The storm of life shows small signs of abatement, rather of augmentation; yet to a few aloof and clear-eyed watchers there are presages of change. Such discern in the pro found philosophy of Eastern Esoteric Science, one of those counter forces for which De Quincy scanned the horizon of his time in vain.
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Claude Fayette Bragdon was an American architect, writer, and stage designer based in Rochester, New York, up to World War I, then in New York City.
The designer of Rochester’s New York Central Railroad terminal (1909–13) and Chamber of Commerce (1915–17), as well as many other public buildings and private residences, Bragdon enjoyed a national reputation as an architect working in the progressive tradition associated with Louis Sullivan and Frank Lloyd Wright. Along with members of the Prairie School and other regional movements, these architects developed new approaches to the planning, design, and ornamentation of buildings that embraced industrial techniques and building types while reaffirming democratic traditions threatened by the rise of urban mass society. In numerous essays and books, Bragdon argued that only an “organic architecture” based on nature could foster democratic community in industrial capitalist society.