Architecture

… always and everywhere …

(An earlier than usual post — for your Thanksgiving Week!)

A lively celebration of the Eucharist, or The Great Thanksgiving, at St. Gregory of Nyssa Episcopal Church, San Francisco

“It is right, and a good and joyful thing, always and everywhere to give thanks to you, Father Almighty, Creator of heaven and earth.” So begins the body of one of the Eucharistic Prayers in The Book of Common Prayer, as used in Episcopal Churches for the celebration of Holy Communion. “Always and everywhere” – these words regarding giving thanks remind us of the characteristic posture of the Church, and of all of its members, whether at worship in their parishes or at work or play in the world around them.

When Baptized Christians gather for a celebration of the Lord’s Supper, they remember that “the Lord Jesus on the night when he was betrayed took bread, and when he had given thanks (eucharistesas / εὐχαριστήσας), he broke it, and said, ‘This is my body which is for you. Do this in remembrance of me’ (1 Corinthians 11:23-24).” What we as Christians do in a formal way, when gathered for the Eucharist, enacts our normative way of shaping our whole lives. Which is always and everywhere to offer thanks to God for mercy and grace, and for God’s love poured into our hearts by the Holy Spirit. For we seek to live as we pray: Offering thanks to the Father, through the Son, in the power of the Holy Spirit.

“Give thanks in all circumstances; for this is the will of God in Christ Jesus for you.” Paul shares this counsel in his first letter to the Thessalonians (5:18). These words are sometimes mis-remembered as saying, “for all circumstances.” The difference between the two prepositions, in and for, is significant. In our daily rounds, it is very difficult for most of us to be thankful for adverse circumstances and experiences, and we find it hard to reconcile their occurrence with the oversight of a loving God.

Yet Paul believed in the doctrine that we call Providence. He firmly believed that the evil conditions and events that we experience in this life are not in themselves acts of God, imposed upon us by the divine will. Instead, they are things that are allowed to occur by a God who loves us and who intends our good. This is clearly a mystery to us, on this side of the veil separating us from the eternal.*

Another Eucharist at St Gregory of Nyssa

As we well know, the society in which we live in the United States sets aside one day of the year as a public holiday that is called Thanksgiving Day. Its history lies in a presidential proclamation by Abraham Lincoln. Yet, regardless of the circumstances of its origin, the day is widely celebrated by many who are unfamiliar with its history, and who may identify with traditions, practices, and holidays passed on from other cultures. This is only proper, as giving thanks is a universally human act. The people and circumstances, and the particular reasons for it, may all differ. Yet, the spirit of the act is the same.

I have heard it explained, that the sanctuary candle we see in the sanctuary of some churches is to remind us that God is present. The implication of this explanation might be misconstrued in such a way as to suggest that God’s presence elsewhere might not be as assured. Yet, the explanation can also be understood positively, as saying something like this: “This candle is here to assure us of God’s presence. We keep a candle here lit perpetually to remind us that God is always and everywhere present, even in the darkness or when we are alone elsewhere.”

Celebrating Thanksgiving Day can bring with it a similarly positive understanding. We give thanks formally, as a nation of many peoples, on one day of the civil year as reminder that giving thanks should be natural for us every day of the year. And the thanks we should offer are for the good things we enjoy with those whom we know and love, but also for things, people, and even institutions, about which we may be indifferent or even disapproving.

Gathering for a shared meal in the context of a spirit of thanks

In this spirit, I would like to share a prayer found in The Book of Common Prayer, that is principally used in the closing portion of the rites for Morning and Evening Prayer. It is therefore not specifically designated for use in observance of our national celebration of Thanksgiving Day, though it could be. This is a prayer intended for use everyday, and is a fine one for us to use at our celebrations this week:

Almighty God, Father of all mercies,
we your unworthy servants give you humble thanks
for all your goodness and loving-kindness
to us and to all whom you have made.
We bless you for our creation, preservation,
and all the blessings of this life;
but above all for your immeasurable love
in the redemption of the world by our Lord Jesus Christ;
for the means of grace, and for the hope of glory.
And, we pray, give us such an awareness of your mercies,
that with truly thankful hearts we may show forth your praise, not only with our lips, but in our lives,
by giving up our selves to your service,
and by walking before you
in holiness and righteousness all our days;
through Jesus Christ our Lord,
to whom, with you and the Holy Spirit,
be honor and glory throughout all ages. Amen.

*A note about the distinction offered above, regarding what God allows: Readers may wish to consider the way that Aristotle, and others since, have distinguished various dimensions of the idea of ‘cause,’ or causation (four dimensions have been articulated in the Western tradition). “Efficient cause” is the familiar form of the word cause, as in causing a row of dominos to cascade forward. “Final cause” can be conceptually helpful, especially as we think about God drawing persons and events toward their fulfillment in Christ. In this sense of the word cause, instead of our thinking of God as pushing events forward, some of them good and some perhaps bad in our eyes, God summons, and pulls toward the future, those people and things that may be made whole in Christ (ie, those that are open and willing recipients of his Grace), to their true end.

Reflections Inspired by Tiny Houses

A 14′ Tiny House inspired by Japanese Aesthetics (from the Baluchan website)

As earlier posts of mine attest, I have been interested for some time in the Tiny House movement, which has now become a widespread phenomenon. Whole Tiny House communities are being developed, and Tiny House construction designs have been proposed as an alternative approach to addressing homelessness. Reflecting on this movement, and the broad appeal examples of Tiny Houses seem to have, I have given some thought to what this development in small scale architecture may represent, and to what it may tell us about how we want to live.

I can see an impulse similar to the pursuit and enjoyment of living in a Tiny House in some attractive parallels, which also represent a quest for discerning a simpler way to live. Quite aside from a specific focus on contemporary examples of Tiny Houses, many people appear to have an interest in reading books like Thoreau’s Walden, or those by John Muir. I continue to meet folks who like the idea of having a small boat in which one can actually ’cruise,’ even on local lakes. And still others seem to share my fascination with living environments inspired by Japanese aesthetics.

An interior shot of the Baluchan *Bonzai* 14′ Tiny House

If these musings seem familiar, learning more about the Tiny House movement is worth pursuing. Here are some observations I have made in the course of my own reflections on the current popularity of this movement:

First, the appeal of Tiny Houses has much to do with the process of rediscovering, and learning more about the beauty of living simply. And therefore, about more than managing to accept being without some things, but actually doing well with less. Marie Kondo’s videos and published writing have attracted a good deal of attention regarding the desirability of organizing our household belongings, and paring down what we have toward living with what we truly love.

Viewing and reflecting on examples of Tiny Houses can aid one’s discernment regarding needs vs wants. Most of us have probably considered this distinction from time to time, and have likely also experienced some frustration with our halting efforts to enact our reflection upon it. We know we have wants, which often masquerade as needs, while we may not sufficiently consider the potential value to us of having wants that are correlated with our needs. After all, a premise of this post rests on a paradox: the assumption that I not only want to live more simply, but that I may also need to!

The kitchen space between the bathroom and the small main living area

Here, briefly noted, are some potential benefits that may come from spending time in a Tiny House:

Living off the grid becomes a much more realistic goal when choosing to live in a Tiny House. Tiny Houses also allow for mobility in relation to one’s surroundings, even if it is not a frequently exercised opportunity. Changes in one’s locale can lead to learning opportunities.

Those who build their own or who choose to do maintenance work on a Tiny House are more likely to learn how to use, and use more ably, simple and hand-powered tools.

Tiny Houses are well suited as places in which we can experience solitude as a positive aspect of our lives, while also providing an excellent context for significant times spent with others.

Living or spending time in a Tiny House may allow us to have increased time for personal reflection, and an opportunity further to discern our vocation, in addition to our more usual absorption with occupational concerns.

Tiny Houses therefore have the potential to be places in which we read more, and spend less time consuming social media or watching videos. While every living place for which we have some care requires time and attention, the theory behind choosing a Tiny House as a place to live assumes that we can devote more time to actually living, rather than preparing to live. Reading makes the world bigger and our lives richer.

For much of the above, and as a both–and rather than an either/or starting point, I commend considering adding a form of a ‘Tiny House’ to your present circumstances rather than making a radical change from them. Experimenting with what can be done with less, while also still retaining one’s present home, can be instructive. This can be accomplished by, for example, purchasing a used but well-equipped small RV. We have recently seen some interesting examples on the road, and ones that could fit in a standard home garage.

For us, it has been our 1988 24 ft trailerable sailboat that has provided this kind of learning opportunity. With its relatively small cabin (about half the length of the boat), comfortable berths (or bunks), a camping stove, cooler, portable toilet, and cockpit which serves as a small ‘back porch,’ we can meet most of our daily needs for a week or more at a time. The slip for our boat is under $200/ month, including electricity and water connections, if needed (ie, if the boat is not yet off-the-grid-ready, though our boat is now thus equipped). DAYSTAR has become our floating ‘tiny house’ or ‘cottage.’

Ably and effectively inhabiting this principle of beautiful simplicity is turning out to be a lifelong project for me, and I believe this is also true for others. I am a neophyte in the process. Perhaps my readers have some similar experience with this ongoing process!

The Beauty of ‘Something Further’

An interior dome, Etchmiadzin Cathedral, Armenia

{This past week I had the honor of offering a homily at the funeral of my longtime friend, Tom, a neurosurgeon and person of faith. What follows is a portion of my homily.}

People in our culture who have been trained in the sciences and who work in medicine can face a particular challenge. They can find it hard to grapple with the intangible aspects of the spiritual life. Walker Percy is a great example of someone who overcame this apparent divide. For Percy, like Tom, was very smart and educated in the medical arts. Like Tom, Percy came to see something very important: we rely upon science to explain too much of the world. And, if we are honest and sensitive in our inquiry, we come to see how – through science alone – we cannot understand ourselves.

Tom, with his advanced work in surgery and in neurology, knew far more about our brains than most of us will ever know. And yet, he also was quite aware of the limits to such knowledge. He was sensitive to how ‘our minds,’ though inextricably connected to our brains, always somehow transcend what we know about brain function. And therefore, despite our continuing advances in understanding neurophysiology, there remains this ineffable, something further, about what it means to human, this thing that non-specialists like the rest of us, as well as priests and pastors, call our souls.

Walker Percy might have put it in terms like this: We can learn the names and composition of the myriad of chemicals that are a part of human brain function. And therefore, as conscious subjects, we can approach our brains as objects of study. Yet, paradoxically, we, as the subjects of our studies, can never really know ourselves as the objects of our studies. There will always be something beyond, something further and equally real about ourselves, even if not fully measurable. And this ‘something further,’ believers call our souls. For even the most brilliant neurologist, even the most perceptive psychologist, can never really know him or herself, just as I – at least in this life, on this side of the veil – can never really know myself. Only God can. And only God does.

Physicians can map how our physical bodies eventually fail us when we get older, and cease to function ably as before. But what our physicians and scientists cannot map – at least not yet – is how our consciousness can survive this breakdown in our physiological function. Yet, somehow we continue in self-awareness, and in our awareness of others, especially that great Other One. And we will probably never be able to map, in terms we understand, how we come to have conscious contact with our Creator and Redeemer. For our conscious contact with God happens through God’s loving embrace of us. This is the embrace into which we have all been received – even if we are not conscious of it, and especially when we have not chosen to refuse it.

Tom consciously chose to recognize and accept this embrace. And he put his trust in it, even if – as an accomplished scientist – he could not explain it. For that, we honor him and his memory, as we continue to have fellowship with him in the Communion of Saints. And as we share with him in our celebration of the Eucharist. For just as our Lord Jesus continues to be present with us, and in us, so all the saints – both Tom and ourselves – and all the faithful departed stand before the throne of the Lamb. In Christ, we are joined together, so that we, too, might also be lost in wonder, thanks, and praise.

Tom knew and believed all this. And that is why we are here today. We can honor Tom for his contributions to the sciences and to the practice of medicine. Here, in this church and in this community of faith, we can join others in honoring what God has done in Tom’s life and work. And more especially, we are here today to honor what God is still doing in Tom’s continuing life. For Tom’s life and consciousness continue, even now, in and through God’s loving Grace and favor. His death is the veil that only appears to separate him from us. It disguises the way he is still really connected with us through his Baptism and ours, into Christ’s death and Resurrection.

Most enduring is this truth. And it is a truth for all of us to embrace: we have continuing fellowship with Tom, through Christ, in the power of the Holy Spirit. Thanks be to God!

Two Architects Build Houses for Themselves

Frank Lloyd Wright’s Taliesin East, entry courtyard

Frank Lloyd Wright and Philip Johnson number among the most well known American architects of the 20th century. Both are remembered for their many commissions by others, for buildings constructed both in the United States and overseas. Notably, each of these men designed a house for himself and each reflects something of the respective architect’s vision for an ideal domestic building. The results differ dramatically and beg for some explanation, especially in the case of Philip Johnson’s Glass House.

To help appreciate the theoretical basis for these vastly differing houses, I find it helpful to draw upon a distinction made by the earthscape artist, Andres Amador (featured in a prior post). Speaking about his temporary compositions ‘sketched’ upon large stretches of beach areas at low tide, Amador refers to some of his works as “geometric” and others as “organic.” The geometric works display a quality readily suggested by the name for them, and reflect Amador’s training in math as an engineer. The organic works arise, he says, from the site, and he suggests that these pieces communicate their form to him. For me, Amador’s distinction can also be referred to as the distinction between pattern that is ‘received,’ as compared with pattern that is ‘imposed.’

Amador’s distinction between the organic patterns that arise from the site, and the geometric patterns that result from conceptual pre-planning, can assist us in perceiving some themes that are implied by the architectural designs produced by Wright and Johnson for their homes. In the case of Wright, he built Taliesin on family property in Spring Green, Wisconsin, in an area where he grew up and with which he had a deep attachment. Like much of his other work, Wright wanted Taliesin to appear as if it was an extension of the materials and features of the site in which it is placed, being an ‘organic’ development of a human habitation within a natural setting. Wright’s intent is evident in the way that the horizontal bands of stucco on the facade, as well as of the limestone in the foundation and walls of the building, parallel and mirror the layers of stone found on the site.

Exterior elevation of the house, as if emerging from the site (photos above and below)

While Philip Johnson’s architectural practice was located in New York City, he planned to build a house for himself and weekend guests in nearby New Canaan, Connecticut. Johnson’s Glass House clearly reflects his indebtedness to the work of Ludwig Mies van der Rohe, and the European modernist movement in architecture generally known as the International Style. Employing Andres Amador’s distinction, the Glass House clearly embodies a geometric conceptual basis, with the result that the building does not so much emerge from the site but instead sits upon it as an imposed human-made form. The carefully clipped and very flat lawn, and the linear walkways serve to emphasize the distinction between the structure and its natural surroundings. This leaves the Glass House appearing to be like a sculptural object that has been placed on a plaza, or like a vase on a smooth table-top, rather than as something arising from within its setting.

The Glass House, exterior view (above), and interior view (below)

Brief attention to the history of these two buildings provides further insight. Wright lived at Taliesin much of his life, while also retreating to Taliesin West in the Arizona desert during the winter months. Over the years, he gathered a sizable community of apprentices who lived and worked with him at both locations. To this day, the architectural fellowship that is part of his legacy maintains both homes and studios. By contrast, though Philip Johnson first lived part-time in the Glass House himself, he soon discovered how it was largely unsuitable for that purpose, other than for entertaining guests in the living and dining areas of the structure. Given the sudden notoriety of the house, the constant presence of unwelcome visitors and architecture-minded prowlers made it problematic for every exterior surface of the house to be comprised of glass. Johnson soon made it a habit to stay in the adjacent bunker-like Brick House, designed for the site as a guest house, when spending time in New Canaan.

Obviously, it is easy to stress the marked differences between these houses designed and built by Wright and Johnson for themselves. Andres Amador’s dual approach to his earthscapes may help provide a reminder of the way that both-and thinking can aid how we consider certain objects of interest. Wright’s organic home and studio, emerging within and receiving inspiration from its site, and Johnson’s temporarily lived-in Glass House, imposed as a geometric sculpture upon its site, share a common distinction. Regardless of functional considerations, each house has its own way of displaying beauty, and both remain among a small list of internationally recognized architectural achievements of historic significance.

Note: A short introductory video about Andres Amador and his work, giving examples from both of the geometric and organic categories, introduced above, has been produced by KQED of San Francisco. It can be found on YouTube ( https://youtu.be/T_tIG5mo1DM?si=0MkjxkTEK48eC-aV ).

Taliesin East has been named a UNESCO World Heritage Site, and the Glass House is a National Historic Landmark.

A Church by Errol Barron in Gulfport

St Peter’s by the Sea, Gulfport, MS, designed by Errol Barron

Errol Barron’s work as an artist may be familiar to readers of this website based on some of his evocative New Orleans water color paintings previously featured here. His paintings of that city as well as of Tulane University, where he has taught for many years, provide strong indications that he is more than a skilled painter and draftsman, but also a trained architect. He has taught generations of architectural students at Tulane, and he has practiced his profession to great effect not only in this region but also overseas, with some houses of his located in Greece. Given Barron’s evident sensitivity to historical architecture and design features characteristic of this region, I was surprised to learn about a notable but unexpected feature of his resume. He worked for seven years with Paul Rudolph, architect of the well-known and oft-criticized Boston Government Services Center and a partial inspiration for the movie, The Brutalist.

I was recently delighted to discover the Episcopal church in Gulfport, Mississippi, St. Peter’s by the Sea, and that Errol Barron was its architect. It is a gem of a church, and a very successful design that incorporates traditional ecclesiastical elements associated with European Gothic churches along with features reflecting contemporary liturgical renewal. I have heard people refer to this style of church building as Carpenter Gothic, and as Southern Gothic, and the labels seem to fit well. The worship space exudes an appreciation for traditional forms while harmoniously blending them with a contemporary focus upon light, color, and the greater participation of worshippers in flowing open spaces.

The main altar with the ornamental rood screen

Visitors to the Washington National Cathedral, and similar churches of Gothic-revival style, may recognize the particular heritage that stands behind the floor plan of St Peter by the Sea. At the National Cathedral, and in its medieval forebears (such as London’s Westminster Abbey), an arched stone ‘rood screen’ separates the chancel and choir (beyond the screen) from the nave where the congregation is seated. When, in the 1960’s, the liturgical renewal movement began to influence changes in the worship arrangements of these buildings, a new main altar was often then placed in the nave, on the congregation’s side of the rood screen. Smaller gatherings for weekday services could still occur in the choir side of that screen, while Sunday gatherings for the principal Eucharist would be celebrated in the nave, with the clergy, altar, and liturgical action proximate and visible to the congregation.

A view of the ceiling and woodwork above the choir

Though St Peter’s by the Sea is a comparatively recent building, its design reflects something of the historical sequence described above. Instead of an imposing stone rood screen, shielding the chancel and choir spaces beyond, Barron has designed an ornamental arched screen of light-colored wood that suggests rather than imposes separate areas within the overall space. This allows the evocative blue canopy of the ceiling over the chancel to draw one’s eyes forward, toward the visible clear windows at the liturgical ‘east end’ of that space behind the chapel altar, facing the seashore.

Further, the notably narrow, even sharp-looking, wooden ‘spires’ protruding above where the choir chairs are placed enhance the upward sense of lift in the nave, complemented by the radiant cream and white color scheme above where the congregation sits. Light pours in through clear windows above, while delicately fashioned and dangling wrought iron fixtures provide supplemental illumination for evening services and in poor weather.

A view toward the nave from the choir, through the rood screen

On the Sunday of my recent visit, I was told that the congregation numbered about 145, and I estimate that the nave would comfortably seat about 200 people, though it could probably accommodate more. With the Gothic-inspired longitudinal floorplan, evident when one approaches the exterior of the building, a visitor might expect a rather narrow and linear worship space. Such an initial impression of the likely effect of the interior spatial arrangement is overcome by a number of subtle but effective design choices made by the architect and those who worked with him.

Accompanying the verticality of the large open area above the center of the nave are the seating areas adjoining the side aisles, taking the places of side chapels found in many medieval Gothic churches. The relatively low height of the box pews enhances the sense of horizontal width created by these adjacent seating areas, which provide relatively unobstructed views of the altar and lecterns. I also found the acoustics within the worship space to be well-suited for music as well as for public reading and speaking.

I am drawn to the ethos of historical churches; I am enthused by many examples of modern architecture; and I appreciate the fruits of the liturgical renewal movement. In my experience, a successful blend of these three things is not always found in contemporary buildings designed for worship and intended for the enhancement of congregational life. In his design for St. Peter’s by the Sea, in Gulfport, Mississippi, and in his supervision of its restoration after Hurricane Katrina, Errol Barron has achieved just such of a desirable synthesis.

A representative side window incorporating stained glass window fragments recovered after Hurricane Katrina

The Beauty of Hospice Care

Having worked in a variety of church-related contexts for over four decades, I have become familiar with the importance of having a clear vision of one’s mission. In my experience, people are motivated by inspiring mission statements, and especially when they are enacted with cheerful efficacy. As advocates of Appreciative Inquiry maintain, a focus on what is working well builds energy and promotes a sense of well-being among participants.

As I reflect on the most compelling examples of institutions, facilities, or programs that I have encountered, the hospice movement in healthcare stands out. Whereas medical practice has increasingly become directed towards problem-solving and the alleviation of various conditions, along with our growing interest in future-oriented health maintenance, hospice care tends to be focused on a wholistic approach to the present well-being of a person. And I have found that hospice advocates and caregivers to be among the most positively mission-focused people I have met.

Aside from occasional background reading and some videos on the topic of hospice care, my experience over the years with this life-enhancing approach to being with other people was relatively brief. But then, it was unexpectedly transformed by a full and meaningful month of time spent with my dad, beginning with the discovery of his having a malignant brain tumor and ending with his peaceful death. He died surrounded by his four sons, in a remarkable facility dedicated solely to hospice care.

Arial view of the Trillium Woods location

I am particularly grateful for my dad’s opportunity to have been admitted to the Faith Hospice inpatient care facility at Trillium Woods in Grand Rapids, Michigan. Through my parish ministry, I knew about hospice care being provided at home and in other settings, but I had not had any personal experience with a residential facility built and maintained solely for hospice care. My dad’s move to Trillium Woods happened four days after his admission to hospital ER, on a cold, mid-December day. The hospice became his new temporary home, and we soon discovered how it was an unanticipated but blessed answer to prayer for him as well as for our family.

December is a tender time for families caring for or mourning loved ones, and we found that Faith Hospice staff members were especially sensitive to our emotions as the Christmas holiday season came into its fullness. We were impressed by the generously sized and attractively decorated room they were able to provide for my dad and the other patients, which included a comfortable sitting area, a bed area, and large windows and a door leading onto a beautiful terrace. Equally impressive was the rest of the facility, which had large lounge areas, a dining room and adjacent kitchen, and a well-designed chapel. Being able to have our family Christmas dinner there at the hospice (as well as other meals) was a comfort, and allowed us to focus on my dad and his care, and to be less absorbed with our own daily concerns.

A hospice patient’s room like the one my dad was in

Most significant to us was the dedicated staff, who were sensitive and attentive to each subtle stage in the process of my dad reckoning with and moving toward his impending death. Like them, my dad showed himself to be strong in faith, and fully at peace with seeing his final illness as a facet of God’s merciful Providence. Thankfully, he showed no signs of being in denial about what was happening to him. I attribute this to his decades of ministry as an ordained pastoral counselor, and as one who lived his faith while commending it to others.

During the process of my dad’s dying, I marveled at the ministry of Faith Hospice at Trillium Woods, and wondered about how many other such facilities exist around the country and elsewhere. I continue to wonder about this, and imagine that such a place is more often desired than found, being the kind of facility that everyone would want to have available should they need it.

The phrase, “the end of life,” is often used to refer to what hospice care is focused upon. Taken simply and literally, these words refer to the termination point we come to in the course of our physical embodiment. Yet, as I like to remember, our English word ‘end’ does not simply connote a terminus but also a point of fulfillment and the realization of purpose. In my experience of the hospice care that was offered to my dad and our family at Trillium Woods, I encountered a culture of ministry oriented toward lifting our eyes to a broader horizon of meaning for daily life. In this, I found the facility was aptly named as Faith Hospice, for clearly a grounded Christian Faith lay at the heart of the mission enacted on a daily basis at Trillium Woods.

Note: I have no official connection with Faith Hospice at Trillium Woods but only my personal experience of holy care from the folks there. With them, we journeyed through our final month with a family member amidst a loving community. More about this ministry and facility can be found by clicking here.

Earl Young’s Boulder Park Charlevoix Houses

Earl Young’s Boulder Manor, built for himself, as seen on a recent day

Summer visitors to Charlevoix encounter at least two things about the area: first, that this part of Michigan is a haven for boat lovers and especially cruisers on the Great Lakes; and, second, that the city of Charlevoix is the home of Earl Young’s so-called ‘mushroom houses.’ The first observation regarding boats and the appealingly clear lake water is easily recognized. The second association with the area takes a bit of discernment, usually gained from seeing brochures or the small electric carts evident in town bearing the label, “Mushroom Houses Tours.”

A pleasant walk around Charlevoix while viewing the many houses that Earl Young designed and built in the community reveals that his approach to home design was not uniform, and that his work avoided that to which the wider community has also not succumbed – becoming a caricature of itself. For he could have approached his design work in such a way as simply to repeat and imitate prior successes, pressing forward as so many architects have done to inaugurate a particular and distinctive style in home design. Instead, Young consistently displayed his overriding commitment to his chosen materials – stone and stone-related products. Therefore, when at the age of 35 in 1924, and in buying a tract of land adjacent to the Lake Michigan shoreline, he built ten houses with enough variation among them that later homes constructed by others are frequently confused with those of his own design. Young gave the tract along with its homes the fitting label of Boulder Park.

The Owl House, named for the arched front windows

This variability in the architectural character of the Boulder Park homes helps us to begin to recognize how the common ascription to Earl Young, of being the mushroom house architect, is in some ways a misnomer for him. A few of his houses nicely justify the label, given their firm rootedness to their sites, their often low or extending rooflines with irregular surfaces, and his heavy use of large stones and boulders in a number of them. Yet, Young was equally comfortable specifying limestone cut in horizontal block slabs and even commercially available brick or block products with which to construct walls with traditional uniformly-spaced layers of mortar. We may not be enamored with the some of the results of his work, but I think most of us can identify with Young’s lifelong intention to remain true to his materials and to the sites in which he set them.

A 1929 limestone cottage in Boulder Park, known for the rolled edges of the eaves

Two neighboring homes in Boulder Park illustrate Young’s consistency of intent, and flexibility with regard to ‘style.’ Boulder Manor, built in 1928 (displayed at the top of this post), sits in close proximity to the Pagoda House, built in 1934, seen below.

My favorite among the Boulder Park houses is the home that Young built for himself, called Boulder Manor (top photo). It is constructed with massive pieces of stone and boulders from the area, and features a matching smaller playhouse for his daughters that has a working fireplace.

Rear view of Boulder Manor along with the playhouse for the Young’s daughters

In some ways Earl Young was a bundle of contradictions, an idiosyncratic visionary who was known to tell some clients what they needed in terms of a home, and yet also one who could reside with an out of town family for a considerable period of time so as to get to know how they lived before designing a home for them. He had a consistent love of rough, ‘undressed’ stone to be used as found, and at the same time a willingness to use stone in a very conventional way. Young was famous for wanting to do virtually everything ‘his way,’ often to the consternation of others, including town leaders. And yet, one house of his in Boulder Park was the result of a client convincing him to build a home based on a design plan found in a women’s magazine, the 1933 Enchanted Cottage with its very English-looking windows (seen below).

The best introduction to Earl Young’s Charlevoix houses is a widely available book by the photographer, Mike Barton, titled, Mushroom Houses of Charlevoix. Filled with color photographs, and documenting every one of Young’s structures built in his home town, the book provides superb photographs, and better ones than I am able to provide.

Earl Young’s Imprint on Charlevoix

Exterior view of Earl Young’s Weathervane Inn

As a young man from the rural north of Michigan, Earl Young aspired to produce ‘natural houses’ in the spirit of Frank Lloyd Wright, his inspiration and model for what became his own vocation. Young never studied with Wright, but the latter’s design spirit influenced him throughout his life. Though Young’s impact as an architect was essentially local (he designed only one house outside of Charlevoix), the present-day promotion of Charlevoix as a cultural destination is much in his debt for the way this community has come to be known as the home of the “mushroom houses.”

Earl Young studied architecture for one year at the University of Michigan. From the beginning he was impatient with a curriculum shaped by the kind of slavishness to European precedents that FL Wright also criticized. Young then returned to his hometown of Charlevoix to build houses, practice real estate in the family business, and sell insurance. He left the university program with his independent vision and architectural vocation intact, from which he never seemed to waver.

The Weathervane Inn adjacent to the Pine River channel and lift bridge

One recent appraisal of Young’s portfolio of buildings has suggested a neologism with which to describe his work, lithotecture, based on the Greek word for stone. For Earl Young did not simply value the utility of stone; he loved stone, and especially large boulders. He is remembered for having had a remarkable memory for the exact location, size, and texture of examples he had seen, collected, or stored away for future use. His profound appreciation for these materials, and the creative possibilities toward which they might be employed, is much in evidence throughout the older portion of Charlevoix in the many houses and other buildings he built and or designed, as well as in those influenced by them.

One of Earl Young’s Boulders Park homes (more of which are to be featured in a future post)

Earl Young’s impact upon the visual character of Charlevoix might be compared to a rather different example in architecture and in community design, the near-universal adoption of ‘the adobe style’ in Santa Fe, which has become a predominant approach to restoration, renewal, and original architectural creations. In the parallel example of Young’s case, his impact was through his way of being true to context by his use of stone, especially in highly creative ways. So pervasive has become his influence upon the development of Charlevoix that many other and more recent builders have been drawn to imitate Young’s extensive and sometimes whimsical use of locally available natural geologic materials. Given my own experience of living in south Louisiana, where hardly any naturally-occurring stone is to be found, I am struck by the abiding evidence of Young’s legacy as a community-based builder.

Two long-ago initiatives by Earl Young in particular serve to distinguish Charlevoix in the eyes of visitors, the Weathervane Inn, and the waterfront park adjacent to the city marina. Young replaced an aged mill along the edge of the Pine River channel with an attractive inn of his own design and construction, and he convinced town leaders to replace obsolete warehouses along the waterfront with what has become a four acre rolling green expanse of lawn. Both locations have become popular and much used gathering places for visitors as well as for Charlevoix residents.

The terrace overlook above the marina office – modern stonework in the Earl Young style

The marina waterfront as it has been developed in recent years demonstrates Earl Young’s lasting influence upon Charlevoix’s economic and cultural development. Realizing some of the potential latent within Young’s prescient inspiration for the land clearing that enabled the new park, several notable new structures have been built, among them a new marina office and locker rooms, and a dancing or synchronized fountain by its door.

Part of the natural-look landscaping surrounding the marina office

Landscaped around the marina office is a northern Michigan nature garden incorporating a human-made stream flowing between several shaded pools that contain rainbow trout. Also gracing the open green space of the park is a bandshell for weekly summer musical events, where concert-goers overlook the harbor docks and boat slips. Each of these structures, though constructed well after Young’s lifetime, reflects his vision for the beauty of stone laid up in asymmetrical curving walls.

The Earl Young influenced bandshell overlooking the marina and Round Lake harbor

Earl Young’s profound attachment to working with local geological material evinces a lifelong devotion to what can be accomplished through building with massive boulders, each weighing multiples tons. The best place to begin to appreciate this is by a visit to the previously mentioned Weathervane Inn, the earliest of his few public buildings. The massive fireplace assembled from a seeming heap of boulders, has one large stone that weighed 9 tons, so heavy that it caused a dislocation in the foundation prepared for it.

Exterior view of Earl Young’s massive Weathervane fireplace

Interior view of the Weathervane fireplace

In a subsequent post I plan to present and offer a brief reflection upon Earl Young’s Charlevoix residential design and construction projects, most commonly known as his ‘mushroom houses.’ In all of his work, Earl Young showed himself to be something of an unforgettable local genius, whose endearing and wonder-producing legacy of unique work has transformed his community over the decades.

Denver’s New Train Platforms

The 2012 Denver Train Station train shed, adjacent to the historic Denver Union Station

I have had a lifelong love of trains and of the stations where we board them. My love for them is partly inherited. My grandfather worked his whole career on the Soo Line RR, having retired as a Conductor on the overnight “Winnepeger,” running from his home in the Twin Cities to the city of the train’s namesake. And my father worked on the same railroad while in college. Of course, having spent my younger years in Japan, riding trains was an everyday occurrence.

And so I am delighted this week to feature the ‘new’ (2012) open-air train shed built adjacent to Denver’s historic Union Station (now beautifully repurposed as the Crawford Hotel). What especially pleases me about the new station’s addition to the opportunities available to rail travelers in the U.S. is the apparent intention for this project to reflect a harmony with Denver’s tensile-structure airport terminal (featured in my prior post).

SOM Architects Transportation Hub site plan

The new station awning structure with the historic Union Station in the background

These train station platforms and their exuberant rooflines at the heart of the city, designed as part of a new transportation hub, were the creation of the long-successful and ‘big name’ architectural firm, Skidmore, Owings, and Merrill (now generally known as SOM). The awning-like structures over the platforms recall the translucent glass and steel train platform awnings familiar to rail travelers in the U.K. A difference here from the also-white structures at Denver Airport is the predominant use of steel beams as principal supports for the awnings, rather than a primary reliance upon tensile cables and poles. A greater resemblance to bridge structures results from this design choice, while also retaining the stretched fabric layers of weather protection, which like those of the airport are translucent. A lyrical building for public use once again has been provided for travelers to and within Denver.

Interior view showing the translucent fabric awning panels and support beams

One other significant connection between Denver Airport and the city’s new transportation hub has been established by the construction of a rail line directly linking the two. Adjacent to the tracks employed by Amtrak’s cross-country trains, Denver now has a rail line dedicated to the needs of those who wish to get to the airport, saving time as well as parking and or shuttle costs.

Station interior showing the Regional Transportation District (RTD) airport train platforms (foreground)

An RTD airport train arriving at its destination

Denver’s new transportation hub serves as an attractive inner city renewal project, and provides a similar sense of uplift and visual ‘joy’ as does the airport. Along with the nearby 1995 Coors Field baseball park, the hub further enhances the visitor-appeal of the city’s downtown area, and serves as a central point for the region’s light rail network (RTD / Regional Transportation District).

The Station Complex with the Union Station Crawford Hotel and Denver downtown skyline

Increasingly we are recognizing the continuing implications of America’s significant distances between cities, the relatively low population density of areas between them, and how our reliance upon our cars and our expansive interstate highway system has reduced the financial viability of railroads as a primary resource for our passenger transportation needs. Nevertheless, it is pleasing to see that where new or revitalized rail stations and terminals are contemplated, there has been a demonstrated growth in awareness of their significance as public spaces not only through which we meet our travel needs, but as places where we meet and share meaningful time with others.

SOM’s Denver Station and the design of its open-air train awnings reminds me of another building, one I have loved since childhood, Kenzo Tange’s 1964 Tokyo Olympics aquatics building, which my family passed by on many family Sunday train trips to church. Tange’s employment of catenary cables for the suspension of the sweeping curved rooflines serves in a similar way as Denver Station to lift our awareness above ourselves. Design achievements like these move us to contemplate beauty as a noble goal of architecture and in engineering, a goal just as important to us as utility and efficiency.

Kenzo Tange’s catenary cable supported roofline for his 1964 Olympics aquatic center

What the new Denver Train Station replaced

Note: My prior post featuring Tange’s Olympics aquatic center can be viewed by clicking here.

Denver Airport ‘s Beautiful Tensile Architecture

Some of the tensile structure canopies over the Denver International Airport terminal (DIA)

In order to appreciate the beauty of tensile architecture, we need to remind ourselves of how most traditional buildings, from the ancient pyramids and China’s Great Wall through to the tallest modern buildings, have been built. Familiar architectural structures rely upon compression, the stacking of weighty materials upon others in a stable way to achieve height. Whether those materials are heavy, like the massive stone blocks supporting the Temple Mount in Jerusalem, or as in the first modern reinforced steel ‘skyscrapers’ such as the former Home Insurance Building in Chicago, traditional architecture has relied upon the compression of forces created by their materials to attain successively higher elevations over the course of time.

The tensile structure roofline of the Denver International Airport terminal building

Tensile architecture relies upon what its name suggests in order to attain stable and enduring structures – the dynamic of tension between the various materials and structural elements that are employed. The way that tensile structures achieve what appear to be daring results can be explained by reference to the poles and cables with which they are constructed.

Cable-supported columns, poles, and awnings, at Denver International Airport (DIA)

Though the name for this type of structure may be new to many of us, those who enjoy viewing sporting events set in large public spaces have seen and become visually familiar with tensile structures at least since the 1972 Olympics in Munich, Germany. Designed by Frei Otto and Gunther Behnisch, the imaginative canopy protecting much of the crowd seating was seen by millions on television and in news reports.

1972 Olympic Stadium designed by Frei Otto and Gunther Behnisch

Tensile architectural design continues to be used widely throughout the world to erect buildings for public purposes. Denver’s 1995 International Airport Terminal building, designed by Curtis Fentress and Fentress Architects, provides a compelling example. The architects’ achievement represents a stunning contrast to Denver’s former and very conventional Stapleton AirPort buildings.

Those who travel through DIA have an opportunity to experience firsthand what such structures can inspire. They provide occasions on which we can pass through public spaces filled with light, that feel open and uplifting, and which have the capacity to capture our attention. Buildings of this kind expand our sense of the moment in community with others, and lift us above our personal concerns by reminding us – literally- of more expansive imaginative horizons. As the venerable great dome of the US Capitol building gives convincing evidence, these are qualities to which all public architecture should aspire.

Three thematic sources of inspiration for Curtis Fentress’s design for the DIA terminal include Denver’s well-known reputation for being the ‘mile high city,’ the profile of the Rocky Mountains visible from the terminal and the city, as well as the heights to which modern aviation take us. As the images included here demonstrate, the airport’s tent-like awnings create a dramatic roofline, as well as soaring translucent interior ceilings, delighting both visitors and passengers, as well students of architecture who have never traveled to encounter these structures.

A still from a video showing the architect sketching the Rocky Mountain skyline from the vantage point of the air terminal, in a possible allusion to the terminal’s canopy structure

Since my first visit, the Denver Airport has been one of my favorite examples of modern public architecture, both because of the vision and notable aims of its principal architect, as well as because of the experientially transformative results he and his team of designers and builders were able to achieve. Like the pleasing effect of arriving at London’s St Pancras or one of the other luminous Victorian train sheds, the DIA terminal is the kind of humane environment that can ameliorate the stress of modern-day air travel.

Note: I hope to feature Denver’s new (2014) canopied train platforms, perhaps inspired by the DIA terminal, in a future post.

Toward Beauty

In Art, Faith and Life ~ STEPHEN HOLMGREN