As is obvious from the opening pages, the ideas presented in this book are based on the work of a number of people and, because of this, we see them as having contributed to it. Foremost among them are our friends and co-workers at New Alchemy. As we have said before, their dedication is the real alchemy and to them we are and shall continue to be indebted. We also mention the happy meeting of minds that took place when we became involved with William Irwin Thompson and his colleagues at Lindisfarne. Of our friends there Drs. Lynn Margulis and James Lovelock, Sim Van der Ryn, Paolo Soleri, and Hunter and Amory Lovins have had a direct and important effect on our work. Architect Malcolm Wells has been an influential voice in persuading us that the design ideas that had arisen in the context of a solar village were universally applicable, and particularly so in an urban context. The Very Reverend James Parks Morton and Pamela Morton of the Cathedral Church of St. John the Divine in New York City have been invaluable allies in helping to dispense our ideas on ecological design and to embody them within the context of traditional Christianity.

Our ability to express our ideas would have been seriously curtailed without those who helped us by portraying them visually. To Jeffrey Parkin as the principal illustrator we owe the translation of biological concepts into applied forms. The talent for conveying transition and succession, being and becoming, is a rare one. Jeff Zwinakis, Paoli Soleri, and David Sellers and his associates have been extremely generous with their illustrations. We are equally grateful to Dan Blackwood for his careful photography of many of the original drawings. To navy architects Richard Newick and Philip S. Bolger we extend our thanks for lending their talents to our water-born projects.

In working directly on the book we wish to express enormous gratitude to Lindy Hough and Richard Grossinger. Lindy has been a creative, exacting, and superb editor. In addition to the work involved in producing the book, Richard never allowed any of us to forget the larger vision that sustains it. Their hard work, faith in the ideas, and friendship have been instrumental to us.

Heartfelt gratitude to the person who typed one's manuscript is a traditional part of almost every author's roster of acknowledgements. In our opinion, however, few typists have been the recipients of pages as ill-typed, corrected, revised, and rearranged as Cynthia Knapp accepted from us. Beyond translating occasionally close to indecipherable markings into immaculately typed manuscript, she gently questioned inconsistencies and redundancies, and generally made us respectable. More remarkable perhaps, she never lost her temper and has remained a valued friend throughout.

We are also extremely appreciative to our other friends and to the members of the Summer Dance Theater who not only have been wonderfully supportive but from time to time have provided enough much needed distraction to bring us back restored to the task at hand. The contribution of Sherry Greene Starr at a particularly critical time was as moving as it was essential.

Finally, to our children and our extended family who have been a part of the household during work in progress, our thanks for being as quiet as the innate volatility of most of us has allowed. While the silence may occasionally have fallen short of the sepulchral, the understand and enthusiasm for our work and the love with which we are surroun has been and always will be the sustaining force.

The rule of no realm is mine, but all worthy things that are in peril as the world now stands, those are my care. And for my part, I shall not wholly fail in my task if anything passes through this night that can still grow fair or bear fruit and flower again in days to come.

Chapter One

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