True art forms are born from within the integrity evolved from conditions naturally an entelechy. Economy of means to ends producing non-arbitrary genuine form is the true fountain of youth in art. This holds for architecture and sculpture both independently and in union. Architecture and sculpture can both be elevated to a higher realm by their impact on each other when properly fused.

Architecture, perhaps not in a pure sense because of its technical and functional requirements, is sculpture. Its form and materials are similar to sculpture in their consideration. In some instances the architecture can approach pure sculpture, as in Eero Saarinens TWA terminal at New Yorks Kennedy Airport, and for sculpture any vain attempt to live in this environment would appear futile. It would be sculpture within sculpture. This has been one of the chief criticisms of Frank Lloyd Wrights Guggenheim Museum. The architecture is so powerful, the sculptor feels inadequate to compete. Some have argued that architecture should be a simple, flexible background for living. This seemingly simple definition is much too thin, for architecture is itself first an art and as with all art must deal with the spiritual aspects of man. True architecture is unity with integrity of entity space poetically enclosed. Architectures raison d'etre is space. How this space is achieved is what architecture is all about. Space must underlie all architectural meaning, and all other aspects such as structure, materials, and equipment are mere tools and must also be subordinate. Great architecture must be a complete entity through total consideration of parts emphasized in their natural and proper relationship.

The role of sculpture in architecture is counterpoint. The synthesis of architecture and sculpture must be fused into a state of unity and harmony wedded by space. Space, the substance of architecture is also the substance of sculpture. Sculpture, when incorporated in architecture must have the quality of the thing within itself, yet be completely dependent and a part of the architecture. My feeling is that sculpture should be honestly presented as a work of art, not to be confused with the anatomy of the building. Its position, scale, form, color and finish should be controlled by the building in such a way that the statics created reveal both in a harmonizing entity in unity. This is to declare void the traditional idea of bas relief carved on the carcass of the building, which infringes upon the dignity of the intended art as well as the building, much as the distasteful practice of tattooing defaces the human body. All special art forms, whether painting, murals or sculpture, should be emphasized as adjuncts to the architecture, retaining the integrity of both.

Architecture should create the space sculpture command it, if used at all. In command, the sculpture can create the very essence of feeling, for if it is great art, it lives and its being permeates the space and enters the soul of a man. Neither architecture nor sculpture should try to compete with each other, for when in union, the whole should be in repose, not conflict. Great architecture and sculpture never startle but have their innate quality in the genuine born of depth. The aspiration toward the infinite is their task expressed by every means available to man. Great art in perfect harmony architecture, sculpture, painting, music, philosophy is the way to the greatest salvation man can have on this earth.