San Xavier del Bac, known as the “White Dove of the Desert,” embodies rich history and spirituality, blending Indigenous and Spanish influences, while remaining a vibrant community centerpiece today.
I remember how the rising sun washes the mission’s white adobe walls in soft gold. Mission San Xavier del Bac stands about 10 miles south of downtown Tucson, on the San Xavier Indian Reservation of the Tohono O’odham Nation.
Before sunrise, I climb Grotto Hill, just east of the mission. A well-worn path and a few stone steps lead upward, passing stations of the cross and a humble grotto shrine nestled in the slope. As I ascend, the soft golden light gathers. Ocotillo stems and saguaros dot the hillside, their long shadows stretching over the desert floor. Reaching the top, I find a lone white cross planted firmly into the rocky soil. The cross is simple, yet it holds a quiet gravity – a silent witness to the prayers and hopes of those who have come here. I stand beside it to catch my breath. Below me spreads the mission complex, glowing white and rose in the gathering dawn. From this height, the scene is breathtaking: the desert expands in every direction, painted in brushstrokes of copper, violet, and gold. The distant Tucson mountains catch the first light. There is a profound peace up here. It’s easy to imagine Father Kino himself climbing a similar hill, surveying this “Water Place” and dreaming of a mission that would stand the test of time.
Often called the “White Dove of the Desert”the church gleams against the wide Sonoran sky, its twin bell towers and central dome radiant in the glow. In this moment, the 18th-century mission seems to hover between earth and heaven – a bright vision in the desert, tethered by history and faith.
I walk toward the old mission, feeling the crunch of desert sand beneath my feet and brushing past creosote bushes and prickly pear cacti. There is a hush here, broken only by a gentle breeze and the distant coo of a dove – as if nature itself respects the sanctity of this place. In my mind I rell that this mission was first founded in 1692 by the Jesuit missionary Father Eusebio Kino, who encountered the O’odham community living at this oasis they called Wa:k, meaning “Water Place”
The springs have long since gone dry, but the name lives on, a reminder that this now-arid land once nurtured life-giving water. The church before me isn’t the original Kino saw, but the one begun in 1783 under Spanish Franciscan friars who raised these walls with the help of O’odham artisans. I marvel that I am standing before a structure over two centuries old – the oldest European-built structure in Arizona– yet still alive with spirit.
Stepping into the courtyard, I tilt my head back to absorb the facade’s details. The ornate Baroque façade is a symphony of carved plaster and painted relief, an exuberant blend of Moorish, Spanish, and Indigenous influences. Faded yet still vivid, saints and angels watch from their niches on the church front. Every arch and cornice is edged in shadow and dawn light, revealing craftsmanship considered one of the finest examples of Mexican Baroque architecture in the United States
The front entrance is flanked by intricate scrolls and whimsical carvings – floral motifs, seashell patterns, and statuary wearing serene expressions. I gently run my fingers along the weathered wooden doors, feeling the grain that generations of hands have touched. Through a crack in the door, I catch a glimpse of the dim interior: candles flicker on the altar and the air carries a hint of melted wax and sweet incense. Thesanctuary seems to exude centuries of devotion. Even outside, I sense a whisper of ancient prayers in the silence.
The Bell Tower in dawn light
As the day progresses, the world feels alive again. A pair of children laugh and chase each other across the dusty plaza, their voices echoing off the thick adobe walls. Nearby, the aroma of fresh frybread lingers – evidence of Tohono O’odham vendors who often set up stands by the church, selling frybread “popovers” and Indian tacos to visitors. This mingling of old and new, sacred and every day, makes the mission feel utterly genuine, the heart of a living community. I see an elderly O’odham woman in a shawl kneel at a side shrine, lips moving in quiet prayer, and I realize that for the Tohono O’odham, this mission is more than a historic landmark. It is a living spiritual home that continues to anchor their community. Indeed, the church is still an active parish that serves the local O’odham families, with regular Masses and gatherings held within its walls
The sense of continuity is palpable – the faith that built this place in the 18th century endures unwaveringly today.
Standing in front of San Xavier del Bac, I feel a personal connection that is hard to put into words. The centuries-old mission glows fresh in morning light. I close my eyes and sense the presence of all who have been here before – the O’odham villagers, the Spanish padres, the countless pilgrims and visitors. In the stillness, time blurs. Past and present mingle in the desert air. When I finally turn to leave, my heart is quiet, uplifted by the encounter. In this sacred and remote place, I have touched a living history and felt the embrace of a peace that transcends centuries. I carry that gentle peace with me into the day, grateful for the memories of light, silence, and the enduring soul of San Xavier del Bac.
Bibliography
Wikipedia. “Mission San Xavier del Bac.” (2025).
National Park Service. “San Xavier del Bac Mission.” (2021).
Patronato San Xavier. “History of the Mission – Timeline.” (2025).
On a crisp October morning in 2017, I was on the cusp of retirement with leisure time to explored the Johnson Museum of Art at Cornell University, with my grandson Sam and his grandmother, Pam, my wife. We were attending a “Let’s Look Baby” event—a wonderful opportunity to introduce young children to art and the world around them. Sam was a toddler at the time, curious and full of energy, and I was eager to share this moment of discovery with him.
The day started on the museum’s upper level, where expansive windows offered breathtaking views of Ithaca, Cayuga Lake, and the surrounding hills. I lifted Sam so he could take it all in, his little hands gripping my arm as he gazed out at the vibrant autumn landscape while Pam captured the moment. The trees were in early stages of autumn—fiery reds, golden yellows, and rich browns—while Cayuga Lake shimmered in the distance, its deep blue surface reflecting the clear October sky. Sam pointed out toward the horizon; his eyes wide with curiosity. I told him about the lake, the hills, and the valley, trying to capture the beauty of it all in words simple enough for him to understand.
The architecture of the Johnson Museum itself framed the experience perfectly. Designed by I.M. Pei, the building’s clean, modern lines allowed the landscape to take center stage. Standing there with Sam, I felt a profound sense of gratitude—for the view, for the moment, and most of all, for the chance to share it with Sam.
Looking southwest over Cornell University and Ithaca, down the Cayuga Lake Valley. West Hill is to the right. Tompkins County, Finger Lakes Region of New York State
As part of the event, we explored the museum’s galleries, moving from one exhibit to the next. The “Let’s Look Baby” program was designed with young children in mind, blending art appreciation with sensory exploration. While Sam was too young to fully grasp the meaning behind the pieces, he was fascinated by the vibrant colors and the textures of the displays. At one point, we stopped by a ceramic vase. Its elegant curves caught Sam’s attention, and I used the moment to talk to him about shapes and forms, pointing out how it was similar to the roundness of a pumpkin or the arc of a rainbow.
Looking South / Southwest over Cornell University and Ithaca, down the Cayuga Lake Valley. Ithaca College is to the left on South Hill. Tompkins County, Finger Lakes Region of New York State
Throughout the visit, I found myself narrating the world to Sam, drawing connections between what we saw in the museum and the beauty of the natural world outside. It reminded me how much there is to learn and how much joy there is in teaching, even if the lessons are as simple as noticing the colors of leaves or the shape of a cloud.
Looking southwest over Cornell University’s Lib Hill and Ithaca, down the Cayuga Lake Valley. West Hill is to the right. Tompkins County, Finger Lakes Region of New York State
We returned to the large windows overlooking Ithaca more than once. From there, I pointed out the landmarks of the city—downtown Ithaca with its steeples, the rolling hills, and the peaceful expanse of Cayuga Lake stretching toward the horizon. Sam listened quietly, his small fingers pointing to whatever caught his attention. I wondered what he was thinking, but I knew this experience, even if he wouldn’t remember it fully, was shaping his view of the world.
Looking to the North / Northwest over Cornell University and Cayuga Heights to Cayuga Lake. West Hill is to the far left. Along the southern lake shore is Stewart Park, the lighthouse, New York State Marina and Cass Park. Tompkins County, Finger Lakes Region of New York State
The day wasn’t just about what we saw—it was about the connection we shared. Holding Sam in my arms, I felt the simple, deep joy of being present in the moment. This was a chance to see the world through his eyes, to notice the details I might otherwise overlook, and to marvel at the way something as simple as a vase or a view could spark his curiosity.
Looking to the North / Northwest over Cornell University and Cayuga Heights to Cayuga Lake. West Hill is to the far left. Along the southern lake shore is Stewart Park, the lighthouse, New York State Marina and Cass Park. Tompkins County, Finger Lakes Region of New York State
As the October sun swept over the landscape, casting warm golden light, we left the museum. Sam was getting sleepy, his little head resting on my shoulder Pam and I shared a quiet contentment. That day at the Johnson Museum is a memory to treasure, a reminder of the beauty in both art and the natural world, and most importantly, the joy of sharing it with someone you love.
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Copyright 2025 All Rights Reserved Michael Stephen Wills
Arcosanti, envisioned by Paolo Soleri, exemplifies sustainable urban living but faces challenges in realization, scalability, and contemporary relevance.
Arcosanti, the brainchild of architect Paolo Soleri, was conceived as an experimental laboratory for urban design and ecological principles—a built embodiment of his vision of Arcology (a fusion of “architecture” and “ecology”). Over fifty years since its groundbreaking in 1970, Arcosanti remains a significant cultural and architectural artifact. However, the meaning and relevance of both Arcosanti and Arcology in today’s context invite critical examination.
The accompanying photographs are a presentation of the history of Arcology from Arcosanti signage
Arcosanti 5000 — Soleri’s Ultimate Vision
Historical Context and the Vision of Arcology
Soleri’s concept of Arcology emerged during the mid-20th century, an era of increasing environmental awareness, urban sprawl, and population growth. His vision was radical: compact, self-sustaining urban environments that minimized ecological impact while fostering human interaction and creativity. Arcology sought to challenge the sprawling, resource-intensive models of urban development that dominate the modern world.
Today’s population of the Earth is about 5 billion people. By the year 2050 the population of the Earth will be 10 billion people.* With the same human condition of today and the same stresses imposed on the biosphere, there would be the need for 2 Earths.
Since the American Dream society has an average per capita “consumption” about 20 times the average per capita consumption of the whole human society, for the 10 billion people of the year 2050 to be “elevated” to the American Dream’s affluence level, there would be the need of 2 x 20 = 40 Planet Earths.
Assuming that by then we all will be twice as efficient in our production-consumption-gratification pursuits, we would need only 19 more planets. Where are we going to get 19 additional Planet Earths?
The American Dream physically embodied in the single-family house has to be scrapped and reinvented in terms which are coherent with the human and biospheric reality.
Toward a Possible Resolution
Only a true, lean urbanization strung along a highly efficient, i.e., frugal logistical grid combining superconductivity-maglev transportation of people and freight, viaducts, aqueducts, power grids, sewage and solid waste grids, etc., compensating for the loss of consumption-gratification unlimited by the way of an intense social, convivial, natural, esthetic, productive, sane life; only such novel structure will be able to translate the American Dream into a democratic, planetary reality.
The alternative, to persist in the dying American Dream, is a planetary-human catastrophe.
The subject matter of this exhibit is about one aspect of the possible resolution. It would couple indissolubly the well-being of Homo sapiens, 10 billion of us, with the well-being of the only planet we can inhabit for the time being.
All statistics based on 1993 United Nations data cited by the Worldwatch Institute.
(signed) Paolo Soleri
Arcosanti was intended to be a prototype—a proof of concept for dense urban living within a minimal environmental footprint. Its design embraced verticality, integration with natural surroundings, and multi-use spaces to reduce resource consumption. Soleri’s philosophy rejected wasteful consumerism and emphasized communal living, self-sufficiency, and harmony with nature.
Arcosanti as a Realization of Arcology
While Soleri’s ideas were visionary, Arcosanti itself never fully realized its original ambitions. Planned to house 5,000 people, it currently accommodates fewer than 100 residents. This gap between aspiration and reality reflects several challenges:
Paolo Soleri had established his residence and studios in Paradise Valley, Arizona, before he embarked on developing alternative urban theories. Although the Cosanti structures are small, Soleri experimented with various innovative construction techniques, including silt casting, to demonstrate effective use of building materials. His imaginative forms were adapted to the desert environment, and Cosanti became the exploratory launching pad for the Arcosanti project.
Scale and Funding: Building a sustainable community of this scale required vast financial and organizational resources. Arcosanti, largely constructed through volunteer labor and workshops, lacked the momentum to expand at the pace Soleri envisioned.
Upon completion of his theoretical work MESA CITY, whose purpose was the quest for an environment in harmony with man, Soleri established the Cosanti Foundation, a non-profit educational foundation. He was determined to continue his investigations into more efficient urban systems. To demonstrate his theories, Soleri proposed an urban-scale community MACRO COSANTI, envisioned for Arizona high desert.
Cultural Shifts: The communal living and austerity championed by Soleri contrast sharply with the consumer-driven values of contemporary society. The rise of globalized capitalism, suburban expansion, and digital individualism has made the communal ethos less appealing to many.
The term ARCOLOGY was coined to describe a series of urban designs for ecologically sound human habitats, as elaborated in “The City in the Image of Man,” published by MIT Press. This thesis outlines the concept of ARCOLOGY and its design variations for different settings. ARCOSANTI was introduced as the last (30th) example of this exercise, and originally planned to house a relatively small population of 500. The physical construction of ARCOSANTI began in 1970.
Technological Advances: Soleri’s designs were innovative for their time, but modern advancements in sustainable technology—such as solar power, green building materials, and decentralized energy systems—have surpassed some of his ideas. Today, sustainable urbanism focuses on retrofitting existing cities rather than building entirely new ones.
The Relevance of Arcology Today
Despite its limitations, Arcology remains profoundly relevant in the face of 21st-century challenges such as climate change, resource scarcity, and urban overpopulation. Soleri’s principles offer a framework to address these crises, particularly through:
The Xerox Corporation sponsored a major Soleri exhibition featuring a series of new arcology designs that suggested a sustainable urban habitat employing alternative energy sources. The project was called “TWO SUNS ARCOLOGY: The Cities Energized by the Sun.” The Arcosanti master plan went through a major overhaul reflecting this methodology. In the following year, PLANT SHOW venues gave Soleri additional funding to update the Arcosanti design. The projected population was increased to 5,000.
Compact Urbanism: Cities worldwide are grappling with the environmental toll of urban sprawl. Arcology’s emphasis on vertical, compact cities with reduced land usage aligns with the modern push for urban densification.
Ten years into the construction of the first prototype arcology, a developmental adjustment was made in order to gain momentum for the project. The CRITICAL MASS concept was introduced as an incremental phase to house 10 percent of the projected population of 5,000. A series of small-scale structures providing various amenities was designed to support a viable community, a critical population of 500 people. This would hopefully function as a springboard to the next major step, the completion of Arcosanti.
Mixed-Use and Communal Spaces: The COVID-19 pandemic underscored the importance of walkable, mixed-use neighborhoods and shared green spaces. Arcology’s model of integrated living and working spaces anticipates these needs.
Sustainability and Circular Systems: Soleri’s focus on minimizing waste and resource use aligns with today’s circular economy principles. Arcology’s ideas resonate with efforts to design cities as closed-loop systems that reuse resources.
The apse initiative was a result of an expanded version of the Third Generation Arcology using Soleri’s signature forms: Apse and Exedra. This initiative suggests possible solutions to the existing urban renewal opportunities (Presidio, Stapleton, Phoenix, and Hanover Expo 2000) as well as hypothetical rural development opportunities. ARCOSANTI 2000 consists of 3 major units. The design was modified later with an addition of SUPER CRITICAL MASS (THE WAVES), three superstructure apses combined and placed behind Critical …
A Philosophical Challenge: Beyond practical urban design, Arcology challenges us to rethink our relationship with the planet and with each other. It invites a fundamental shift from individualistic consumption to collective stewardship.
Critique of Arcosanti Today
Arcosanti, while iconic, serves more as a symbol than a fully functioning example of Arcology. Its limited population and incomplete development highlight key shortcomings:
Lack of Scalability: Arcosanti has not demonstrated how Arcology principles can scale to meet the needs of modern cities with millions of inhabitants.
ARCOSANTI 5000
2001 – present
Developed from the SUPER CRITICAL MASS in ARCOSANTI 2000 with the design elements of NUDGING SPACE ARCOLOGY added, ARCOSANTI 5000 features seven phases of truncated superapse structures. It re-establishes the macro nature of this prototype arcology for 5,000 people. This design is still in development, waiting on the architectural and structural resolutions.
Dependence on External Systems: Despite its aspirations for self-sufficiency, Arcosanti relies on external power grids, supply chains, and tourism, which limits its autonomy.
Cultural Niche: Arcosanti appeals primarily to a niche audience of artists, architects, and environmentalists, making it less accessible or appealing to broader populations.
However, these critiques do not negate its value as a learning tool. Arcosanti’s enduring presence serves as a physical and philosophical case study for those seeking alternatives to conventional urbanism.
A Way Forward?
The future of Arcology lies not in building new Arcosanti-like prototypes but in applying its principles to existing cities and communities. Initiatives such as urban vertical farming, passive solar building design, and car-free city centers echo Soleri’s vision in modern contexts.
Additionally, Arcosanti itself could pivot toward becoming a research hub for sustainable practices, a cultural landmark, or a retreat for those seeking inspiration in Soleri’s ideas. By focusing on education and experimentation, it could remain relevant in contemporary discussions about urbanism and ecology.
Conclusion
Arcosanti and Arcology are more than relics of a bygone architectural movement—they are reminders of humanity’s potential to live in balance with nature. While the practical implementation of Arcology faces significant hurdles, its core philosophy continues to inspire efforts to create more sustainable and harmonious urban environments. In a world increasingly shaped by environmental urgency, Soleri’s vision holds lessons we cannot afford to ignore.
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Copyright 2024 All Rights Reserved Michael Stephen Wills
The desert air was sharp, dry, and oddly invigorating as I stepped into the gallery at Arcosanti, Arizona. The year was 2005, and I had long dreamed of visiting this experimental micro-city—a fusion of architecture and ecology conceived by Paolo Soleri. Amidst the array of sketches, photographs, and miniature prototypes stood the centerpiece of my curiosity: the sprawling, intricate scale model of “Arcosanti 5000.” It was as though the future had been condensed into a tangible artifact, whispering promises of an alternative way of living.
The model was perched on a wooden table, surrounded by blueprints and diagrams. Its sweeping curves and layered structures evoked the natural patterns of a canyon or the unfurling petals of a desert flower. I leaned in, drawn to its labyrinthine details: the arches that seemed to embrace the air itself, the layered grids suggesting terraces and communal spaces, and the towering central spire—a striking focal point that anchored the design. The model was an architectural plan, a vision made tactile, a conversation between the human spirit and the earth it inhabits.
As I circled the table, I tried to imagine life within these walls. Here was the apse architecture that Soleri had championed—a structural form both futuristic and deeply rooted in the land. Its curves seemed to reject the cold rigidity of modern urbanity, embracing instead a harmonious fluidity. What would it feel like to wake up in one of these units, to look out through those sweeping arches and see the desert alive with light and shadow?
The plaque nearby described this design as part of a “Super Critical Mass” initiative, envisioned for a population of 5,000. The model represented an evolution from earlier prototypes, incorporating what Soleri called “nudging spaces”—areas designed to encourage spontaneous human interaction. I thought of my own neighborhood back home, how it felt fractured and isolated by its grids of asphalt and fenced-off yards. Could this model offer a blueprint for healing that divide?
I moved closer, tracing the pathways with my eyes. The tiny staircases, the shaded atriums, the terraced gardens—they spoke of a life integrated with nature, of a city that tread lightly upon its environment. The thought was thrilling, but also sobering. The challenges of realizing such a vision in the sprawling chaos of modern development loomed large in my mind. Could humanity ever truly embrace such radical simplicity?
In that moment, the gallery was silent except for the soft click of my camera. I wanted to capture not just the model, but the feeling it evoked—the delicate balance of hope and humility. The metadata on the image files would later remind me of the precise day and hour I stood there, absorbing this vision of what might be. But no timestamp could fully capture the spark it ignited—a sense that, even in a world burdened by consumption and waste, there remained a path forward, winding like a desert trail through arches of light and shadow.
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Copyright 2024 All Rights Reserved Michael Stephen Wills
The Pulse Bridge model embodies Paolo Soleri’s vision, merging architecture and philosophy to inspire adaptability, connection, and beauty in urban landscapes.
For me room was hushed, as if holding its breath in reverence for the dreams of a man who dared to reimagine not just buildings, but entire landscapes. I stood before the model of the Pulse Bridge, a work envisioned by the inimitable architect and philosopher Paolo Soleri. This was a living, breathing entity in miniature—a whisper of the city’s heartbeat rendered in metal and form.
PULSE BRIDGE is conceived for the New York cityscape and designed so as to alter its own stress configuration according to the traffic loads it carries and the temperature and wind variations. It does not so much react to such stresses as it dynamically adapts to them. This is achieved by suspending the whole structure on two sets of hinges and altering the weight distribution by way of four ballast spheres, constantly changing in weight because of the water volume they contain and is pouring in or spilling out of each. Temperature differential and wind loads will suggest asymmetrical ballast content.
The bridge stretched across the table, a golden ribbon suspended in perpetual motion. Its delicate cables, taut and slender, mirrored the veins of a great urban organism. I leaned closer, catching the glint of light on the brass framework, which seemed to hum with possibility. The slanted pylons, bold and angled at 45 degrees, rose like colossal compass points charting a path into a future yet unbuilt. Their elegant incline gave the structure a sense of poise and power, as though it were both rooted in the earth and ready to leap skyward.
At either end of the model, spherical ballast weights gleamed like captive suns, their surfaces smooth and luminous. These orbs symbolized adaptability, a dynamic response to the unpredictable forces of wind, weight, and weather. Soleri’s genius was palpable in these spheres—each a small, controlled impulse that could tip, pour, or hold water to balance the bridge’s pulse, much like the human heart adjusts its rhythm to life’s demands.
As I circled the model, I noticed how the bridge’s levels—three distinct layers—seemed to invite a diversity of life. The uppermost level promised a vista for pedestrians and the rhythmic flow of cars. Beneath, a middle layer hinted at a mix of vehicles and trucks, and the lowest level seemed destined for the silent hum of trains, utilities, and unseen infrastructure. It was a symphony of movement, each level contributing its own notes to the city’s harmony.
And yet, the most captivating feature was not the mechanics or the engineering marvels, but the philosophy embedded within. Soleri’s vision was not just to build a bridge, but to craft an experience—a structure that could breathe, flex, and adapt to the ever-changing pulse of New York. He imagined the pylons as cultural hubs, housing optical museums, exhibitions on bridge history, and even gift shops. The bridge was as much about connecting people as it was about connecting places.
Standing there, I felt the weight of Soleri’s ambition. The Pulse Bridge was a manifesto, a declaration that utilitarian structures could inspire wonder and nurture life. I imagined walking across its span, the city stretching out on either side, the bridge subtly shifting beneath my feet as it responded to the flow of traffic and the gusts of wind. It would be a conversation between structure and environment, a dialogue that reminded me of the living world we so often take for granted.
The longer I stood before the model, the more I realized it was not just a reflection of Soleri’s imagination but a challenge to our own. Could we build a future where beauty and function danced together, where even a bridge could sing of resilience and grace? The Pulse Bridge dared us to try.
In that quiet room, with sunlight streaming through the windows and casting delicate shadows across the model, I felt the profound allure of what could be. Soleri’s bridge was an idea—a luminous thread connecting visionaries across time, urging us all to dream bigger, build better, and embrace the pulse of life in all its complexity.
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Under a strong early spring desert sun I turned from Arcosanti Road, a ribbon of asphalt threading through the arid Arizona landscape. Ahead, the architectural vision of Paolo Soleri emerged like an oasis of ideas etched into the barren desert. My mind drifted back to the 1970s, to the University of Arizona lecture hall where Soleri, full of vigor, had introduced us to his concept of “Arcology.” That hour left an indelible mark—a vision of dense human habitation harmonizing with the environment, reducing our ecological footprint toward a sustainable whole.
Arcosanti detail
That memory had stayed with me, a beacon of idealism. Over the years, Soleri’s Arcosanti had grown, not with the speed of cities, but with the deliberate rhythm of an organic organism. Today, after decades of curiosity and connection, I found myself at its gates.
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Pam checking her equipment before a Summer 2008 visit
The first steps into Arcosanti struck me with a sense of balance. A sign, simple yet bold, announced the name: ARCOSANTI. It was embedded into a wooden facade, juxtaposed with the rugged modernity of concrete forms. Below, soft plumes of desert grass swayed, echoing the harmony Soleri envisioned—a human footprint gently integrated into the natural world. The sunlit entrance spoke of the potential for design to soothe rather than overpower.
Entrance and a Tower of the Crafts III building
Inside, the bold lines and unique details captivated me. In one space, I craned my neck to admire a ceiling adorned with terracotta-colored circular forms, each embedded in angular panels radiating like the sun’s rays. These circular elements acted as focal points, their symmetry grounding the expansive, textured design. The play of light and shadow across the surface was mesmerizing, a reminder of Soleri’s mastery in turning the utilitarian into the poetic.
Ceramics Apse Sand Cast Panels I
Each space in Arcosanti seemed crafted to evoke reflection. A splash of ochre-red pigment adorned another portion of the ceiling, forming a half-circle bordered by precise ridges. It was more than architectural detail—it was an abstract sun, warm and full of energy, radiating from its place above. The deliberate asymmetry, the interplay of form and texture, seemed to breathe with the desert itself.
Ceramics Apse Sand Cast Panels II
Ceramics Apse Sand Cast Panels III
Walking further, I encountered an outdoor arch framing a bell, its heavy bronze form suspended against a panel of sky-blue. The simplicity was striking: a geometric dialogue between the natural and the constructed, a kind of meditative pause within the bustle of ideas. I lingered, allowing my thoughts to settle as the bell swayed gently in the wind.
Bell and Panel from the Colly Soleri Amphitheater
Bell Casting was and continues to be a major source of income.
Each turn at Arcosanti revealed yet another viewpoint, another carefully composed alignment of architecture and nature. The sweeping views of the Arizona desert, framed by bold circular cutouts, were a reminder of our smallness in the grand scheme of things. The cypress trees standing tall against the rugged cliffs offered a contrast of textures—natural and man-made—that felt uniquely Solerian. His vision was alive in every corner: the terraces, the staircases, the unassuming balance between the earth’s rawness and humanity’s imagination.
View from the East Housing complex to the East Across Arcosanti
As I stood gazing through one of the monumental circular frames at the horizon, I reflected on how Soleri’s ideas, abstract in the present, are also tangible, concrete, and inspiring—literally and figuratively. Despite his passing, the project he began decades ago continues to evolve, a living experiment in how we might reimagine our relationship with the planet.
View to the South with Cypress Trees from a Portal of the Crafts III Building
The journey to Arcosanti is a physical one and a rediscovery of ideals. Soleri’s Arcology—a fusion of architecture and ecology—reminded me of our potential to create something not only functional but also deeply meaningful. Here, amidst the Arizona desert, was proof of a life’s work that still speaks to humanity’s potential for coexistence and creativity.
As I prepared to leave, the weight of Soleri’s vision stayed with me, much like that lecture hall memory from all those years ago. The sun was setting, casting long shadows across the concrete forms. Arcosanti stood resolute, a tribute to one man’s dream and a reminder to all of us: change is not instantaneous, but with patience, vision, and humanity, it is possible.
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Approaching Arcosanti from afar, a cluster of forms rising from the Arizona desert like a mirage of human imagination. Against the cobalt sky, the buildings seemed to breathe with the land itself, their curves and edges echoing the undulations of the hillside. From this distance, the structures were both distant dream and solid reality, their symmetry a whispered promise of order amidst the chaos of the wild.
As I moved closer, the buildings revealed their intricate secrets. Circular windows stared like unblinking eyes, portals to a world shaped by creativity and purpose. Towers and cubes jutted confidently into space, their bold geometry softened by the earthen hues of concrete and weathered wood. These materials, neither foreign nor intrusive, seemed born of the very soil beneath my feet. There was an undeniable rhythm to the place—a harmony where art, function, and the timeless desert converged.
I walked among the structures, their forms towering above me like sentinels of some ancient philosophy reborn for a modern age. The elevated walkways beckoned with a quiet invitation, connecting one sanctuary of thought to another. Circular motifs repeated like a mantra, reminding me of the cycles of life, of the sun and the moon, of the unbroken circles that hold us together. Here, design was not merely a tool but a hymn, sung in concrete and glass.
Then, I turned my gaze outward, to the land that cradled this creation. The desert was alive, though its voice was quiet and deliberate. Rocks, worn smooth by the patient hand of time, rested among tufts of sage and grasses that swayed in the breeze. The light played its own game, casting shadows that danced across the ground, a choreography as old as the sun. Paths meandered through this terrain, their curves a gentle suggestion rather than a command, inviting me to wander but not to conquer.
Arcosanti
The trees stood tall and still, their presence both steadfast and serene. The cypress trees, their slender forms reaching toward heaven, seemed like exclamation points on the landscape, their verdant green cutting through the sky’s azure expanse. Beside them, olive trees spread their silvered arms, their gnarled trunks telling stories of endurance and quiet strength. One cypress, in particular, caught my attention—so perfectly straight, so impossibly regal, as if it had been planted by the hand of a god.
Beneath the olive trees, I paused, tracing my fingers along the bark’s intricate patterns. The sunlight filtered through the leaves in golden shards, dappling the earth beneath with shifting shapes. The air carried the scent of something ancient and vital—a blend of dry earth, sun-warmed bark, and the faintest hint of blooming life. It was a reminder that even in this place of human creation, nature reigned supreme.
I wandered to the edge of a canyon, its rugged walls carved by time’s relentless flow. The raw power of the landscape stretched out before me, a tapestry of stone and shadow that humbled and awed. Here, the boundaries between human vision and natural grandeur blurred. The olive and cypress trees, so carefully placed, seemed less an intrusion and more a part of the desert’s rhythm. They were a bridge, a whispered conversation between what is made and what simply is.
Finally, the paths called me back, their winding lines leading me deeper into reflection. Each step felt deliberate, as though I were tracing the lines of a poem etched into the earth. The trails curved gently, like the desert’s own breath, and I followed, not as an intruder but as a guest. The buildings now stood behind me, a testament to the balance we strive for—between the ephemeral dreams we build and the eternal landscape that cradles them.
This place is a meeting of stone and sky, a meditation: reminding us that, if we listen, the land will teach us how to live in harmony. Here, in the desert’s embrace, I found space to ask better questions, my heart as open and unbroken as the endless horizon before me.
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Copyright 2024 All Rights Reserved Michael Stephen Wills
Discover the world of Florida’s ancient predators through the eyes of the formidable Smilodon fatalis. Step back in time to the Pleistocene epoch and explore the life, habits, and social bonds of the iconic sabertooth cat.
I examined an unusual map of Florida, the contours of its familiar modern shape overlaying a vast, green expanse. The state as we know it today is crisscrossed by highways and dotted with bustling cities, but this map transported me back in time to a very different era. During the Pleistocene epoch, Florida was a wilder, untamed land, teeming with life and dominated by creatures long extinct.
The representation of the land area of Florida state during Pleistocene epoch glaciation is the green shading with the current map of Florida within.
Exploring Brevard (county) Museum of History and Natural Science of Cocoa Florida, I moved to the next exhibit. The air hummed in my imagination with the whispers of an ancient world. A skeletal figure loomed within a glass case – the mighty Smilodon fatalis, the sabertooth cat. Its fearsome fangs curved downward, I imagined standing face-to-face with this apex predator, feeling both awe and a primal fear.
Florida, some 11,500 years ago, was a place of significant climatic shifts. The Pleistocene epoch was characterized by repeated glaciations; however, Florida itself remained unglaciated. The climate was cooler and drier than today, and sea levels were much lower, extending the coastline outward. This ancient Florida was a mosaic of grasslands, savannas, and woodlands. Giant sloths, mammoths, and mastodons roamed these lands, sharing the territory with the formidable Smilodon.
The attendant palque described Smilodon fatalis was about a foot shorter than modern lions but nearly twice as heavy. Its stocky build and powerful limbs suggested immense strength. Unlike the cheetahs and lions of today, Smilodon had a bobtail, indicating that it relied less on speed and more on ambush tactics. I could almost see it now: crouching low in the underbrush, muscles coiled, waiting for the perfect moment to spring upon its unsuspecting prey.
In the reconstructed display, the sabertooth cat’s lethal precision was evident. Its elongated canines were deadly tools designed to pierce and hold onto struggling prey. The lack of a long tail, which modern big cats use for balance during high-speed chases, suggested that Smilodon was an ambush predator. It would have hidden in the dense foliage, its mottled coat blending seamlessly with the shadows, until it launched a surprise attack.
Smilodon was not just a solitary hunter. Unlike modern cats and tigers, which often lead solitary lives, evidence suggests that Smilodon was a social creature. The plaque mentioned the structure of its hyoid bone, implying that it could roar, perhaps using vocalizations to communicate with other members of its group. I envisioned a family of Smilodon, working together to take down a mammoth or defend their territory from rivals. Their social bonds might have been strong, much like those of modern lions.
I was particularly struck by the evidence of healed wounds found on many Smilodon skeletons. These injuries had healed and remodeled over time, suggesting that these cats cared for each other. In a world where every day was a battle for survival, these acts of care and compassion spoke volumes about their social structure. Injured members were not left to fend for themselves but were likely allowed to feed off the kills of others and to be protected by their group until they recovered.
The exhibit painted a vivid picture of an ancient ecosystem. The Pleistocene flora of Florida was diverse, with vast grasslands interspersed with stands of pine and oak. The fauna was equally rich: herds of herbivores grazed the plains, while predators like Smilodon and dire wolves stalked them. This was a land of giants, where every creature had to be strong, fast, or cunning to survive.
As I stepped away from the exhibit, I felt a deep connection to this ancient world. The Smilodon fatalis was a predator and is a symbol of an era that shaped the natural history of our planet. Its bones told a story of survival, community, and the ever-changing dance of life and death.
In the quiet of the museum, surrounded by the echoes of the past, I was reminded of the fragility and resilience of life. The sabertooth cat, with its fearsome fangs and powerful build, was a testament to the incredible adaptability of life on Earth. Though it has long since vanished from our world, the spirit of Smilodon fatalis lives on in the bones it left behind and in the stories we tell about the ancient world it once ruled.
Copyright 2024 Michael Stephen Wills All Rights Reserved
Explore a late winter walk through Cornell University’s scenic campus, discovering blooming snowdrops, historic landmarks, and the striking “Magna Dancer” sculpture. Uncover the beauty and heritage captured in each step of this serene journey.
On the late winter afternoon of March 1, 2024, I decided to take a long walk starting from Cascadilla Park Road, making my way up through the Cornell University campus, and ending at Fall Creek near the Mundy Wildflower Garden before returning to my starting point. The sun was shining brightly, casting long shadows, and the crisp air was filled with a hint of spring. Carrying an Apple IPhone 14 Pro Max smartphone, I set off to capture the beauty and essence of this serene day.
Starting Point: Cascadilla Park Road
The walk began on Cascadilla Park Road, where I was greeted by a delightful patch of snowdrops (Galanthus nivalis) nestled among the glossy green leaves of periwinkle (Vinca minor). These delicate white flowers, blooming despite the chill, were a hopeful sign of the approaching spring. Their pristine petals contrasted beautifully with the dark, shiny leaves, creating a picturesque start to my journey.
These flowers were found in a garden on Cascadilla Park Road, Ithaca, March 1, 2024. Snowdrops (Galanthus nivalis) are among the first flowers to bloom in late winter and early spring, often pushing up through the snow. These plants are known for their nodding, white, bell-shaped flowers and are a common sight in gardens during this time of year. The glossy green leaves belong to a plant known as Periwinkle (Vinca minor). Periwinkle is a popular ground cover plant, often found in gardens due to its ability to spread quickly and form a dense mat of evergreen foliage. It typically has glossy, dark green leaves and produces small, blue or purple star-shaped flowers in the spring.
Climbing the Steps to Steps to Myron Taylor Hall
My path led me up flights of granite steps toward Myron Taylor Hall. As I climbed, I could feel the history and tradition of Cornell University enveloping me. The McGraw Tower bells chimed softly, adding a melodic backdrop to my ascent.
Steep steps leading from a parking lot off West Avenue to the Cornell Law School (Myron Taylor Hall).
Discovering “Magna Dancer”
Reaching the top of the steps, I encountered, at the entrance to Hughes Hall museum, the striking “Magna Dancer” sculpture by Arline Peartree. Its bold red forms stood out vividly against the backdrop of the historic stone buildings. The plaque at the base provided a glimpse into its significance, commemorating the contributions of Cornell alumni. The sculpture’s dynamic lines and vibrant color injected a sense of modernity into the historic setting.
“Magna Dancer” steel and enamel sculpture, 1992 by Arline Peartree. Plaque on the sculpture plinth located outside Hughes Hall (behind Myron Taylor Hall – Cornell Law School), 241 Campus RoadThe Cornell University Center for Advanced Computing (CAC), housed at Frank H. T. Rhodes Hall on the campus of Cornell University, 136 Hoy RoadBarton Hall, 117 Statler Dr, Ithaca, Tompkins County, New York StateIves Hall,B07 Tower Road, Ithaca, NY 14853Ives Hall,B07 Tower Road, Ithaca, NY 14853This art installation is located on the corner of Garden Avenue and Reservoir Avenue near Martha Van Rensselaer HallContinuing my walk through the campus
Winter Buds and the Robinson Herb Garden
Here, I passed through the Robinson Herb Garden, where the late winter buds of a Cornelian Cherry Dogwood (Cornus mas) were beginning to unfurl. These bright yellow clusters heralded the arrival of spring, standing out against the bare branches and muted tones of the garden. It was a reminder of the cyclical nature of life and the resilience of the natural world.
The tree in the photograph with the yellow buds is a Cornelian Cherry Dogwood (Cornus mas). It is one of the first trees to bloom in late winter to early spring, producing clusters of small, bright yellow flowers before the leaves emerge. Cornelian Cherry Dogwood is often used in landscapes and gardens for its early bloom and attractive appearance. This tree grown in the Robinson Herb Garden, Cornell University
Mundy Wildflower Garden and Fall Creek
At Mundy Wildflower Garden, a hidden gem nestled beside Fall Creek, the landscape transformed into a tranquil haven, with the gentle sound of water flowing nearby. Though it was still early in the season, the promise of blooming wildflowers lingered in the air. The garden’s carefully maintained paths and rustic benches invited quiet contemplation.
These steps lead from the Robison New York State Herb Garden to Judd Falls Road and the Mundy Wildflower Garden
Exploring the Common Ferns Display
As I ventured further, I came across a display showcasing common ferns. The display included photographs and names of various ferns, such as the Christmas Fern (Polystichum acrostichoides) and Goldie’s Fern (Dryopteris goldiana). This educational exhibit was both informative and visually appealing, highlighting the diverse flora found on the campus.
Displayed on a display in the Mundy Wildflower Garden, part of Cornell (University) Botanical Gardens.
Observing the Weather Station
Nearby, a weather station stood tall, equipped with various sensors to monitor climate conditions. A sign explained its purpose: to help understand how climate change is affecting plants in the area. The data collected here would provide valuable insights into the phenological changes occurring within the garden.
Traversing the Slope to Olin Library
Returning, I made my way toward Olin Library. The path took me along a steep incline, “Lib Hill,” where I could see the stark branches of deciduous trees reaching toward the sky. The steps seemed to stretch endlessly upward, mirroring the journey of knowledge that students undertake within the library’s walls. The modern architecture of the library contrasted sharply with the surrounding natural landscape, symbolizing the intersection of nature and human achievement.
Approaching McGraw Tower
As I neared the heart of the campus, the McGraw Tower stood tall and prominent, albeit encased in scaffolding for restoration work. The historic building, with its distinctive clock face, was an emblem of Cornell’s rich heritage. Despite the scaffolding, the tower retained its majestic presence, a testament to the ongoing efforts to preserve its legacy.
This view is from Central Avenue. Morrill Hall is on the left. The tower is part of Uris Library. Cornell University, Ithaca, Tompkins County, New York State
Returning to Cascadilla Park Road
As descended the hill, following Cascadilla Creek, reflecting on the six mile journey, I felt a profound connection to the enduring beauty and resilience of both nature and human creativity. The walk had taken me through time and space, from historic landmarks to natural wonders, each step revealing a new facet of the Cornell University campus.
Reflecting on History
My walk took me past a plaque commemorating the site of the first settlers’ log cabin in Tompkins County, built in 1788. The plaque, erected by the Cayuga Chapter D.A.R. in 1927, was a poignant reminder of the area’s deep-rooted history and the pioneering spirit that shaped it.
This plaque on the corner of University Avenue and Cascadilla Park Road Road, “Near this spot in 1788 a log cabin was built by the first settlers of Tompkins County — Peter Hinepaw, Isaac Dumond, Jacob Yaples. Erected by Cayuga Chapter Daughters of the American Revolution 1927
This late winter walk, captured through my lens, was a celebration of the quiet splendor of the season and the enduring spirit of a place that thrives on discovery and growth.
Copyright 2024 Michael Stephen Wills All Rights Reserved
Join us as we explore the enchanting “Treetops” treehouse at Cayuga Nature Center. Discover the joy of hide and seek, and the magic of nature, through the eyes of my grandsons on a serene Sunday morning.
The air was crisp and cool as I strolled hand in hand with my grandsons, Sam and Rory, through the vibrant greens of the Cayuga Nature Center. The leaves rustled gently in the Sunday morning breeze, their whispers the only company we had. It was a quiet, serene moment, with no one else around, and the boys’ excitement was palpable as they chattered about their previous visits.
“Grandpa, do you remember this place?” Sam asked, his eyes twinkling with anticipation. Rory, not to be outdone, chimed in, “We have to show you the treehouse! It’s the best part!”
Their enthusiasm was infectious, and I found myself eager to see this magical place they spoke of. We followed a winding path, each step bringing us deeper into the lush woodland, until at last, the imposing structure of the “Treetops” treehouse came into view. It stood tall and mysterious; an intricate wooden edifice cloaked in the verdant embrace of the forest.
The treehouse was a marvel, its towering form constructed of twisted branches and sturdy planks, blending seamlessly with the natural surroundings. A wooden bridge led up to the entrance, and as we approached, the boys’ pace quickened.
“Let’s play hide and seek!” Rory suggested, his voice echoing with excitement. Sam nodded vigorously, already darting towards the treehouse entrance. “You count, Grandpa!” he called over his shoulder.
I began counting aloud, my voice mingling with the sounds of nature—the chirping of birds, the gentle rustle of leaves. When I reached twenty, I opened my eyes to find the boys had disappeared into the labyrinth of the treehouse. I stepped inside, the cool shade a welcome respite from the sun’s gentle warmth.
The interior was a maze of hidden nooks and winding staircases, each turn revealing a new secret. I could hear the faint giggles of the boys as they tried to stifle their laughter. The treehouse was alive with the echoes of their joy, each sound bouncing off the wooden walls like a symphony of childhood exuberance.
As I navigated the winding paths, I couldn’t help but marvel at the intricate details of the structure. The signs scattered throughout added an educational touch, detailing the lives of the birds and spiders that called this place home. One sign, titled “A Place For Everyone,” explained how each bird species had its niche, much like the boys had found their hiding spots.
“Found you!” I called out, spotting Sam’s bright red shirt from behind a wooden beam. He laughed and dashed off, his footsteps a rhythmic drumbeat on the wooden floor. Rory was next, his giggles giving away his hiding spot behind a thick cluster of branches.
We continued our game, the treehouse transforming into a magical playground where time seemed to stand still. The boys’ laughter filled the air, mingling with the natural symphony of the forest. We explored every corner, from the highest platform with its breathtaking view of the surrounding forest to the dark, cozy nooks perfect for hiding.
Phillips Falls is a picturesque waterfall located on Comstock Creek in view of the Treetops treehouse within the Cayuga Nature Center in Ithaca, New York. The falls are a highlight of the Nature Center, offering visitors a scenic and tranquil spot to enjoy the natural beauty of the area. The waterfall is accessible via the nature trails that wind through the Center’s diverse landscapes, including forests and meadows.
Here are a few key points about Phillips Falls:
Scenic Beauty: Phillips Falls is known for its serene and beautiful setting, making it a popular spot for nature enthusiasts, hikers, and photographers.
Hiking Trails: The falls can be reached by hiking trails within the Cayuga Nature Center. The trails vary in difficulty, providing options for different levels of hikers.
Educational Programs: The Cayuga Nature Center often includes Phillips Falls in its educational programs and guided tours, focusing on the ecology and geology of the area.
Wildlife Habitat: The area around Phillips Falls is home to a variety of wildlife, making it a great spot for birdwatching and observing other animals in their natural habitat.
Seasonal Changes: The appearance and flow of the waterfall can change with the seasons, offering a different experience for visitors throughout the year.
Overall, Phillips Falls is a cherished natural feature of the Cayuga Nature Center, providing both a peaceful retreat and an educational experience for visitors.
After our game, we stood on the bridge, looking out over the creek below. The water sparkled in the sunlight, a serene contrast to our playful morning. “This place is amazing,” I said, turning to the boys. They nodded, their faces flushed with happiness.
“We love coming here,” Sam said. “It’s like a secret world.”
Rory nodded in agreement. “And now you know our secret too, Grandpa.”
As we made our way back down the path, I felt a deep sense of gratitude for this moment, for the chance to share in the boys’ joy and to see the world through their eyes. The “Treetops” treehouse had not only been a place of play but also a bridge between generations, a testament to the simple, timeless pleasures of exploring nature together.
Phillips Falls on Comstock Creek, seen from Treetops
Copyright 2024 Michael Stephen Wills All Rights Reserved
Michael Stephen Wills Photography 