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From YouTube: Let's Talk About Anthony Lord
Description
Friends of Anthony Lord gather to discuss his art and life at this event hosted in the Lord Auditorium at Pack Memorial Library Friday, August 28, 2014.
A
A
We
will
end
the
program
with
memories
of
conversations
shared
with
john
warner
and
there'll
be
a
chance
for
questions
and
answers,
but
first
we
will
travel
down
the
roads
where
lord's
interest
and
curiosity
took
him.
Elizabeth
costeva
will
talk
of
the
book
she
co-authored
with
tony.
The
good-natured
chronicle
of
a
journey.
A
A
B
B
B
I've
known
anthony
lord,
for
as
long
as
I
can
remember,
and
I've
been
wanting
for
years
to
interview
him
to
put
his
wonderful
voice
and
stories
on
tape.
This
afternoon
I
sat
down
in
the
cool
cavern
of
his
living
room,
267
flint
street
asheville
north
carolina
with
lord
across
from
me,
and
a
microphone
between
us.
I
can't
believe
we're.
Finally,
starting
this
and
everything
he's
read,
thought
about
sorry,
I'm.
I
can't
believe
we're
finally
starting
this.
In
fact,
I
want
to
interview
him
about
everything.
B
B
B
Perhaps
rehearsing
as
if
for
a
long
running
play,
he
flexed
his
fingers
together
sitting
up
straighter
in
the
deep
chair
testing
testing
testing,
he
told
the
microphone,
then
I
asked
my
first
question
and
we
plunged
in-
and
I
recorded
later
in
the
book
that
frequently
I
would
ask
a
question
an
hour
and
he
could
just
go
and
he
had
one
of
these
amazing
memories.
He
can
remember
what
he
the
picture
on
the
label
of
a
bottle
of
wine.
B
Lord
said
today
that
one
of
his
only
regrets
about
this
marvelous
voyage,
one
that
lingers
obviously,
is
that
he
didn't
keep
a
journal
while
he
was
traveling
except
for
sketches
and
photographs.
I
never
made
any
record
of
the
thing
he
told
me
during
our
break
shaking
his
head.
You're
doing
it
now.
I
point
out
he
laughs.
Well,
that's
right!
Yes,
I
guess
that's
true
and
now
I'll
read
you
a
passage
in
his
voice,
which
is
one
of
my
favorites
in
this
book
from
france.
B
Bayer
was
well
worthwhile.
The
cathedral
there
had
two
west
towers
on
the
same
design
as
the
southwest
tower
of
chartres,
which
has
that
very
cagey
transition
from
square
to
octagonal
and
works
so
beautifully.
The
transition
is
so
smooth
and
so
wonderful.
They
must
have
been
over
to
chartres
and
said
that
looks
pretty
good.
If
we're
going
to
do
it
better,
do
it
that
way-
and
I
remember
they
didn't
lock
a
door
in
that
church
bless
their
hearts.
B
Every
door
was
unlocked,
and
by
that
time,
with
all
this
burglary
we've
done,
we
never
failed
to
try
door
handles.
Whenever
we
got
the
chance
in
all
ecclesiastical
buildings,
we
always
tried
every
door
we
came
to
because
very
often
they
were
not
locked.
They
often
let
you
into
wonderful
places
where
I'm
sure
you
weren't
supposed
to
go
at
all,
but
they
had
all
kinds
of
interesting
things
in
them.
B
So
we
got
into
those
towers
in
bayer
they
had
the
usual
little
circular
stairs
and
those
stairs
had
been
completely
worn
out.
There
was
just
a
trough
down
the
middle
of
them,
so
you
had
to
scramble
at
the
thing
best
way
you
could
and
the
pigeons,
I
regret
to
say,
had
been
living
there
since
the
place
was
built
and
they
added
a
great
deal
to
the
complexity
of
climbing
the
towers.
B
B
You
know
so
that
you
see
the
stone
vaulting
from
the
top
side,
which
is
a
novel
thing,
and
you
see
from
above
all
these
vaults
that
you
would
normally
be
looking
up
at
they
spring
up
so
wonderfully,
and
when
you
get
on
the
upper
side,
you
see
them
disappearing
down
below
you
and
it's
marvelous
and
in
the
centers
of
these
bays,
where
the
ribs
and
the
vaulting
would
normally
intersect.
At
the
top,
there
was
an
oculus.
There
was
an
opening
with
a
collar
around
it,
and
all
the
ribs
ended
against
this
collar.
B
You
see
and
the
oculus
was
covered
with
a
thing
like
a
mortar
board.
I
remember
very
cautiously
lifting
that
thing
and
looking
down
about
70
or
80
feet
to
the
congregation
below
yeah,
I
mean
you
can't
have
it
any
better
than
this.
You
know
it
doesn't
get
any
better
than
this
for
somebody.
Who's
really
interested,
really
cares
about
this
stuff
and
knows
how
it's
supposed
to
work
and
sees
it
proven
before
his
eyes.
The
joy
of
this
exploration,
my
gosh,
it
was
wonderful,
wonderful,.
B
B
It
was
kind
of
a
rude
awakening,
but
he
brought
with
him
from
this
trip
much
that
he
gave
to
downtown
over
the
decades
later
on
the
plane,
trees.
He
loved
and
saw
in
french
squares
a
vision
of
public
life
in
public
squares,
which
we've
tried
to
preserve
and
recoup
here
and
which
is
an
ongoing
movement
in
asheville.
B
B
B
B
I
took
some
pictures
of
myself
at
home
before
removing
the
beard
and
those
pictures
were
recovered
by
peggy,
gardner
and
printed
in
this
book.
It
was
1928
and
bust
had
hit
asheville
already,
but
it
had
been
very
fun.
Very
wonderful,
I
think
travel
is
an
education
in
itself,
but
not
if
you
run
here
and
there
snapping
up
sights,
you
have
to
stop
and
look
around
you
pretty
hard.
C
C
C
C
This
the
knowledge
of
this
sort
of
came
about.
Well,
he
never
made
a
secret
of
it.
Just
he
didn't
talk
much
about
it.
I
spent
many
days
with
him,
sometimes
moving
things
around
in
his
shop
and
garage
and
in
the
garage.
All
of
his
blacksmith
tools
were
still
laid
out
on
a
double
shelf
and
he
had
even
saved
the
stove
pipe
from
the
forge.
It
was
right
there
too.
C
I
had
no
use
for
them,
but
I
I
collect
stuff
well.
Bob
brunk
at
some
point
had
decided
to
write
a
book
and
ask
me
to
write
on
rafael
rostovino
for
his
first
volume,
which
I
did
and
he
gave
a
tremendous
party
when
that
book
came
out
and
driving
back
from
and
and
he
also
announced
he
was
doing
another
volume
and
and
start
thinking
of
things
to
write
about.
Well,
it
was
such
a
great
party
that
I
went
well.
C
C
Lord
became
a
blacksmith
because
of
the
depression.
I
think
one
reason
he
didn't
talk
about
it.
Much
was
he
he
thought
of
himself
as
an
architect
as
well
as
some
other
things,
but
not
so
much
a
blacksmith.
It
was
a
commercial
need,
there's
very
little
architecture,
work
done,
especially
in
asheville
after
the
crash,
and
but
there
was
some
in
the
nation.
The
the
big
universities
and
the
churches
that
had
either
endowments
or
patrons
that
would
pay
for
projects
were
doing
some
building
and
neo-gothic
on
the
universities
was
very
popular.
C
Then
so
architectural
iron
work
fit
right
in
with
that
had
he
needed
work
after
world
war
ii.
This
probably
would
not
have
worked.
He
would
have
had
to
have
come
up
with
some
other
design,
but
he
was
able
to
produce
architectural
iron
work
for
three
big
projects:
yale
university,
the
national
cathedral
in
washington
dc
and
all
saints
episcopal
in
worcester
mass.
C
C
And
it
was
a
good
business
to
get
into
for
someone
without
a
lot
of
money,
because
all
you
needed
were
you
needed
coal,
you
needed
iron,
you
needed
to
be
able
to
design
something,
and
then
you
needed
men
with
hammers
to
pound
on
it
and
he
was
paying
a
blacksmith.
Then
daniel
boone,
for
instance,
one.
D
C
He
was
particularly
fortunate
in
the
fact
that
james
gamble
rogers
was
the
chief
architect
for
yale
at
this
time,
rogers
preferred
to
have
yale
graduates
working
on
architecture
and
yale
campus,
and
I'm
sure
he
was
fine
having
a
yale
graduate
as
a
blacksmith.
There
also
lord
also
had
an
engineering
degree
from
georgia
tech,
so
he
brought
a
number
of
skills
together.
There.
C
C
He
competed
with
perhaps
the
best
known
blacksmith
in
the
20th
century.
It
was
samuel
yellen.
He
competed
on
all
his
all
of
those
projects
I
mentioned.
Yellen
was
competing
against
him.
Often
under
bidding
him,
sometimes
at
a
loss
to
keep
his
shop
going
and
to
keep
his
men
at
work.
So
it
was,
it
was
I'm
sure,
very
difficult
for
lord.
C
He
yellen
would
get
the
the
making
of
a
gate
that
probably
cost
thousands
and
thousands
of
dollars.
There's
a
very
fine
one
at
yale
and
lord
would
get
to
make
the
the
hinges
and
the
door
bolts
and
the
hinge
straps
and
very
relatively
minor
things.
A
few
lanterns,
but
not
the
not
the
big
work,
the
if
you're
interested
the
the
colleges
at
yale
where
his
work
is
found
is
they
are
jonathan
edwards
college
trumbull,
college
brantford
and
saybrook
and
harkness
hall.
D
C
Rogers
was
designed
for,
and
so
the
this
money
was
went
directly
to
yale.
Lord
was
able
to
promote
his
work
as
a
photographer.
First
as
a
as
a
sketcher,
he
could
design
design
the
work
he
would
execute
it
or
had
it
executed.
He
would
photograph
it
and
there
are
some
little
cards
of
photos
that
he
would
hand
out
with
his
his
business
on
the
name
and
on
the
back,
and
he
also
wrote
an
excellent
letter.
He
clearly
either.
He
was
a
very,
very
good
letter
writer.
C
He
spent
time
over
and
and
often
very
humorous
relations
to
the
the
architects
when
he
was
seeking
work
or
inquiring
about
work.
So
he
brought
a
number
of
skills
together
to
make
make
that
a
success.
In
fact,
it
may
be
because
of
his
diverse
the
diverse
influences
within
him
that
he
he
was
able
to
make
this
a
success.
C
C
He
once
told
me
he
wished.
He
had
studied
blacksmithing
more
had
more
instruction
in
it.
He
was
largely
self-taught,
I'm
sure
he
was
instructed
in
the
lumber
cam.
But
beyond
that
largely
self-taught,
and
I
at
the
time
warren
wilson
was
reading,
thoreau
and
I
instantly
said
well
but
thoreau
said
who
will
know
more
a
young
man
who
has
studied
blacksmithing
for
a
month
or
a
young
man
who
has
been
blacksmithing
for
a
month,
and
he
liked
that
very
much.
E
Hello,
hello,
thank
you
for
coming
this
evening
and
being
curious
and
honoring.
Tony
lord.
I
feel
like
it's
completely
unfair,
because
the
two
previous
speakers
both
had
notes
and
they
held
up
books.
They
had
done,
and
I
have
neither
well.
There
are
books
that
I've
done.
If
you
I
have
to
I'll
give
myself
this
little
plug.
E
E
He
of
course
was
80
years
old.
He
was
born
in
1900.
You
could
always
tell
laurie's
age
and
I'll
refer
to
him
as
lordy,
because
that
was
our
nickname
from
our
our
beloved
sort
of
nickname
for
him
thanks.
You
already
got
it
up
there.
What
I
want
to
bring
out
tonight
as
lordy
and
I
and
and
myron
gager,
who
was
a
host
to
many
of
the
meals
that
we
had
together.
E
E
The
architecture
of
america
is,
I
have
to
refer
to
it
as
post
and
lentil
is
right
angle
and
the
truth
of
the
matter
is:
there's
no
such
thing
in
nature
as
a
right
angle,
we
get
it
from
the
greek
side,
those
guys
just
set
us
up.
I
mean
look
at
what
your
body
is:
there's
not
a
single
right
angle,
and
these
chairs
bless
them.
E
E
I
had
issues
with
photography
being
an
artist
and
knowing
how
the
camera
really
took
over
and
has
come
to
dominate,
who
doesn't
have
a
camera
in
this
room
right
now,
who
couldn't
pull
out
a
camera
right
now
and
photograph
and
record
what's
going
on?
That's
that's
a
contemporary
thing,
but
when
you're
in
europe
and
whenever
I
went
to
europe,
I
did
not
take
a
camera.
E
I
took
a
sketchbook
tony,
and
I
had
a
very
similar
attitude
in
the
saying
that
to
draw
is
to
know
to
sit
there
and
study
something
really
put
it
down
on
paper
either
in
a
drawing
or
in
a
watercolor
such
as
he
used
and
we'll
talk
about
the
watercolors
there's,
not
so
many
oil
paintings.
I
don't
think
the
watercolors
were
were
special
and
a
special
for
this
young
man.
E
America
had
all
these
new
new
materials
new
kind
of
architecture,
even
though
it
still
was
based
on
european
architecture
as
well,
but
it
was
brand
new
200
years
of
brand
new.
We
are
a
young
people
here.
Even
the
oldest
of
us
are
young
that
live
here
compared
to
the
europeans.
You
get
that
feeling,
but
he
would
sit
down
with
a
sketchbook
or
with
his
watercolor
pad
and
study
how
the
relation
to
the
relationships
of
angles
and
light,
and
he
made
you
have
to
take
into
consideration
that
none
of
these
pieces
are
large.
E
Whenever
you
look
at
the
watercolors
of
turner
or
delaqua,
whenever
he
was
in
french
algiers,
which
is
where
tony
went
as
well,
they're
small
there's
there
everything
is
and
look
at
vincent
van
gogh's
oil
paintings.
He
does.
He
didn't
have
a
studio.
He
had
to
carry
this
pack
on
his
back
or
his
painting
box.
So
did
lord,
he
had
a
painting
box
that
he
used
as
a
for
a
pallet
and
has
carried
his
colors
around
in
his
what
he
called
oh
yeah,
brushes
too.
E
So
he
would
use
all
of
these
things
are
small,
but
that's
that's.
That
was
the
portability
that
was
gave
you
the
ability
to
move
around
and
make
it
light
and
easy
to
carry
and
easy
to
pack
when
you
went
home.
Believe
me,
that
makes
a
lot
of
a
lot
of
difference
in
a
trip
to
europe.
You
don't
want
to
take
anything
large
and
you
don't
want
to
pack
anything
large
coming
back.
E
So
the
the
another
thing
is
that
he
he,
along
with
these
these
buddies
of
his
that
take
this
sort
of.
I
consider
you
know
a
real
adventure
and
elizabeth
brings
us
out
and
the
recordings
of
tony's
voice
and
his
stories
that
he
told
and
really
remembered
he
was.
He
was
this
new
person
when
he
got
there
and
a
young
man
very
excited
about
what
he
was
seeing
and
they
were
so
bold
as
to
just
like
sit
down
somewhere
and
draw
something
or
paint
it.
E
E
What
we
see
here
is
a
first-hand
reaction
to
the
things
that
he
saw
not
through
a
camera,
but
through
his
eye
and
through
his
hand,
he
truly
was
a
renaissance
man.
He
knew
drawing.
He
was
technically
a
skilled
at
drawing
his
architecture.
Of
course,
his
iron
work,
his
photography
and
just
himself.
He
was
a
golden
person.
I
mean
golden
and
every
minute
that
you
spent
with
him.
It
was
like
learning.
E
Whenever
we
look
at
his
watercolors,
we
go
back.
Just
one
you'll
see
that
that
maybe
I
might
speculate
myself
that
this
is
early
on
in
his
trip
his
this
is
an
architectural
student
from
yale
how
technical
and
how
how
tight
would
his
drawings
have
to
be?
I'm
not
I'm
talking
about
really
right
angles.
I
thought
you
got
a
pencil
on
paper
and
it
being
accurate
and
exact.
It
would
have
to
be
that
way,
graduating
in
architecture
from
from
yale.
E
He
has
this
real
freedom
to
explore
and
look
at
not
only
technically
how
things
went
together,
which
was
must
have
been
amazing.
I
want
to
point
out
here:
arches
columns
and
arches
make
up
european
architecture.
I
guess
right
some
right
angles
that
have
shifted,
but
you
would
never
you
never
become
so
aware
of
arches
and
how
the
genius
of
rome,
the
romans
until
you
go
through
europe
and
see
how
much
of
it
still
stands
is
still
in
use.
E
He
was
taught
watercolor
to
some
degree,
I
think
by
his
aunt,
which
I
just
found
out
tonight,
but
this
must
have
been
like
such
a
liberation
for
this
student
who
had
been
confined
or
to
these
requirements
to
finishing
a
certain
kind
of
degree
and
coming
up
to
a
certain
level.
Here
he
sees
these
new
forms.
He
sees
light
different
kind
of
light,
but
watercolor
watercolor
watercolor
is
one
of
the
most
difficult
mediums
in
painting.
E
E
If
there's
a
puddle
or
something
you
have
to
deal
with
it,
because
water
wins
out
and
tony's
respect
for
how
watercolor
worked
with
the
medium
of
water,
how
it
ran,
how
it
soaked
into
the
page,
the
the
natural
textures
that
he
achieved
by
just
letting
it
soak
and
become
that
texture
of
the
stone
or
the
surface
of
the
wall
he
found.
I
don't
know
if
he
already
knew
it,
but
you
have
to
say
that
after
his
technical
work
and
tight
technical
work
at
yale,
this
was
something
he
would
if
you'll
change.
E
This
was
something
he
would
enjoy.
This
is
a
and
whenever
you
go
your
first
trip
to
europe
and
I'm
sure
many
of
you
have
been
there,
but
if
you're
an
artist
with
a
sketchbook
and
yes,
you
could
take
a
ca,
you
could
take
the
camera,
but
we
don't
see
many
wine
barrels
around
anywhere.
Even
during
the
lordstown
and
and
this
structure,
the
juxtaposition
of
the
circular
shapes
one
against
the
other,
the
volume.
This
is
a
marvelous
little
drawing
he's
done
here
of
this
wine
barrel.
E
That's
obviously
a
cart
drawn
by
a
donkey
or
something
the
freedom
of
that
sketchbook
allows
you
to
stop
you
just
make
yourself.
Stop
you
see
something
you
stop
you
draw
it.
You
know
it
if
you'll
change
again
and
every
doorway
every
every
sort
of
contrast
of
light
to
dark.
Tony
god
got
it.
He
found
it.
E
You
see
here
that
he's
not.
You
can
compare
the
drawings,
the
type,
the
type
quality
of
the
drawings,
because
that's
a
pencil.
You
have
to
hold
it's
a
point,
but
with
the
watercolor
it's
so
fluid
he
must
he
had.
If
you
ever
visited
with
lord,
he
had
this
particular
habit.
If
something
had
thrilled
him,
he
made
this
sort
of
sound
like
you
like
that,
and
one
day
he
whenever
I
shared
my
watercolors
with
him
and
he
said,
keep
it
loose,
keep
it
loose.
You
know
we
just
get
very
excited
about
this.
E
The
quality
and
the
possibility
of
what
watercolor
could
do.
If
you
see
a
lot
of
watercolors
and
people
who
struggle
with
watercolors
and
they're
trying
to
make
realistic,
very
realistic
images,
it's
almost
denying
the
medium
itself.
If
you'll
go
ahead,
he
had
he
had
the
opportunity,
and
here
we
see
the
same
michelle
right.
E
Yes,
the
whole
title
of
this,
this
incredible
church,
that's
built
out
past
the
tide
that
is
only
accessible
at
low
tide,
and
sometimes
it
not
even
then,
is
one
of
the
great
monuments
of
france.
And
can
you
imagine
the
first
time
he
comes
up
on
this
and
sees
it
he
sits
down
when
he
sits
down
with
that
watercolor
pad
and
he's
he
wants
this.
He
visited
this
place
again
later
on.
E
I
think
a
couple
of
times
his
life
is
one
of
his
favorite
places,
but
look
at
how
it's
almost
an
abstraction,
the
the
fluidity
of
the
watercolor,
the
darks
there
become
almost
shapes
unto
themselves.
This
is
as
a
painter
myself.
I
see
not
an
architect
here.
I
see
a
painter.
This
is
why
I
agree
very
much
with
the
renaissance
renaissance
aspect
of
this
particular
person.
E
If
you'll
go
ahead,
another
drawing
there's,
he
goes
in
and
visits
his
church
and,
of
course,
he's
got
descriptions
of
the
churches
he
visited
and
verbal
descriptions
that
he's
talked
about,
but
the
drawings
are
the
real
experience
of
how
he
saw
it.
Drawings
are
special
there's
something
somebody
said:
art
doesn't
lie.
E
If
it's
bad
art,
it's
bad
art.
I
mean
you
know
if
it's
it's
beautiful
stuff,
it's
beautiful,
regardless
of
how
you
think
what
art
should
be,
but
this
we
have
the
opportunity
of
almost
tony
speaking
to
us.
That's
what
drawings
do
they
record
a
moment
in
time,
an
attitude,
a
love,
and
that's
that
was
his
part
of
his
summer.
E
He
went
there
also
to
as
any
of
us
should
go
to
gothic
cathedrals.
Modern
architecture
is
so
wonderful
with
its
technical
materials.
What
it
could
be,
what
can
be
done
with
aluminum
steel
wood?
I
mean
the
materials
that
we
have
for
modern
architecture
have
turned
modern
architecture
into
something.
No
one
has
ever
seen
before.
If
you,
if
you
really
look
at
some
stuff,
it's
beyond
belief,
it's
like
from
another
world
but
medieval
times,
and
people
who
knew
about
gothic
architecture.
E
E
The
ambulatory
and
you
see
how
the
flying
button
says
this
is
how
the
belt
the
architecture
worked,
and
this
is
what
tony
wanted
to
find
out.
He
finds
it
out
not
by
going
there
just
looking
at
it,
but
he
finds
it
out
by
these
really
quick
sketches.
They
get
quicker
and
quicker
and
looser
and
looser,
but
he
still
captures
correctly
the
proportions
and
the
structure
of
these
cathedrals.
This
is
from
the
back
and
you
can
see
that
the
tower
is
there
in
the
front
you
have.
E
E
E
He
lets
he
hear
the
the
architecture
is
being
abandoned
to
color
and
to
letting
color
be
formed
and
look
at
the
reflection
in
the
water
he's
not
straining
at
this
he's
not
looking
at
all
the
details.
If
you
try
to
do
a
watercolor
of
water,
it's
one
of
the
hardest
things
ever.
It
drives
you
nuts,
but
he
just
let
it
happen
and
in
this
particular
piece
as
well,
he
remembers
these
women
going
down
to
the
river.
He
talks
about
seeing
these
women
doing
the
laundry
down
at
the
river
under
this
huge
violent.
E
I
guess
you
called
it
that
these
arches,
that
he
keeps
finding
and
discovering
and
putting
in
his
work,
and
he
lets
more
and
more.
He
loosens
up
and
just
lets
the
water,
the
water
and
soak
into
the
paper,
and
let
that
light
come
forth
and
puts
those
darkness
in
to
make
sure
that
you
have
that
depth
and
dimension.
E
I
can
make
and
own
this
piece
and
I'm
going
to
break
into
their
house
and
steal
it.
It
is
absolutely
gorgeous
and
again
it's
it's
a
certain
size
because
of
the
affordability,
but
here
it's
it's
almost
like
this
had
to
be
after
a
month
or
two
of
his
working
with
watercolor
as
he
loosens
up.
No
camera
could
do
this.
There's
not.
I
don't
care
if
you
bring
out
nikon,
I
don't
care
what
you
there's,
no
camera
that
can
do
this.
That
can
take
the
element
of
water
and
ground
up
pigment
and
capture
this
light.
E
This
shape
this
composition.
This
is
this
is
tony
lord
talking
to
us
as
to
who
he
really
was
go
ahead,
and
this
I'm
not
sure
if
he
wanted
to
finish
this.
I
think
so
many
artists
get
to
a
point
they
go.
When
is
this
painting
finished?
When
am
I
going
to
stop
working
on
this,
and
I
think
he
stopped
on
this
because
it
was
enough,
it
was
just
perfect.
It
was
the
nuance,
the
the
fading
of
the
light,
and
he
said
he
stopped.
He
signed
it.
That
was
it
once
he
put
his
signature
on
there.
E
E
You
notice
here
that
he's
now
in
french
algiers,
if
you
know
anything
about
painting
the
work
of
delacroix,
changed
the
beginning
of
impressionism,
some
people
say
begin
with
constable,
but
delacroix
talent
changed
tremendously.
When
you
visited
french
alligators,
you
saw
color
and
light
like
you'd,
never
seen
before,
because
it's
very
different
you're
more
than
south,
it's
more
direct
sunlight,
it's
just
blinding
and
he's
given
up
the
architecture.
Almost
you
have
this
huge
form,
but
it's
colorful.
E
It's
in
this
particular
shape,
but
it's
color
and
he
puts
more
people
remember
in
the
others,
we're
not
even
seeing
figures.
We
finally
see
the
washer
women,
but
here
the
camel-
and
he
makes
the
note
account
and
the
people
that
are
part
of
the
environment
are
more
included
one
more
the
same
same
with
this.
We
have,
we
don't
have
the
architecture
dissolves
almost
it's.
It's
there's
a
form
there,
but
it
becomes
almost
an
abstraction
in
this.
E
E
E
He
comes
back
to
asheville.
He
has
to
get
a
job,
he
goes
to
work
for
dad.
He
becomes
the
architect
again,
and
it's
rare
that
we
see
him
go
back
to
watercolor.
That
I
think
the
st
lawrence
church
is
a
fantastic
example,
but
look
at
what
he
has
to
do.
The
early
drawings
he's
back
to
the
table,
he's
back
to
the
right
angles,
he's
back
to
the
necessity
of
structure
that
works
is
habitable
and
he
doesn't
have
that.
E
E
E
I
glued
everything
down
in
its
place
as
it
was
as
I
found
it,
and
I
did
a
full
portrait,
a
small
portrait
of
him
and
put
it
in
the
top
of
the
paint
box
and
up
in
the
corner
you
can
see.
His
name
is
he's
written
his
name
tony
the
corner
that
opens
up
and
allows
you
to
pull
things
into
that
between
a
great
gift,
and
I
turned
it
into
something
that
everybody
could
see.
Everybody
could
see
it.
I
shared
it.
E
E
F
G
G
G
He
also
loved
cameras
and
you'll,
hear
from
john
warner
a
little
bit
later,
but
after
tony's
passing
john
and
I
were
getting
together
and
talking
a
little
bit
about
it.
This
is
one
of
tony's
cameras,
it's
a
classic
nikon,
f,
35,
millimeter
and
john,
and
I
discovered
that
at
one
time
john-
and
I
are
both
professional
photographers-
tony-
actually
owned
more
cameras
than
the
both
of
us
put
together.
G
G
Tony
could
see
light
and
being
able
to
see
light
is
what
makes
a
fattar
makes
a
good,
photographer
and
tony
also
support
loved
other
photographers,
and
he
did
a
lot
to
help
an
early
photographer
in
asheville
george
massa,
and
he
actually
bought
one
of
george
moss's
cameras
and
he
gave
it
to
my
wife
and
I
it's
a
eight
by
ten
field.
Camera
and
tony
had
other
large
format,
cameras
and
his
collection
was
quite
impressive,
but
in
1968.
G
G
These
slides
are
from
1968
and
made
on
a
film
called
ectochrome,
which
does,
regrettably,
does
not
have
a
real
long
longevity,
and
these
are
beginning
to
lose
detail
in
the
highlights,
and
so
I'm
we're
sorry
for
that.
But
you
can
capture
the
spirit
here
next
slide
and
again
how
the
street
opens
up
into
a
park
or
a
roadway,
surrounded
by
trees
and
again
focusing
on
the
architecture.
G
G
G
G
A
market
in
maine
and
again
here
are
the
arches
that
were
so
shown
so
well
in
his
watercolors,
and
this
is
photography
and
you
can
see
that
those
arches
are
worn
and
it's
not
pristine.
Super
well
preserved
architecture,
but
it's
been
there
for
centuries
and
again,
the
spontaneity
of
the
people
in
the
market.
G
So
I
just
think
that's
a
that's
a
wonderful
photograph
and
we
can
go
on
and
this.
This
is
just
wonderful,
my
my
most
favorite
photograph
and
it's,
of
course,
on
the
cover
of
the
book,
and
you
have
the
people
for
scale
the
wonderful
shape
of
the
ship
coming
up
the
lines
going
across
a
wonderful
photograph
and
we
miss
him
so
much
because
he
influenced
so
many
of
our
lives.
G
H
H
And
in
talking
about
tony,
as
the
architect
I
like
to
try
to
tie
some
things
together
and
defend
his
creativity
in
architecture
as
not
being
foreign
from
his
watercolors
tony
was
immersed
in
architecture.
He
lived
most
of
his
life
in
a
house
that
his
father
designed
for
him
and
his
mother
shortly
after
he
was
born.
H
I
think
I'm
right
about
this
and
he
went
to
high
school
in
a
building
designed
by
his
father.
A
building
old-timers
here.
Remember
as
what
was
it
junior
high
school
david
miller,
demolished
to
allow
charlotte
street
to
run
into
south
charlotte
street,
he
went
to
georgia
tech
to
study
mechanical
engineering.
H
H
After
all,
they
were
researching
how
to
make
artificial
fabric
and
manufacture
it,
how
best
to
manufacture
it
and
how
you
could
do
it
faster
than
you
ever
did
it
before,
but
he
made
a
place
for
people
and
the
people
who
worked
there
loved
it
because
of
the
daylight
that
came
in
it.
Because
of
the
detail
of
the
way
the
windows
were
done.
H
Which
I
found
when
I
came
up
here
yesterday,
to
see
the
exhibit
and
and
was
given
a
copy,
I'm
sure
I've
got
one
tucked
away
somewhere
at
home,
and
I
was
I
found
my
own
words
at
the
introduction
there,
but
what
I
wanted
to
read
was
a
few
sentences
that
ed
writes,
wrote
at
the
also
at
the
introduction
to
this
catalog
creativity
explored
by
practically
everyone
at
some
point
can
take
a
variety
of
forms
for
most
of
us.
Creativity
as
artistic
pursuit
is
short-lived.
H
And
I
think
the
other
thing
I
need
to
say
russo
said
houses
make
a
town,
but
citizens
make
a
city,
and
somehow
citizen
tony
is
is
the
title.
I
would
give
him
he,
he
retired
from
architecture
when
he
was
70
years
old
in
1970,
but
he
didn't
retire
from
being
a
citizen
and
he
continued
to
serve
asheville
in
so
many
many
ways
for
another
20
23
years
and
wouldn't
he
love
the
trees.
H
H
So
I've
told
you
about
some
villains.
I
have
not
shown
you
those
buildings.
I
would
suggest
that
you
can.
If
you
don't
know
them,
you
can
find
them
and
take
a
look
and
find
in
the
spatial
qualities
of
those
buildings
and
the
expressiveness
of
those
buildings
and
the
appropriateness
of
those
buildings.
A
Thank
you
to
all
these
speakers,
friends
of
tony
lord.
Now
as
the
lights
are
dimmed,
let's
imagine
it's
1927.
tony's
off
across
the
atlantic
and
there's
something
new
in
asheville
a
radio
station
with
the
call
letters
wwnc,
wonderful,
western
north
carolina
has
begun
broadcast
from
the
vanderbilt
hotel.
D
All
I'm
sorry
not
to
be
there.
This
is
john
warner
and
I
have
a
lot
of
fond
memories
of
tony
lord
starting
when,
as
a
youngster,
he
would
show
up
on
the
fourth
of
july,
at
tom
and
jane
polsky's
house,
with
the
most
outrageous
ingredients
for
an
epic
launch
of
his
orange
juice.
Can
black
powder
and
the
financial
section
of
the
wall
street
journal
and
with
those
elements
along
with
some
fresh
dirt
that
he
would
pack
in.
He
would
then
proceed
to
assemble
this
rocket.
D
Much
to
the
great
delight
of
everyone
in
baird's
cove
would
light
the
hues
and
send
it
as
far
as
I
could
tell
it,
it
would
hit
interstellar
space.
I
mean
it.
It
left
the
the
known
world
that
I
knew
as
a
kid,
and
I
was
always
in
awe
of
this
man
that
could
put
this
together.
He
did
tell
me
that
one
time,
my
grandfather,
a
two-star
general
who
was
an
artilleryman,
convinced
uncle
tony
to
double
the
amount
of
black
powder,
and
he
said
your
grandfather
nearly
blew
us
off.
D
It
shall
we
say,
had
some
financial
challenges,
so
my
understanding
as
a
board
member
was
to
meet
every
month,
which
was
great
fun
but
at
some
point,
pull
out
my
checkbook
and
try
to
keep
them
afloat,
as
did
every
other
board
member,
and
there
was
a
particularly
dire
meeting
one
time
where
it
appeared.
We
couldn't
pay
any
of
our
bills.
It
was
really
one
sort
of
bad
report
after
another.
So
at
the
conclusion
of
this
meeting
tony
looked
around
and
said,
I
think
we
should
all
go
drinking,
which
I
thought
was
a
great
idea.
D
So
he
had
the
glasses
and
he
had
the
sun
shades
on
top
and
when
he
got
to
the
door,
the
maitre
d,
let
us
in
he
said
we're
here
to
do
some
serious
drinking,
and
you
know
I
I
remember
now
she
looked
at
him
with
his
glasses
and
his
cane,
and
she
thought
you
know,
I
think
iced
tea
will
be
just
fine,
but
when
he
had
ordered
and
completed
his
third
martini,
she
was
revising
her
opinion
of
this
man.
I
will
tell
you
that
he
was
quoting
shakespeare
flawlessly.
D
It
really
was
an
elegant
solution
to
a
tough
meeting
and
the
only
way
you
knew
that
tony
was
maybe
having
a
martini
or
two
was
that
now
and
then
he
would
turn
to
us
and
growl,
and
it's
one
of
my
happiest
memories.
We
had
a
babysitter
at
one
point
who
was
doing
a
report
on
thomas
wolfe.
Somehow
she
knew
that
we
knew
anthony
lord.
D
She
asked
whether
I
could
arrange
a
meeting
so
that
I
could
just
go
visit
with
uncle
tony
and
she
could
get
some
of
the
early
thomas
wolfe
asheville
stories
and,
of
course,
lordy
was
always
happy
to
advance
the
scholarly
efforts
of
the
young.
So
we
went
over
the
next
day
and
I
made
introductions
and
regina
explained
that
she
had
this
project
on
thomas
wolf
and
he
said.
Well,
I
don't
know
that
much,
but
I'm
happy
to
help.
D
I
I
I
went
to
rotterdam
one
time,
and
so
I
saw
the
lineball
in
there,
which
is
the
most.
I
think,
to
this
day
is
the
best
shopping
center
in
the
whole
wide
world.
It's
a
pretty
wonderful
place
and
I
went
to
see
the
planning
department
when
I
was
there,
because
I
was
so
impressed
with
it,
and
I
said
I'd
like
to
know
something
about
about
the
planning
and
this
nice.