weathered many a storm and was now stronger than ever. Srimati Rukmini Devi was occupied at this as usual with the many activities which claimed her attention. By October 1st she formed at Huizen a Central Committee for Europe to prepare celebrations for Dr. Besant’s Centenary—1847-1947. She wanted to have representative committees, in every country, of the Besant International Cultural Centre in Adyar. She desired to found a lasting memorial worthy of Dr. Besant’s great merits and fame. February 26 1946 Shelton Hotel Lexington Avenue New York Dear Mr. Sutton; Thank you for your letter and enclosure which I return herewith. I am glad to learn of the success of the production of “The Immortal Beloved” and I fear that in my first letter I seemed unduly apprehensive. But these were the natural first reactions for any dramatist; they tell me that Benevente, the Spanish dramatist (whose “Bonds of Interest” I once produced with Mr. Hampden) never goes near any production of one of his own plays and Howard Lindsey, co-author of “The State of the Union” always absents himself from his own “first nights”. I’m sure you, yourself, can understand it. If you tell me the masks were good I’m sure that they 162 were and I am quite aware that a production done in the spirit in which this one was undertaken, had a certain rare quality which even the best routine professional performance would somehow lack. If I seemed ungracious in my first letter, let me make what amends I can, by thanking you all sincerely, and yourself particularly, for undertaking this difficult task and coming through with it with honour. I like the spirit manifested and it were well if there were more of it in the Society. You are quite right in seeing in the theatre a more powerful agent than any other medium for putting over great ideas. This is one of the reasons why I conceived and wrote “The Immortal Beloved” for I am not by natural endowment a dramatist, though I have a great love for that form, and experience with its merely physical aspect. Your most gratefully and sincerely, Claude Bragdon Jacinto Benavente y Martínez mentioned in the above letter was born Aug. 12, 1866, Madrid, Spain—died July 14, 1954, in Madrid, he was also one of the foremost popular Spanish dramatists of the first half of the 20th century, who was awarded the Nobel Prize for Literature in 1922. He returned drama to reality by way of social criticism: declamatory verse giving way to prose, melodrama to comedy, formula to experience, impulsive action to dialogue and the play of minds. Benavente showed a preoccupation with aesthetics and later with ethics. He was raised in an aristocratic family and studied to become a lawyer, but when his father died, leaving Benavente a sizable inheritance, he dropped out of college, toured Europe, worked briefly as an actor, and began writing. After several of his plays had been produced to little acclaim, he had his first success with Gente Conocida (High Society), a biting satire of his own Madrid blue blood roots. His Los Intereses Creados (The Bonds of Interest), in which a wily servant manipulates his master as a puppet, became a staple of Spanish-language theater. 163 The following letter is from the Stevens Hotel in Chicago where Herbert Staggs is staying while attending the Convention. July 6 1946 Dear Hazel: Convention opens this evening. Eight Krotonians present including Ann Climo, but haven’t seen Catherine yet.
Load more

Recommended publications
  • Journal of the American Institute of ARCH Itecr·S
    Journal of The American Institute of ARCH ITEcr·s PETEil HARRISON November, 1946 Fellowship Honors in The A.I.A. Examinations in Paris-I Architectural Immunity Honoring Louis Sullivan An Editorial by J. Frazer Smith The Dismal Fate of Christopher Renfrew What and Why Is an Industrial Designer? 3Sc PUBLISHED MONTHLY AT THE OCTAGON, WASHINGTON, D. C. UNiVERSITY OF ILLINOJS SMALL HOM ES COUNCIL MUMFORD ~O U SE "JOURNAL OF THE AMERICAN INSTITUTE OF ARCHITECTS NOVEMBER, 1946 VoL. VI, No. 5 Contents Fellowship Honors in The Ameri- Architectural Immunity 225 can Institute of Architects .... 195 By Daniel Paul Higgins By Edgar I. Williams, F.A.I.A. News of the Chapters and Other Honors . 199 Organizations . 228 Examinations in Paris-I .... 200 The Producers' Council. 231 By Huger Elliott The Dismal Fate of Christopher Architects Read and Write: Renfrew . 206 By Robert W. Schmertz "Organic Architecture" . 232 By William G. Purcell Honoring Louis Sullivan By Charles D. Maginnis, Advertising for Architects. 233 F.A.I.A. 208 By 0. H. Murray By William W. Wurster . 209 A Displaced Architect without Chapters of The A.I.A. 213 Documents . 233 By ]. Frazer Smith By Pian Drimmalen What and Why Is an Industrial News of the Educational Field. 234 Designer?. 217 By Philip McConnell The Editor's Asides . 236 ILLUSTRATIONS Tablet marking birth site of Louis H. Sullivan in Boston .. 211 Fur Shop in the Jay Jacob Store, Seattle, Wash .......... 212 George W. Stoddard and Associates, architects Remodeled Country House of Col. Henry W . Anderson, Dinwiddie Co., Va. 221 Duncan Lee, architect Do you know this building? ......
    [Show full text]
  • John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism
    John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism by Matthew Purvis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2020, Matthew Purvis i Abstract This dissertation concerns the relation between eroticism and nationalism in the work of a set of English Canadian artists in the mid-1960s-70s, namely John Boyle, Greg Curnoe, and Joyce Wieland. It contends that within their bodies of work there are ways of imagining nationalism and eroticism that are often formally or conceptually interrelated, either by strategy or figuration, and at times indistinguishable. This was evident in the content of their work, in the models that they established for interpreting it and present in more and less overt forms in some of the ways of imagining an English Canadian nationalism that surrounded them. The dissertation contextualizes the three artists in the terms of erotic art prevalent in the twentieth century and makes a case for them as part of a uniquely Canadian mode of decadence. Constructing my case largely from the published and unpublished writing of the three subjects and how these played against their reception, I have attempted to elaborate their artistic models and processes, as well as their understandings of eroticism and nationalism, situating them within the discourses on English Canadian nationalism and its potentially morbid prospects. Rather than treating this as a primarily cultural or socio-political issue, it is treated as both an epistemic and formal one.
    [Show full text]
  • COVER PAGE Dr Christina Malathouni Lecturer in Architecture
    COVER PAGE Dr Christina Malathouni Lecturer in Architecture School of Architecture University of Liverpool Abercromby Square Liverpool, L69 7ZN United Kingdom www.liverpool.ac.uk/architecture E-mail: [email protected] Alternative e-mail: [email protected] Telephone: +44 (0)151 795 0639 Biographical note Dr Christina Malathouni is Lecturer in Architecture at the School of Architecture, University of Liverpool, UK. She is a qualified architect and holds a PhD from The Bartlett, UCL, UK. Her research focuses on the early history and cross-disciplinary origins of the notion of “architectural space”. Publications include articles in: Architecture and the Unconscious (Hendrix and Holm, eds.; 2016); The Journal of Architecture (2013); Claude Bragdon and The Beautiful Necessity (Ellis and Reithmayr, eds.; 2010); and From Models to Drawings (Frascari et al, eds.; 2007). Dr Malathouni also specialises in twentieth-century architectural heritage. She is full member of the Institute of Historic Building Conservation (UK) and associate member of ICOMOS’s International Scientific Committee on 20th-century Heritage. TITLE PAGE WITH ABSTRACT Claude Bragdon’s “Projective Ornament”: mineral, vegetable, animal, human Abstract This paper discusses the work of the American architect, mystic and theorist Claude Fayette Bragdon (1866—1946). It focuses on his “Projective Ornament” which, it is argued, puts forward a “higher” type of “organicism” that adds a fourth “step” – that of the human – to earlier theories that presented minerals, vegetables and animals as part of an evolutionary, hierarchical sequence. In this connection, Bragdon’s theories can be seen to develop a new type of “humanist” architecture that relates to the full scope of human nature, namely, embracing human consciousness, psychological attributes and spiritual qualities as well as its embodied presence.
    [Show full text]
  • Bragdon Family Papers
    bragdon_family_papers This finding aid was produced using ArchivesSpace on September 27, 2021. English. Describing Archives: A Content Standard Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester Rush Rhees Library Second Floor, Room 225 Rochester, NY 14627-0055 [email protected] URL: https://www.library.rochester.edu/spaces/rbscp bragdon_family_papers Table of Contents Summary Information .................................................................................................................................... 3 Biographical/Historical note .......................................................................................................................... 4 Scope and Contents note ............................................................................................................................... 6 Administrative Information ............................................................................................................................ 7 Related Materials ........................................................................................................................................... 7 Controlled Access Headings .......................................................................................................................... 8 Collection Inventory ....................................................................................................................................... 9 Series I: General correspondence ...............................................................................................................
    [Show full text]
  • THE BANK of the METROPOLIS, 31 Union Square West A/K/A 19-23 East 16Th Street, Borough of Manhattan
    Landmarks Preservation Commission July 12,1988; Designation List 206 LP-1537 THE BANK OF THE METROPOLIS, 31 Union Square West a/k/a 19-23 East 16th Street, Borough of Manhattan. Built 1902-1903; architect, Bruce Price; builder, George Fuller Company. Landmark Site: Borough of Manhattan Tax Map Block 844, Lot 17. On May 14, 1985, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Bank of the Metropolis (Item No. 3). The hearing was continued to September 17, 1985 (Item No. 1). Both hearings had been duly advertised in accordance with the provisions of law. Forty-two witnesses spoke in favor of designation. One witness took no position. The Commission received several letters in support of designation. DESCRIPTION AND ANALYSIS Summary A limestone-faced bank and office tower, the Bank of the Metropolis, a columnar tripartite skyscraper, is a representative example of the major New York architect Bruce Price's neo­ Renaissance commercial architecture. The design incorporates classical elements which were traditionally associated with American bank architecture. Notable features include the bowed two-story portico with monumental polished granite columns, lions' heads, consoles, foliated spandrels and spandrels with open-mouthed lions. Built in 1902-1903, 1 the bank occupies a commanding corner location on Union Square West and demonstrates the arch~tect's ability to adapt a building to both the requirements of function and the dictates of site. Created to serve the needs of businesses on the square, the bank had members of the local business community on its board of directors.
    [Show full text]
  • Bragdon Family Papers
    BRAGDON FAMILY PAPERS Department of Rare Books, Special Collections, and Preservation Rush Rhees Library Second Floor, Room 225 Rochester, NY 14627-0055 [email protected] URL: http://www.library.rochester.edu/rbscp BRAGDON FAMILY PAPERS Table of Contents Summary Information .................................................................................................................................... 3 Biographical/Historical note .......................................................................................................................... 3 Scope and Contents note ............................................................................................................................... 6 Administrative Information ............................................................................................................................ 6 Related Materials ........................................................................................................................................... 7 Collection Inventory ....................................................................................................................................... 7 Boxes 1-5. General correspondence ........................................................................................................... 7 Boxes 6-18. Family Correspondence, first series. ...................................................................................... 8 Boxes 19-26. Family Correspondence, second series ...............................................................................
    [Show full text]
  • Welcome to Rochester!
    Christ Church (Episcopal) ~ Rochester ~ Hook & Hastings, No. 1573 (1893) OHS 63rd Annual Convention Guide WELCOME TO ROCHESTER! NESTLED ON THE SOUTHERN SHORE val, Rochester International Film Festival, organs, a flourishing organ scene has of Lake Ontario, traversed by the Genesee Fringe Festival, Lilac Festival, the Eastman become a focal point of Rochester’s cul- River and its dramatic downtown water- Rochester Organ Initiative (EROI) Festival, tural life. More than thirty organ majors falls, and situated on the Erie Canalway and too many others to innumerate here. studying at Eastman play in liturgical and National Heritage Corridor, Rochester And with stunning natural beauty sur- concert contexts in sacred and secular offers something for the music lover, art rounding the city, those who opt to join spaces throughout the city each week, aficionado, wine connoisseur, and every- us for the post-convention day can enjoy earning a devoted following of pipe one in between. Visit the world-famous a wine tasting in the picturesque Finger organ enthusiasts. Few cities boast such International Museum of Photography, Lakes region of upstate New York. an extraordinary breadth and diversity of Memorial Art Gallery, Rochester Contem- At the core of Rochester’s music scene instrument types, ranging from original porary Art Center, or any number of more is the Eastman School of Music, the result and facsimile 18th-century organs to the than twenty museums and galleries in of George Eastman’s vision in 1921 to con- roaring Wurlitzers of the Gilded Age, and the area. Whose curiosity would not be struct a world-class music conservatory to almost everything in the middle.
    [Show full text]
  • Ordertastegrace00haysrich.Pdf
    s University of California Berkeley University of California Bancroft Library /Berkeley Regional Oral History Office William Charles Hays ORDER, TASTE, AND GRACE IN ARCHITECTURE An Interview Conducted by Edna Tartaul Daniel Berkeley 1968 William C. Hays on his 77th birthday In the garden of his home At 2924 Derby Street, Berkeley. All uses of this manuscript are covered by an agreement between the Regents of the University of California and William Charles Hays, dated 25 April 1961. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California at Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California at Berkeley. FOREWORD William C. Hays was interviewed at length in 1959 as a part of a program of the Regional Oral History Office to record the history of the University of California. This final manu script was not completed until 1968, five years following Mr. Hays death. The time and the method of completing this manuscript has been unusual, in part a reflection of Mr. Hays wish to complete a correct and valuable history and his inability because of poor health to even begin to do all the hundreds of hours of rewriting that became his objective. Final work on the manuscript, after Mr. Hays death ended the possibility of his making the rough transcript into a polished manuscript, was delayed until funds could be obtained.
    [Show full text]
  • Modernist Movements: Border Crossings and Ways of Knowing in the Literature of Anglo-American Women, 1913-1930
    Modernist Movements: Border Crossings and Ways of Knowing in the Literature of Anglo-American Women, 1913-1930 A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2018 Katharina Boeckenhoff School of Arts, Languages and Cultures 2 Table of Contents Abbreviations ............................................................................................................................. 3 Abstract ...................................................................................................................................... 4 Declaration ................................................................................................................................. 5 Copyright Statement .................................................................................................................. 5 Acknowledgements .................................................................................................................... 6 INTRODUCTION ........................................................................................................................... 7 Modernist Movements ............................................................................................................. 7 Knowing Geographically in Modernist Studies ................................................................... 13 Movement and Producing Modern Sexual Knowledge ....................................................... 25 Movement and Knowledge in Women’s Literary Modernism
    [Show full text]
  • Heritage Report
    ARCHITECTURAL HERITAGE REPORT for T HE O JIBWAY H ERITAGE S OCIETY and C OMMUNITY C ENTRE Ojibway Island, Pointe au Baril, Ontario, P0G 1K0 March 14, 2001 Project Number: 00.075 SUBMITTED TO THE OJIBWAY BY 10 St. Mary St., Suite 801 Toronto, Canada, M4Y 1P9 Tel. 416.963.4497 Fax. 416.963.8761 E.R.A. Architects Inc. The Ojibway: Architectural Heritage Report THE OJIBWAY:ARCHITECTURAL HERITAGE REPORT Introduction and Intent of the Report page 1 Brief History page 2 Construction History page 6 The Bragdons page 12 Cultural Significance page 18 Design: The Shingle Style page 21 Rusticity page 23 Context page 28 ELEMENTS OF THE PROPERTY page 29 Hotel page 30 Birchwood Cottage page 42 Elmwood Cottage page 44 Basswood Cottage page 46 Maplewood Cottage page 49 Oakwood Cottage page 52 The Waterfront page 53 Boathouse/Grocery Store/Ice page 55 Gift Shop page 58 Gazebo page 60 Other Elements page 62 Conclusion and Next Steps page 63 Image Credits page 65 APPENDIX I: EXCERPTS FROM THE BRAGDON PAPERS E.R.A. Architects Inc. The Ojibway: Architectural Heritage Report THE OJIBWAY: ARCHITECTURAL HERITAGE REPORT INTRODUCTION AND INTENT OF REPORT This report has been prepared for The report is based on research Fig. 1: North elevation of the Ojibway Hotel taken by May the Ojibway Heritage Society and done on site over two visits and Bragdon, Summer 1907. Community Centre (the buildings from published information, oral hereafter called "the Ojibway") as histories, Ruth McCuaig’s archive, part one of a two part study and the Bragdon archive at the toward the development of a University of Rochester.
    [Show full text]
  • 2018 ROCHESTER the ORGAN HISTORICAL SOCIETY’S 63RD ANNUAL CONVENTION PHOTOGRAPHY LEN LEVASSEUR Christ Church (Episcopal) ~ Rochester ~ Hook & Hastings, No
    2018 ROCHESTER THE ORGAN HISTORICAL SOCIETY’S 63RD ANNUAL CONVENTION PHOTOGRAPHY LEN LEVASSEUR Christ Church (Episcopal) ~ Rochester ~ Hook & Hastings, No. 1573 (1893) OHS 63rd Annual Convention Guide WELCOME TO ROCHESTER! NESTLED ON THE SOUTHERN SHORE val, Rochester International Film Festival, organs, a flourishing organ scene has of Lake Ontario, traversed by the Genesee Fringe Festival, Lilac Festival, the Eastman become a focal point of Rochester’s cul- River and its dramatic downtown water- Rochester Organ Initiative (EROI) Festival, tural life. More than thirty organ majors falls, and situated on the Erie Canalway and too many others to innumerate here. studying at Eastman play in liturgical and National Heritage Corridor, Rochester And with stunning natural beauty sur- concert contexts in sacred and secular offers something for the music lover, art rounding the city, those who opt to join spaces throughout the city each week, aficionado, wine connoisseur, and every- us for the post-convention day can enjoy earning a devoted following of pipe one in between. Visit the world-famous a wine tasting in the picturesque Finger organ enthusiasts. Few cities boast such International Museum of Photography, Lakes region of upstate New York. an extraordinary breadth and diversity of Memorial Art Gallery, Rochester Contem- At the core of Rochester’s music scene instrument types, ranging from original porary Art Center, or any number of more is the Eastman School of Music, the result and facsimile 18th-century organs to the than twenty museums and galleries in of George Eastman’s vision in 1921 to con- roaring Wurlitzers of the Gilded Age, and the area.
    [Show full text]
  • <H1>Architecture and Democracy by Claude Fayette Bragdon</H1>
    Architecture and Democracy by Claude Fayette Bragdon Architecture and Democracy by Claude Fayette Bragdon Proofreading Team ARCHITECTURE AND DEMOCRACY BY CLAUDE BRAGDON F.A.I.A. 1918 [Illustration: PLATE I. THE WOOLWORTH BUILDING, NEW YORK] PREFACE This book can lay no claim to unity of theme, since its subjects range from skyscrapers to symbols and soul states; but the author claims for page 1 / 145 it nevertheless a unity of point of view, and one (correct or not) so comprehensive as to include in one synthesis every subject dealt with. For according to that point of view, a skyscraper is only a symbol--and of what? A condition of consciousness, that is, a state of the soul. Democracy even, we are beginning to discover, is a condition of consciousness too. Our only hope of understanding the welter of life in which we are immersed, as in a swift and muddy river, is in ascending as near to its pure source as we can. That source is in consciousness and consciousness is in ourselves. This is the point of view from which each problem dealt with has been attacked; but lest the author be at once set down as an impracticable dreamer, dwelling aloof in an ivory tower, the reader should know that his book has been written in the scant intervals afforded by the practice of the profession of architecture, so broadened as to include the study of abstract form, the creation of ornament, experiments with color and light, and such occasional educational activities as from time to time he has been called upon to perform at one or another architectural school.
    [Show full text]