Four Dimensional Vistas - Bragdon, Claude
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There are two notable emancipations of the mind from the tyranny of mere appearances that have received scant attention save from mathematicians and theoretical physicists. In 1823 Bolyai declared with regard to Euclid's so-called axiom of parallels, "I will draw two lines through a given point, both of which will be parallel to a given line." The drawing of these lines led to the concept of the curvature of space, and this to the idea of higher space. The recently developed Theory of Relativity has compelled the revision of the time concept as used in classical physics. One result of this has…mehr

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Produktbeschreibung
There are two notable emancipations of the mind from the tyranny of mere appearances that have received scant attention save from mathematicians and theoretical physicists. In 1823 Bolyai declared with regard to Euclid's so-called axiom of parallels, "I will draw two lines through a given point, both of which will be parallel to a given line." The drawing of these lines led to the concept of the curvature of space, and this to the idea of higher space. The recently developed Theory of Relativity has compelled the revision of the time concept as used in classical physics. One result of this has been to introduce the notion of curved time. These two ideas, of curved time and higher space, by their very nature are bound to profoundly modify human thought. They loosen the bonds within which advancing knowledge has increasingly labored, they lighten the dark abysses of consciousness, they reconcile the discoveries of Western workers with the inspirations of Eastern dreamers; but best of all, they open vistas, they offer "glimpses that may make us less forlorn."
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Autorenporträt
Claude Fayette Bragdon (1866-1946) was an American architect, writer, and stage designer known for his contributions to the progressive architectural movement and his development of projective ornamentation. Born in Oberlin, Ohio, Bragdon's career flourished in Rochester, New York, where he designed notable buildings such as the New York Central Railroad Station and the Rochester First Universalist Church. Bragdon was influenced by the ideas of Louis Sullivan and Frank Lloyd Wright, but he developed his own concept of "organic architecture" rooted in nature and intended to foster democratic community in industrial society. He believed in harmonizing buildings through regular geometry and musical proportion to create a consensual culture. Additionally, he introduced "projective ornament," a universal form-language based on mathematical patterns abstracted from nature, to unify architecture, art, design, and society. Throughout his career, Bragdon's work showcased his exceptional ink rendering skills and inventive geometric ornamentation. He also pursued a second career as a stage designer in New York City. In his writings, such as "The Beautiful Necessity" and "Architecture and Democracy," Bragdon advocated for an organic Gothic style and explored spiritual topics. While Bragdon's architectural practice waned in the 1910s and 1920s, his ideas found resonance in later architects like Buckminster Fuller. His legacy endures through his contributions to modernist architecture and his emphasis on the integration of geometric pattern with social and architectural design.