Many features are particular to the design and construction of Arcosanti, for example the use of tilt-up concrete panels cast in a bed of silt acquired from the surrounding area, giving the concrete a unique texture and color that helps it blend with the landscape. Many panels were case with embedded art. Crafted by workshop participants, the wall tiles (pictured below) are implanted with plastic tubes for leaving messages. The layout of the buildings is intricate and organic, rather than a city grid, with a goal of maximum accessibility to all elements, increased social interaction and bonds, and privacy for the residents. Existing structures at Arcosanti have a variety of purposes to provide for the complete needs of the community. They include a five-story visitor’s centre/craft/gift shop, a bronze-casting apse, a ceramics apse, two large barrel vaults, a ring of apartment residences around an outdoor amphitheater (pictured below), a community swimming pool, an office complex, and Soleri’s suite. A two-bedroom “Sky Suite” occupies the highest point in the complex and is available for overnight guests. Most of the buildings have accessible roofs. At present, the town is primarily an education center, with students from around the world visiting to attend workshops, classes, and construction ~ with 40,000 tourists visiting yearly. Perhaps the most distinctive, and surreal, characteristic of Arcosanti is its economic engine: selling metal and ceramic bells made and cast from bronze on site (pictured below). The inhabitants of the arcology work in the apse-enclosed foundry, pouring bronze over handmade clay and sand molds to create bells. Additional funding comes from donations and fees for workshops, which last up to five weeks. Workshop participants and volunteers do much of the present construction at Arcosanti. Arcosanti is a strange and fascinating reaction against suburban sprawl and American car culture. While highly attuned to its environmental context, Arcosanti does not attempt to integrate ecology and settlement (as many contemporary landscape architecture projects do). Instead it recommends we reduce our environmental impact solely by shrinking our footprint, “to preserve the natural environment, we must leave it alone”. Looking back, I suspect that Soleri’s envision may come about with time and if not, will always allow a space for artists to continue their work in an inspiring and visionary environment.