Claude Bragdon’s architecture can be found across Rochester. In “Alone in the Dawn” Restorationist James Caffrey joins the conversation with more on Adelaide Crapsey, we learned about the murky relationship between Bragdon and famed Rochester poet, Adelaide Crapsey.
In Saying goodbye to the “Downtown: The Way It Was”photos, we saw the triumphant arch Bragdon designed for the homecoming parade of General Elwell Otis on June 15th, 1900.
In The Bevier Memorial Building at Night: Another Dimension of Claude Bragdon, George Cassidy Payne offered a nocturnal look at the Bevier Memorial Building in which he sees “something geometrically flawless.”
Today, George adds to our appreciation.
Genius of Geniuses: An Appreciation of Claude Bragdon’s Architecture, Art, and Design
One of the early 20th century masters of architectural design, Claude Bragdon made an indelible print on the cultural landscape in Rochester. In fact, the First Universalist Church is arguably the artists’ crowning achievement. The Romanesque Revival with its unmistakable pyramidal roofs is one of the most stylistic church buildings in the world.Bragdon’s own religious sensibilities leaned towards Theosophy, which is the attainment of direct, unmediated knowledge of the nature of divinity and the origin and purpose of the universe. Like all of his buildings, First Universalist Church (1907) embodied Bragdon’s beliefs about astronomy, physics, human anatomy, and world history. To examine the building’s exterior is to see a map of the planets. To study the church’s windows is to look through the hour glass of time. And to worship in the pews is to be a participant in a force more powerful than prayers. Yeah, Claude Bragdon was a genius of geniuses. He was a thousand steps ahead of everyone else around him. In books on architectural theory, he wrote masterpieces such as The Beautiful Necessity (1910). In Architecture and Democracy (1918) and The Frozen Fountain (1932), he radically changed the language of entire disciplines.
Always a student of eastern religion, especially the thought of P.D. Ouspensky, Bragdon fell in love with a building design based on the hypercube. To understand the hypercube is to begin to grasp the level of genius that Bragdon was operating at. According to one scientific dictionary, “In geometry, a hypercube is a n-dimensional analogue of a square (n=2) and a cube (N=3); it is a closed, compact, convex figure whose 1-skeleton consists of groups of opposite parallel line segment aligned in each of the space’s dimensions, perpendicular to each other and of the same length.”Not only did Bragdon understand the math, he was able to communicate the math into the most intricate physical details. In structure after structure, Bragdon made the obscure world of numbers translatable into the most marvelous shapes of brick and masonry. He was always a high priest of mathematics who decided to make his esoteric knowledge available in the most public and democratic art form possible. In Bragdon’s words, “only an “organic architecture” based on nature could foster democratic community in industrial capitalist society.” Yeah, Bragdon was that kind of genius. Whether we are talking about his New York Central Station in 1914, the Maplewood YMCA, the Bevier Memorial Building, or Shingleside in Charlotte, as a Rochester artist, Bragdon created a new ornamental vocabulary that has come to represent admiration itself. SEE ALSO