The Soul of an Elephant

The “Soul of an Elephant” drawn with pencil in a travel sketchbook by Sanford Bender in the summer of 2017.

This gestural sketch of an elephant was one of a series that I drew during a trip to an elephant resort in Thailand. After learning about Asian elephants and their symbiotic relationship with humans, our small group was led to an athletic field where the elephants would play soccer. Not only could I ride atop an elephant beforehand and feel its lumbering but graceful rhythms; I could even experience its earnest attempt to perform successfully for human entertainment, and then even perceive its ultimate humiliation. Otherwise, the elephants were treated well, and when left to roam in the jungle at night, could retain their integrity and be wild.

The “Soul of an Elephant” composed and played with two guitar tracks by Sanford Bender in May 10, 2020.

This improvised instrumental for two guitars with its changing rhythms, recurring melodies, pause, and cascading cadence to a major seventh chordal resolution reached perfection in its understatement and brevity. It seemed appropriate to accompany the sketch delineating an elephant’s triumph over any perceived fallibility in a game devised by humans.

Moon Cats outside my Window

“Moon Cats from outside my Window” was painted by Sanford Bender with acrylic paint and colored pencil on canvas board on May 29, 2021.

I awoke just after midnight to a most supernatural music outside my window as cats appeared singing under a full moon. That is what I imagined when I listened back to the music I was composing with tracks of guitar, slide guitar and harmonica. The painting of the nocturnal scene was finally realized two and a half months later from drawings in my sketch book. Whereas an irate neighbor may react to this lunar concert by lunging for a garden hose to spray amidst a torrent of profanities, I was drawn deeply into this feline world of sensory agility and mindfulness for which the music was my portal.

“Moon Cats from outside my Window” – Music by Sanford Bender composed on March 13, 2021.

“Moon Cats from outside my Window” is composed and performed in three tracks for acoustic guitar, acoustic slide guitar, and harmonica by Sanford Bender.

All is well

Barred Owl – Drawing by Sanford Bender 2014

The declaration that “All is well” would pertain to a specific event since it certainly cannot apply as a universal world perspective at all times. I composed this music as a mantra to emerge out of a difficult dilemma for which I could not change the outcome. The guitar duet brought to me a sense of peace in recognition of life’s inevitable flow. Once, I drew a barred owl in less than a minute’s time as the nature rescue center bell was heralding its imminent closing. In that moment, I sensed that the owl and I were both “well” despite previous traumas that had limited our abilities to fly gracefully in the twilight.

All is Well” composed and performed by Sanford Bender

“All is well” composed and performed with two acoustic guitar tracks by Sanford Bender

Riding into the Starlit Night

Darkening evening on the ride home -Sanford Bender

Since I don’t go to the park until later in the afternoon, I am often there riding my yellow bicycle back to the car as dusk sets in. I quicken my pace as the inky blackness settles around me, and the few farmhouses and barns are left behind. Gazing up into the lofty pines upon hearing the distant hoot of a great horned owl, I begin to perceive myriads of stars glittering above me. The music in my mind that I hear that evening may not arrive until another day. But, the melodies and rhythms have already embellished my soul, and like the stars, will gradually reveal themselves in their delicate splendor.

Along the Corn Furrows

Along the Corn Furrows – photograph by Sanford Bender – February 6, 2021

I was in Tyler Park near my home in Bucks County, Pennsylvania on a cold, wintry day. The sun was low in the sky and the bare trees and knobby remnants of corn stalks evoked the music I had recorded a few days earlier…

Polar Ardor

I am excited to share news about the short film Polar Ardor, my musical collaboration with animator Camille Wainer.

POLAR ARDOR

A short animation about polar life and love.

Inspired by the paper cut style of early animator Lotte Reiniger, Polar Ardor incorporates the additive techniques of woodblock stamping and Chine-collé printmaking to recreate a delicate landscape threatened by division and deterioration. The whimsical music of composer/architect Sanford Bender accompanies each stage of the polar bear’s journey through a varied composition using only two symbolic forms (the heart and the puzzle piece). Simply and subtly, Polar Ardor offers an optimistic message about the importance of collaboration and compassion in the face of an uncertain future.

Release: 2021

Length: 1.33 minutes

ANIMATION BY : Camille Wainer

MUSIC BY: Sanford Bender

PRODUCED BY: Documinute Productions LLC

You can watch the trailer below and check out Camille’s other films on her website.

Music: Be Your Own Best Friend

I could hear the music in my mind as I was driving home from a disappointing meeting with an art group to which I belonged. The night was cold and clear and the sky glittered with stars. I reached for my guitar as soon as I arrived home and recorded a track. I followed by recording a second guitar track, and after listening to my improvisation was lifted out of my despair.

Conchs
Two Colorful Conchs by Sandy Bender

Gone, a musical poem

This poem with guitar accompaniment is about an unruly cat who did not come home one night. We had not really connected, but I don’t know what can be expected of a cat. I was committed to him even to the point of tumbling down the stairs when I heard his encounter with a shrieking fox.

My cat appeared to be grinning at me that morning when I returned from the hospital. I suppose that he had worked out his differences with Reynardine the fox. Now, he was meowing for a more domestic meal and a fresh bowl of water.

“Bobcats” by Sandy Bender

Learning from a River

Although the Delaware River has always had a long history of flooding, the ever increasing population of people living, working, and travelling on its adjacent watersheds has significantly altered the hydraulics of the tributaries and the floodplain itself. While it is absolutely essential to decrease development in this unprecedented time of increased precipitation and rising sea levels, it is also crucial to carefully assess the potential consequences of our engineering proposals beforehand.

The New York State Department of Environmental Conservation, as reported by the Warren Reporter on April 8, 2011, stated: “New York City has agreed to modifications of releases of water from its reservoir system in the Catskill Mountains to better protect the ecology of the Delaware River in New Jersey and other downriver states, and help provide drought relief and flood protection.” The Express Times in Lehigh Valley, Pennsylvania had also quoted the NYSDEC on June 1, 2011, as contrarily admitting that “reservoirs, which spill into the Delaware River basin when they overflow, have the potential to exacerbate flooding downstream during major storms.”

The NYSDEC’s own website attempted to clarify: “While they are both dams, reservoirs are not flood control dams. Whereas flood control dams are specially designed to remain largely empty to capture major runoff events, reservoirs are designed to remain largely full, reserving water for later uses. However, reservoirs can and do provide some flood protection benefits, because even when full, they reduce downstream peak flow rates during large runoff events.” This assertion might not be true if the reservoirs overflowed beyond their capacity for intentional or unintentional relief from a major storm event.

Organizing a public educational workshop about the risks of building large engineering structures which not only protect, but allow increased development in fragile riparian areas prone to flooding would be a step in the right direction. The Delaware River could be explored from its head in New York State, down past Trenton and Philadelphia and into the Delaware Bay Estuary where it meets the sea. On a field trip, the workshop participants could observe how the land slopes steeply up from the river banks towards the towpath running alongside the Delaware Canal. They would see that while no longer used for mineral transport, the historically preserved waterway is now primarily maintained for flood water containment. Further south, as the land stretches gradually to level out to the shoreline, the workshop participants would see that boat houses close to the water’s edge on stalwart piers must rely eventually on the impermanence of saturated soil in which they are built. Standing as a grim reminder on the high banked roadway are twisted guardrails on their undermined foundations left washed away by recent flooding from hurricanes.

In another location down river, just across from Bowman’s Hill, one can walk in the soft saturated soil along the shoreline and observe uprooted and toppled trees leaning out over the water, while other trees stand just offshore with circular rivulets lapping up against their bending trunks. Plastic debris furling in the high branches again indicates the ominous water level reached by last year’s hurricanes. It soon becomes obvious that if one desires to live in the valley, it is most desirable to reside up in the high hill towns overlooking the river rather than down in the muddy floodplains, in dread of the inevitable rainstorms to come.

While living in view of a dramatic geological phenomenon such as the Delaware River is primarily one of choice to “live on the edge” in order to flourish in an environment of risk and potential change, a heightened awareness of how to build synchronously and sensitively with a potentially wild river becomes essential.

Sustainable Design and Disaster Mitigation

Sustainable Design Awareness might be divided into at least two distinct categories being: 1) Peak Oil/ Alternative Energy and 2) Climate Change which is caused in part by the burning of fossil fuels and other unregulated human involvement.

It is interesting to note that while sustainable building checklists mainly focus on conserving energy and water, recycling materials, and reviving brownfield properties, it is still fair game as to where to locate the building.  For instance in LEED 2009, the only prerequisite in Sustainable Sites is ‘Construction Activity Pollution Prevention’ while it is only recommended that buildings are not located in 100 year flood plains or wetlands by offering a voluntary point in subsequent credit portions.  One could even conclude that while sustainable guidelines recognize that buildings have contributed the most damage with global warming and energy wastefulness, that a magic checklist will redeem that legacy while still building as much as possible.

Disaster mitigation introduces a different perspective in sustainable design in that it mainly addressed the aftermath of a cataclysmic event caused by a hurricane, tornado, tsunami, flood, earthquake, volcano, or mudslide.  Just as Benjamin Franklin stated “An ounce of prevention is worth a pound of cure’, preparedness can be brought into preliminary design with the intention of relying less on emergency procedures in order to save countless lives in disasters as a last resort.  It is time to re-learn how we can face catastrophes by understanding nature and when, how, and where we build to predict for these inevitable consequences.

We must first delve into the geological nature of shifting tectonic plates that overlap, separate and grind at fault lines where earthquakes, volcanoes and deepening trenches can be frequent.  These natural events cause varying major weather interactions between water and air from which result hurricanes and tsunamis causing unmanageable destruction through floods.  Secondly, we need to see how human consumption and burning of fossil fuels has created the ‘Green House effect and consequently is causing the melting of glaciers, rising sea levels, wetland destruction, wandering diseases and the extinction of biodiversity.

Ironically, these cataclysmic events have also created dramatic places such as San Francisco Bay where houses perch precariously for exhilarating views.  Historically, river deltas attracted people to build cities because of the fertile land replenished by naturally overflowing rivers and the biodiversity of flora and fauna.  As the population grew, and port trade activity increased, building sea walls, jetties, levees, and dams seemed to become an obvious if at least temporary solution.

But nature will always find a way to prevail.  The devastation of New Orleans by Hurricane Katrina can now be viewed as an engineering disaster when it is recognized that the shipping channel walls also funneled the river sediment out into the gulf towards the sea rather than allowing the naturally formed sand berms and wetlands to be replenished.  Flourishing mangroves, cedar trees, and marsh grasses which actually slow down hurricanes might have prevented the city’s sea wall levees from being breached and causing unfathomable human displacement and damage to the city neighborhoods with thousands of life lost.

Whereas much research and activism has occurred within scientific communities, legal and political entities, and from conscientious engineers and environmentalists, architects can be proactive as well and know when not to build or if designing emergency shelters and safe havens would be a more useful direction to pursue.

But then, maybe it is not the so-called technically advanced cultures, but indigenous tribes and wild animals that can only sense or detect sounds from the approaching waves long before they strike the shore and head for the hills.

Architects can look beyond paving the globe and take on their most fervent usefulness with imagination and cunning in a shifting universe.