EXPEREINCING ARCHITECTURE

Contents
Introduction..........3 Research concept: .6 Experiencing the city..7 Sidelined on sidewalk........9 Mind the gapplease.....10 The light at the far end11 Tunnels..12 Cathedrals.13 Realizing the concept..14 Bibliography..15

Introduction
Space around me has always intrigued me, fascinated me and invited me. From the earliest memories of my childhood to the present, spaces and forms have carried a deeper significance and association for me. My thoughts linger into the past as I witness those spaces and forms again and everything of the gone by time tends to resurrect itself in my thoughts. We spend quite a lot of our time in our house, our personal space or our corner in this universe. Everyday which we have spent there leaves us with some memories. And though we tend to live in a house everyday, we actually live in those memories and the past which we associate with it. Our imagination helps us in reliving those memories even if we do not live in the same house. The memories and our thoughts keeps the experiences of our dwelling alive for us. in the most interminable of dialects, the sheltered being gives perceptible limits to its shelter. He experiences the house in its reality and in its virtuality, , by means of thought and dreams.
(Gaston Bachelard, The Poetics of Space, Pg.5)

I often go back in my thoughts to the brick and mud house of my grandmother. The bright white lime plastered walls with small windows and red terracotta tiles on the pitch roof, the green painted wooden columns with capitals supporting the roof and the small shelves carved in the walls all are very alive in my memory and I can still walk on the stone paved floor and walk through the house. The smell of the freshly paved walls and floor of the kitchen, the soothing cold of the moist mud cow dung paste under the feet is an experience which is always soothing to my soul. The mud stove, with the firewood and cow dung cakes, sometimes in a blaze and sometimes smouldering with smoke, filling in the eyes and lungs. The sunlight falling on the stove like a spotlight on a performer and truly the stove ran the show there. From the first fire of the early morning to the warm ash in the night, the stove reminds me of my grandmothers recipes which I still savour in my thoughts. The courtyard of the old house takes me back to the warm summer evenings when the family used to come together. The conversations have faded but the laughter still ring in my ears bringing back the joy we shared together. the houses that were lost forever continue to live on in us; that they insist in us in order to live again, as though they expected us to give them a supplement of living. How much better we should live in the old house today!
(Gaston Bachelard, The Poetics of Space, Pg.56)

I wonder now and then if the fire glows in the kitchen and what sounds echo in that house. How can I forget the city I grew up in, Hyderabad, the capital of Indian state of Andhra Pradesh and once settled in by the Nawabs. Marked as its heart by the famous Charminar and busy streets surrounding it like the veins and the busyness of daily life moving through them like the blood pumped keeping the city alive and going. The four high rising minarets, on which the building was named, oversee the life on all the four sides like the guardians of the city. The granite and mortar structure shows the signs of the age, as if the building also grew old along with the city. Walking through those busy streets, I still remember, looking into the small shops on either side with all the whatnots. There are many shops of the bazaar which continue to be in the same old

buildings they started in and there are many more which have sprung up here and there giving the whole bazaar a haphazard feel. There are small shops selling beetle leaves ad tobacco which cling to the walls of the Charminar. All of these together though make a walk in the bazaar a quest but also create a treat for the eyes. To add to the energy there is the light cling of the bangles in the hands of women which manages to find its way to my ears from amongst din of the calls of vendors. It still thrills me while I sit here thousands of miles away. And not to forget the times of festivities when the busyness turns into a crusade and the space which usually sleeps in the night is kept alive with the joy of those times. The new found energy of such times is almost beatifying. One could have found the same hustle and bustle around Charminar during the 16th century when it was built. Nothing seems to have changed since then. The space around it seems to have frozen in time, same people and same markets, closed in that space as if not ready to loose that charm. The charm has a uniqueness to it which can make an outsider feel uncomfortable, as if trying to tell the visitors that they are intruding the stillness which has kept intact the bustling charm. we inhabit the city, and the city dwells in us. When entering a new city, we immediately start to accommodate ourselves to its structures and cavities, and the city begins to inhabit us. All the cities that we visit become part of our identity and consciousness.
(Juhani Pallasma, Encounters, pg 143.)

Equally exhilarating could be an experience when one encounters a space in a different land than of once residence. My first experience of the London City took me through a similar feeling. From the clutter of India to the orderliness, the high rises and the fast pace brought to me a completely novel experience. My transition from a country which is grappling for that pace to a place which was strides ahead. The organised and well maintained roads appear as a contrast to what I have witnessed in India. They seem in a way inviting, asking me to explore the city. Thrilling and scaring at the same, inciting the fear of not being accepted by the city. Rochester seemed to be more accepting with the slower pace as if saying that it would be patient with me. Though it felt depressing when I arrived there in the evening, the stillness of the darkness and the empty streets made me shiver then. Though I have discovered a bit of it, I sometimes feel the same shiver. The stillness and the silence pervade the city now and then. Though, to break the monotony the festivities bring some light and life to the city. The place is all lit up and feels as if it has come out of the slumber for some time. The streets get busy and signs of life finally appear during such times. From the high rises of London to the regular buildings of this place it was change brought about quite fast. From a city changing fast to a city which seems to resist growing taller, Rochester seems to be places contend with it. It reminds me of the story books I read in my childhood with tales set up in small English towns. Rochester was a completely new experience for me. Bricks and greys dominated the color palette. The monotony of the colors of the city was unexpected. Having spent the life till now in India where colors were omnipresent, Rochester was unexampled for me. I have to still get used to the lack of colors though I believe the weather compliments to the monotony. I can not claim that I am well travelled, but whichever places I have been taken to, have succeeded in leaving an experience which is often relived when I think about them. The spaces

and the buildings seem to have a story of their own to tell. I believe I have been a good listener to them and I do remember their tales. And now when I find myself in a new place I try to listen to the silent tales. This project is an exploration, rather a quest to assimilate the tales. Though I wonder how many of us really can understand them but still I seek the answer to a question. What do these motionless spaces and buildings have to say and can we hear them?

Research concept
A building is encountered; it is approached, confronted, related to ones body, moved through, utilized as a condition for the other things. Architecture directs scales and frames actions, perceptions and thoughts.
(Juhani Pallasma, Encounters, pg 60.)

I always found myself in a dialogue with the spaces and structures which occupy them. I tend to observe the silence of the forms and it always succeeds in inciting certain though process inside me. I go beyond the meaning of the form and enter the world where each form and space has an identity beyond the functionality. The reason for very presence of the form becomes the motive and the process of unravelling of the layers of the context of their existence takes precedence. This research is a conscious effort towards understanding the spaces and the forms and deciphering their identity, designed or incidental. I will try and explore the spaces and forms of the city of London and try to understand my personal experiences and perceptions thus formed. The research will generate ideas for further enquiry into the notion of forms and spaces creating experiences which will form base for realization of the concept in the future. As realization of the research, some of those experiences would be relived through mediums unrelated to architecture. The mediums for final realization of the concept are still under exploration. The realization might be through a unique medium or through combination of two. These mediums may range from fashion accessory to installations to graphics and moving images. The final decision on the medium would result from the going on exploration in the direction.

Experiencing city
The city contains more than can be described. A maze of clarity and opacity, the city exhausts the capacity of human description and imagination: disorder plays against order, accidental against the regular, and surprise against the anticipated.
(Juhani Pallasma, Encounters, pg 142.)

Moving through a city is like an exploration. I cut across the city space through sidewalks and streets, on foot and on wheels and experience the ingredients. I come across an assemblage of built forms, landscapes and open spaces and streets, random at times and at times orderly. It appears like a canvas on which the human imagination and necessity paints a different picture everyday, sometimes anticipated and sometimes not. Modern urban life, lived on streets and in apartments and slums, has produced new subjects, solidarities, and meanings. The city-scapeits streets and sidewalks, its public space, the ebb and flow of its crowd, its infrastructure of transportationhas served as the setting for dynamic encounters and experiences.
(The Spaces of the Modern City: Imaginaries, Politics, and Everyday Life, Edited by Gyan Prakash & Kevin M. Kruse, pg.1)

A plethora of forms, each with its own purpose and identity, stand in front of the eyes And as Pallasmaa said, the contemporary city is the city of the eye, we see the city through our own lenses. A tourist sees it as a collection of selected images. An inhabitant sees only those parts which are part of the daily life. Each lens takes us through a different experience. And all of them are not the visual experiences, I hear the sounds of the city, take in different smells, sense a bouquet of textures and the body goes through variety of experiences while I come across different ingredients of the city. There is an assortment of spaces and forms which makes the city. There are houses, offices, colleges, hospitals, eateries, parks, shops etc. and the streets and pathways which take us to these. They together and individually present an experience which is unique. All these experiences collectively form the experience of the city. And this experience is new every day depending upon what ingredients I choose to taste that day. These forms and spaces preserve in themselves the time which has witnessed the history like none else. A modern city is a blend of old and new forms. Though the modern is taking over the old in terms of numbers, still the modern forms strive to stand out of the clutter of old and new by design and construction and the space they hold in and around them. One such example is the Lloyds building in London. It is futuristic looking steel and glass building with a high tech style and gives a sense of crudeness in its unfinished looking exteriors and barrel vaulted atrium. The innumerable details create a sense of discomfort with a sense of clutter all over the building and the cranes on the top add to this unfinished feeling it creates in ones mind. It does inspire awe in the minds of spectators not by the size but by the details and the novelty, which it holds through its features. it inspires individualism by creating contrast with the otherwise boxy contemporary office buildings surrounding it. The building has a sense of aggressiveness, almost brutal, with its glowing steel and glass exteriors like the shine on the blade of a sword. it creates a fear of getting lost in the numerous and almost interlaced elements all around the exterior. a first time spectator is bound to be boggled and almost grappling for steady thoughts.

I confront the city with my body: my legs measure the length of the arcade and width of the square, my gaze unconsciously projects my body on the faade of the cathedral, where it roams on the cronies and the contours, groping for the size of the recesses and projections the city and the body supplement and mutually define each other.
(Juhani Pallasma, Encounters, pg 144.)

I experience the city with all my senses. Different forms and spaces act upon all the senses, some of them appeal visually more and others are sensed more through other senses. Everyday I cut through the city; some parts of it are noticed and most ignored. What escapes are the forms and spaces we encounter, subconsciously, ignored. Some of these are the side walks, the common buildings as offices and the shopping malls, churches and the staircases. I encounter these through eyes and experience them through the whole body, with my muscles and bones. Further in this paper I will try to explore such everyday experiences with commonly encountered spaces and forms.

Sidelined on sidewalk
I start everyday for a different destination, but the path remains the same. Sidewalk. I come across it at different places. Sometimes in blandness of concrete, sometimes stones and bricks occupy me in their mismatched symphony. Sidelined from the cities lifeline, fortunate enough to have its own pace, oblivious of the rush alongside, sidewalks take me to places. I traverse the city through them, socialize, encounter strangers, pleasant and otherwise, take refuge from the madness of the grey strips which run along them, I stumble and I run and not to forget I window shop. I demand sidewalks. An urban theatre for the urbanites, a standardised commodity trying to reinvent, sidewalks communicate, carry a story. The story of the commuters, visitors and the dwellers. The blocks placed together as if pieces of a puzzle, from flagstones to concrete to bricks, they carry the reflections of the life around and on them. Like a mirror they capture the world around them. Seemingly lifeless strips give way to life when grass grapples to find its way out from the underneath, as if reiterating, the unceasing life. Sidewalks, unlike roads, allow us to take measured steps, tell us to be sluggish and look around. Just like parks, they ask us to slow down and feel the city, to experience the world set up on their sides. And its not just the world that is set up around them, sidewalks by themselves create different experiences for us. In his book Experiencing Architecture, Steen Eiler Rasmussen, has mentioned about sidewalks in different countries and how in each country use of different materials for sidewalks creates different experiences for the people, not just visually but physically. He explores how the experience of a concrete sidewalk, a granite sidewalk and a cobbled sidewalk feels different under our feet and makes us feel differently. He tries to explain how the harmony of the sidewalk surface is a pleasing experience and the lack of it creates discomfort for us while we walk.
(Experiencing Architecture, Steen Eiler Rasmussen, pg, 24-26)

How sidewalks affect us physically can be understood by the experience of a skateboarder when he skates over. I glide over a patch of textured concrete. The little grooves running perpendicular to my flight path pluck a note from my board that I can feel in my body. The noise echoes down the ramp then stops abruptly as I return to porcelain smooth concrete. (El Zopilate, Garage Tale, Thrasher, vol. 6 no. 5 (My 1986), p. 26, Quoted by Ian Boarden in
Skateboarding, pg.200)

Walking on sidewalk is like watching a filmstrip, where the picture changes with every step and so does the experience. We go to different places and we see different places, but unlike any other means we choose our pace at which we savour the city. Like we are exiled from the city yet we live it even closely.

Mind the GapPlease

From minding the distance between the busy streets and the sluggish sidewalks, I spring from the fountain of escalators to once again join the fast pace of the city. Tubes create a maze all over the city carrying thousands of people every day to their destinations. And the place which gives access to this unique transportation system is the tube stations. They make their presence felt with the easily identifiable white, red and blue signs. The descending stair cases with the iron railing exports us to the underground world of tube stations. I become a part of the everyday herd which with quick steps move towards the platforms. Standing at the platform and waiting for the tube, amongst the crowd, when all the conversations sound like a hum is a everyday experience. The roar of the swiftly approaching train with the lights from the tunnel makes it seem like a monster emerging from its den. And the moment of wait when the train just stands there without any movement, an indication to prepare ourselves, a ton of anxiety in half a moment. And as the door opens, swarm of people obscure your view when you try to push your way in. Just like a herd of sheep freed from their pens, people struggle to reach the other side. The tube stations witness movement of thousands of people every day and at the same time sulk into the creepy silence. The feeling of claustrophobia gives way to the creepy loneliness. The tunnels, which act as the passage for the commuters, turn into a mysterious path way to an unknown land. Almost like a black hole without giving any inkling about what lies on the other side. It is a place which one might visit every day and find it monotonous and ever changing at the same time. A junction where lives intersect momentarily looses the momentum in the night as if the world has stopped to take a breath. And after this short visit to the alien land, the escalators spring us back to our well known city, so that we can continue our journey.

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The Light at the Far End

They have always invited, intrigued me and I have seen them with a sense of fear. I encounter them on the roads and while on the tracks; tunnels succeed in inciting similar feeling everywhere. The heartbeat fastens at the sight of the approach of a tunnel and the darkness inside thrills and suffocates at same time. But in either of the cases the one feeling that supersedes all is curiosity for the light at the end. The darkness of few seconds or minutes makes me long for the signs of light, hope, as if I have been waiting for it for ages. Though the tunnels are built as passageways, usually underground, and are only meant to be functional, but they succeed in inciting certain emotions. The rabbit -hole went straight on like a tunnel for some way, and then dipped suddenly down, for she had plenty of time as she went down to look about her, and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything.
(Lewis Carroll, Alices Adventures in Wonderland, Macmillan and Co., 1866, pg.3)

The very entry to a tunnel, lighted or dark, creates a mystery in mind. A sense of curiosity takes over; an anticipation of the glow declaring the end of the darkness spreads. While walking through the tunnel, the view around does not change though I keep moving ahead and continuously seek the other end. This creates a certain sense of claustrophobia, of being stuck in a space. Tunnels also excite by the echo of conversations and of the foot steps. As if trying to make me hear my own words and reminding me of the steps I take. They make me revisit my words and force to reconsider them, almost questioning them. Also, can be heard the voices of others though they could not be seen which adds to the anticipation, the curiosity to know the source of the voice. They surround me, cage me in their walls and gives direction to a stray mind. They make me look for that light and the end of it and forget everything else. The tunnel experience: the association of tunnels and the light at its end is so strong with human psyche that people who have been through near death experience describe one of the experiences related to tunnels. They feel being drawn into darkness through a tunnel, at an extremely high speed, until reaching a realm of radiant golden-white light.
(http://www.near-death.com/experiences/research16.html)

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Away from the world and its toils and its cares, I've a snug little kingdom up four pair of stairs.
(The Cane-Bottomd Chair, William Makepeace Thackeray)

We reach our destinations, be it offices, schools, malls, or our houses, what we have to encounter at most these places are the structures which take us inside our desired addresses, staircases. Sometimes they are just a few steps and sometimes they can remind us of the times when we were taught to memorise our numbers. As explained by Pallasmaa in Stairways of the Mind, Encounters, the stairs have the purpose of giving verticality to buildings. Just like sidewalks help in traversing the city horizontally, staircases help experience the built forms vertically. Thus, as the spine runs through our body, connecting it, staircase does the same for a house. The experience is dominantly visual, in terms of an architectural element, though functional, but can be designed to add visual appeal, but taking staircases leaves me with certain physical experiences. As Pallasamaa said in Encounters, the architecture of the stairs, in terms of proportion, greatly affects the effort which we have to put in ascending or descending them. A staircase built proportionally creates an effortless experience unlike the heaviness and discomfort of staircase built otherwise. Ascending or descending a staircase whose other end is submerged in the darkness creates a sense of mystery, makes the mind wander about what lies at the end of them. Its similar to the experience one goes through while travelling through a tunnel. Spiral staircase, as uncommon they are, generate great interest in me. Ascending or descending one makes me feel stationary at the same point though I am continuously moving. And not to forget the vertigo we experience while I take a spiral staircase, leaving the head spinning as if I am taking a ride on a Ferris wheel. Though one need not make such effort for this experience, some times a look down from a high staircase is enough sometimes to enjoy the ride. As per Bachelard, staircases connect different metaphysical realms of the house of dreams. The house of dreams, which is more than modest, hence has added verticality to it. Staircases connect the attic and the cellar and area defined by the polarity of the two. The attic and the middle part define which is pleasant and the cellar represents the darkness and fears of mind. The oneiric house of the mind has three or four stories: the middle ones are used for the normal activities of daily life, the attic is reserved for the purpose of storing pleasant memories, which we occasionally wish to revisit, and the cellar is meant for hiding unpleasant and frightening memories that we wish to bury forever.
(Gaston Bachelard,The Poetics of Space,Pg 25.quoted by Pallasma in Encounters, pg 63.)

Often staircases are associated with dreams. Falling from staircases to unknown depths is a common dream. Also, in reality one of the fears while taking staircases is the consistent fear of slipping and toppling. "Well!" thought Alice to herself, "after such a fall as this, I shall think nothing of tumbling down stairs! Down, down, down. Would the fall never come to an end! "I wonder how many miles I've fallen by this time'?" she said aloud
(Lewis Carroll, Alices Adventures in Wonderland, Macmillan and Co., 1866, pg.4)

Sorrow and joy, in stately silence pass, 12

Across thy walls, the shadow and the light; Around thy lofty pillars, tapers white, Illuminate, with delicate sharp flames, The brows of saints with venerable names, And in the night erect a fiery wall.
(Joyce Kilmer, The Cathedral of Rheims, Main Street and Other Poems, http://www.everypoet.com/archive/poetry/Joyce_Kilmer/Joyce_Kilmer_main_street_the_cathedral_of_rh eims.htm)

The high rise of ceilings, the arches low and high, the stain glass windows and the play of light filtering through are enough to paint the picture of the place for rendezvous with the creator. The grandeur, the calmness that intrudes every corner of the building engulfs one who steps inside as serenity takes over. The silence, omnipresence, helps to calm the mind and lets me feel at peace. The herd of the city seem to find a Shepard once inside a cathedral, as if some invisible power has taken our reign and we all submit to it without protest. The rare discipline followed can be described as flawless. makes you feel something in the pit of your stomach. I dont know any other way to describe it. It is a sense of awe and contentment, somehow joined, and you feel as if you have been jolted into a higher level of perception than you normally have. If architecture is ever able to bring you to a state you might describe as resembling nirvana, it will almost surely be because of a space you are in, not because of the faade you are looking at.
(Paul Goldberger, Why Architecture Matters, pg.112)

Though the grand architecture of cathedrals dominates, it is the aura inside them, created by the silence and the play of light play important role in creating the experience. It also evokes a sense of nostalgia; strangely about the past not experienced by one them. It forces one to think about the times when the building was built, the people who built it and of the grandeur when the building was at its prime. The residual colors on the walls, the cracking frescos and the signs of erosion and cracks on the walls add to the sense of them as a witness of time for long. It was, besides, a repository of centuries of memory and tradition embodied in its walls and objects; the walls were marked by the discoloration of ages and crumbling stones.
(Anthony Vidler, The Architectural Uncanny, pg.18)

Ironically, the same pleasant and peaceful place in daytime can turn equally unsettling once the night sets in. the dark shadow of the grand form against the blue of the night with the moon shining as contrast, seem intimidating and gives an eerie feeling. The same paths that promise to lead to the creator appear daunting and uncanny. The house, like man, can become a skeleton. A superstition is enough to kill it. Then it is terrible.
(Hugo, Les Travailleurs, Pg.51, quoted by Anthony Vidler, The Architectural Uncanny, pg.20)

This feeling of uncanny has nothing to do with the structure but our memory of the tales where a house becomes haunted in the dark with the contour against the dark sky. These tell-tale signs of haunting systematically culled from his romantic predecessors can be attributed to the literary fantasies which we are made accustomed to from the childhood through the fairy tales. This versatility is not a character of the cathedrals but is created by the versatile nature of the day which sets into night and darkness giving a new and less inviting face to the cathedrals. But as always, the day sets in and the pleasantness takes over.

Realizing the Concept

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The process of realizing the concept started with the study of different movements of modern architecture as formalism, functionalism with emphasis on deconstruction and the architects like Le Corbusier, Frank Lloyd Wright and Frank Gehry. The work of these architects was explored through secondary research to understand the expressions from their works of architecture. This was primarily done to establish the fact that architecture could be not only functional but could also have deeper connotations. The motivation behind their designs and the expression intended by them through their works was studied. I explored the city of London and visited certain selected modern buildings. I tried to understand the stories behind these buildings and recorded my first hand experiences with these buildings and explored through my experience the emotions these forms intend to communicate. During this exploration I happen to visit tube stations to travel to these places. The time I spent at tube stations, made me realise that the tube stations create a certain experience for us not just by the way they are built but also by the character of the space they encompass. This experience gave a new direction to the research where I tried to explore common spaces and forms to understand the experiences they create. Another common space which interested me was the sidewalk. I realised that while walking on sidewalks I came across different experiences and do encounter the world set on their sides. The contrasting pace of the sidewalks to the city is almost like an opportunity to take time and enjoy the carnival of the city space and life. From my personal experience, I realized that common structures like staircase have the ability to create unique experiences for me. I realised that such common forms and spaces, like under bridges and tunnels, which are easily ignored after initial visual contact, do have certain experiences in store for us. These emotions were translated into simple graphics, geometrical forms and lines. The medium was chosen because of my personal inclination and also due to the fact that graphics are strong tool for communication. Graphics have been used as a medium for communication since the time the human shelter was limited to the caves. There are numerous wall paintings which can be witnessed in caves around the world which where used to depict the daily life and the culture of the related group or tribe. Graphics, as a tool for visual communication, has the ability to transcend all language barriers and tend to act as a universal language. Graphics, are not just an alternate medium of communication, they can be very effective expanding information without being descriptive through words and in a much more interesting manner. The concept of undergoing certain experiences, while witnessing built forms and spaces, was further studied through the thoughts of authors and theorists like Juhani Pallasmaa, Peter Zumthor, Steen Eiler Rasmussen, Gaston Bachelard, Ian Boarden, Paul Goldberger and Anthony Vidler. This process further strengthened the concept in terms of new ideas and theoretical support. I explored further the graphics route by attempting to transform these graphics into three dimensional states. The possibility a fashion accessory or an installation was explored for the purpose. The idea to develop three dimensional forms is still being explored but to take the realization further, the medium of moving images is being explored. Moving images or movies are a strong medium for communication as they let the viewers undergo similar visual experience which one has encountered first hand. The movie will incorporate clips recorded at different places in London and Rochester along with some graphics to further enhance the communication.

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Bibliography
Vidler, Anthony. (1992). The Architectural Uncanny, The MIT Press, Cambride and London. Goldberger, Paul. (2009). Why Architecture Matters, Yale University Press, New Haven and London. Bachelard, Gaston. (1994). The Poetics of Space. Beacon Press, Boston, Massachusetts. Pallasmaa, Juhani. (2005). Encounters, Rakennustieto OY (Building Information Ltd.), Helsinki, Finland. Pallasmaa, Juhani. (2005), The Eyes of the Skin, Wiley-Academy, Chichester, West Sussex. Rasmussen, Steen Eiler. (1962). Experiencing Architecture, The MIT press, Cambridge, MA. Carroll, Lewis. (1866). Alices Adventures in Wonderland, Macmillan and Co., London. Prakash, Gyan & Kruse, K.M. (2008). The Spaces of the Modern City: Imaginaries, Politics, and Everyday Life, Princeton University Press, Princeton, New Jersey. Web Links:
http://www.everypoet.com/archive/poetry/Joyce_Kilmer/Joyce_Kilmer_main_street_the_cathedral_of_rh eims.htm http://www.near-death.com/experiences/research16.html

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