Introduction

 

It is the year 254 CE and the legendary city of Hallifax has at last

re-emerged. Once more is the Basin of Life graced with its extraordinary

crystal spires, long frozen in time and inaccessible.

 

For hundreds of years, Hallifax has lived on in stories of its wondrous

crystal structures and its marvels of engineering. Now these myths have

returned in concrete manifestations. Now is the time to conduct a study

of the unique and breathtaking architecture of this bastion of the trill

and lucidian races.

 

This work undertakes to thoroughly document the architectural phenomena

of Hallifax at this moment of its re-emergence, before forthcoming

generations of citizens have left their mark upon the city. The book

will discuss the unusual layout of the city and its significance. It

will also identify and discuss three predominant architectural styles to

be found across the city.

 

 

City Layout and Social Significance

                                                                       

------------------------------------------------------------------------

 

It is important first to note the Sovereign Commonwealth of Hallifax's

unique caste system and the strictness thereof. The lowest ranks are

populated by commoners - typically servants. Ranked above are

bureaucrats, followed by merchants. At the highest caste are artists and

scientists.

 

In an interesting example of social symbolism, this unique caste

structure has been echoed in the construction of Hallifax. As a floating

city, it has space available to it in all surrounding fields. It has

been built primarily on an up-down axis, centralising around structures

such as the Matrix and the Transdimensional Flux Core.

 

The lowest levels of the city are given over to those lowest in society,

as well as the least aesthetically pleasing city structures. Dormitories

for the poorest plebians are located in Ward 6, of rather poor, solely

utilitarian construction. Ward 6 also houses the generators -

utilitarian structures of great use but perhaps unsightly form.

 

Below these are the gaming districts, in Ward 7. At the bottom in Ward 8

are further examples of decidedly minimalistic, repetitive housing with

no particular aesthetic qualities.

 

Those structures given over to bureaucratic purposes are appropriately

situated at the level above the commonest castes, in Ward 5. This

includes the Ministries of Finance, Information and Plenty. Immediately

above are the mercantile areas, in Ward 4. These include the Gemstone

Towers within which are located all of the city's shops and crafting

areas.

 

Ward 3 is dedicated to artistic purposes in varying forms. The

Conservatory of Music is located here, as well as a stupendous aviary

constructed of golden wire and gemstone. All of the six majestic

galleries are also situated in Ward 3, belonging to the families of

Cloudwalker, Goldfeather, Shevat, Skysoarer, Windwhisper and

Silverplume.

 

The second-highest ward, numbered 2, is primarily occupied by scholars.

Here is located the Centre for Aeromantic Engineering, the Library of

Universal Knowledge, The Matrix Research Institute and the University of

Cosmic Understanding. Also located here are sets of domestic quarters

for scholars, astrariums, readers' rooms and similar scholarly

facilities.

 

This attention to social significance is carried further. A building's

importance is signified not only by its location among the stacked

levels of the city, but also by its dimensions - particularly its

height. The method of allocating more width and height to a room to

indicate greater importance is a common architectural technique, but

Hallifax's unusual structure allowed its builders to exaggerate this

effect. Hallifax is thusly a city of towers and spires, where the height

of the spire is another indication of its significance. Appropriately,

then, the mercantile towers are of moderate height, the artistic

galleries somewhat taller. The scholarly spires and the highest

structures of government are the tallest spires in the city.

 

 

The Architectural Styles of Hallifax

 

Hallifax is a glorious city of assorted architectural styles. It has

probably been the product of many generations of work, each leaving its

own stamp upon the city. It has, however, been possible to identify

three main architectural styles among the buildings of Hallifax, which I

will call the Artistic Style, the Intellectual Style and the Formal

Style. There are inevitably overlaps between the three, with features

predominantly Artistic appearing among structures in the Formal style,

and vice versa. All considered, however, there is a clear divide.

 

 

The Artistic Style: Exterior Architecture

                                                                       

------------------------------------------------------------------------

 

One primary feature of the artistic style for both the interiors and

exteriors of buildings is its fondness for curves and rounded

structures. Domes are the most popular method of roofing buildings of

this style; usually made from the crystal so ubiquitous in Hallifax,

these domes are beautifully constructed, perfectly shaped and smoothed.

Rounded walls and domed roofs are employed for all of the magnificent

galleries belonging to the prominent artistic families of Cloudwalker,

Goldfeather, Silverplume, Skysoarer and Windwhisper. The sole exception

is the Shevat gallery, which instead employs an aesthetically

interesting sloped roof of saffron tiles, decorated with bird-shaped

spires. In all cases, the nature of the crystals used seems to have been

chosen according to the preferred colours and themes of each artistic

group, and can thus vary from beryl to ruby and diamond.

 

Appropriately, the Conservatory of Music also possesses a majestic domed

roof, as do the gemstone towers associated with the mercantile

districts. These patterns clearly mark the dome as a feature of an

elevated architectural style predominantly used for the elite of

Hallifax: its artists and merchants almost universally employ it for

their particular buildings. As with most cities, however, this element

of sophisticated construction has been emulated in lesser buildings for

lesser citizens. A dome is also used at the Corrections Institute,

though it is by no means so elaborate nor as aesthetically attractive.

 

Round arches often appear in partnership with the glittering crystal

domes of the city. Most structures with domed roofs also feature

well-proportioned windows topped with round arches, and occasionally

blind arcades of similar shapes and proportions are employed as exterior

decoration. Pillars and columns are omnipresent in the artistic

architectural style, usually rather grand and graceful affairs made from

marble or crystal. This vertical emphasis is echoed in the use of small

pilasters within arcades or between windows, mimicking the shapes of

associated columns and often constructed from the same range of

materials.

 

Again, as discussed, some of these architectural features trickle down

to the lesser castes of Hallifax society. There is little to distinguish

the poorly-constructed and aesthetically repugnant plebian dormitories

in some of the lowest wards of the city, but it is interesting to note

that even here a series of plain alabaster columns attempts to add a

degree of distinction to these uninspiring structures.

 

It is impossible to discuss the aesthetic appearance of the artistic

galleries without mentioning the repeated use of banners to announce the

associations of the building. These put the regularly-spaced columns to

good use, turning them into structures for the support of these rippling

expanses of cloth. In each case, the nature and colours of the banners

echo the connected themes of each gallery.

 

 

The Artistic Style: Interior Architecture

 

------------------------------------------------------------------------

 

Inevitably there is a great deal to be said about the interior

architectural features of buildings in the Artistic Style. Colour is

hugely important in Hallifax interior design, and various shades are

combined or contrasted with exceptional skill and to often astonishing

aesthetic effect. There is also less to be said about the consistency of

design styles; in fact the consistency lies in the extremely varied

decoration used. There are some regularly occurring methods to be

discussed, including the use of mosaics, murals, sculptures and stained

glass.

 

--Mosaics--

 

Employed to adorn walls, floors and ceilings, mosaics are some of the

most consistently popular decorations across Hallifax. Usually to be

found in Artistic buildings, they are also quite regularly discovered in

buildings of the Formal style. They are, inevitably, constructed

primarily of assorted crystals and gemstones, often using metals and

sometimes stones such as marble to aid in forming pictures. Scenes from

Hallifax history are most popularly represented, with the occasional

appearance of important scenes from the wider history of the Basin of

Life.

 

Simpler arrangements of matched tiles are commonly used for floors. If

there is no actual mosaic image, the tiles are themselves nonetheless

highly attractive, made from polished crystal and beautifully combining

colours and types of gems.

 

--Murals and Friezes--

 

Wall paintings and carved friezes are also popular, partnering with

mosaics in representing Hallifax's long history. One could speculate

that a relatively simple painted mural is a slightly lesser method of

decoration, as its main appearance is in Ministry buildings. Nonetheless

these are, of course, highly accomplished pieces of art, sometimes using

gemstone and metals to highlight some areas of the paintings.

 

Marble moulding with carved friezes appear in some of the mercantile

gemstone towers, most notably in the Sapphire Tower. The predominant

depiction is birds, often very elaborate and handsome creatures with

aesthetically exaggerated forms. This theme of birds is a common one

across Hallifax; these winged and feathered creatures appear regularly

in mosaics, friezes, spires, statues and sculptures.

 

-Sculptures and Statues--

 

Sculptures appear very frequently, particularly in the artistic

galleries. They can be crafted from a range of materials; crystal is, of

course, predominant but other fabrics such as marble are not uncommon.

As with exterior statues, these are usually trill or lucidian figures

engaged in the noblest pursuits. Birds are, again, often featured.

 

There are a few notable exceptions to the common rules for sculptures. A

magnificent sculpture of a tree appears in the Skysoarer Gallery,

composed of quartz crystal, jade and agate. Sculpted crystal flowers

cover the floor and walls in the Windwhisper Gallery, in shades of

amethyst and heliotrope. These flowers are, quite delightfully, sprayed

with perfumes to mimic real blossoms.

 

--Textiles--

 

Sumptuous textiles tend to appear in Artistic interiors. The Cloudwalker

Gallery is particularly noteworthy for this; garments are displayed as

an unusual manner of decoration as well as an advertisement for artistic

achievements. Tapestries are also draped over the walls. Long curtains

in expensive fabrics and rich colours appear regularly across the

galleries: rich shades of red are employed in the Cloudwalker Gallery,

and cerulean silk decorates the Windwhisper Gallery.

 

--Windows--

 

Considering the Hallifax fondness for varied colours, it is unsurprising

to find that stained glass is apparently a well-loved feature for

Artistic buildings. The most notable example is the Conservatory; large,

graceful windows are set with particularly fine stained glass in myriad

colours. The effect is stupendous, especially on a day with clear skies;

the sunlight streaming through these marvellous creations creates a

fantastic display of light and colour over the floor of the building.

Sensibly these floors have been adorned with relatively plain, frosted

tiles instead of mosaic, and this smooth expanse displays the coloured

lights perfectly.

 

Stained glass windows traditionally display pictures within the colours,

and this is usually the case in Hallifax. Some are kept plain, revelling

more in colours and patterns, but most depict scenes from history or

describe particularly significant discoveries.

 

--Lighting--

 

Light sources are usually composed of gemstones, often simple orbs in

matched colours. These gems are enchanted to glow with coloured light,

and appear in all types of crystal including garnet, beryl and amethyst.

Their effect is both aesthetically pleasing and practical.

 

Another popular method is a type of sconce, rather curious in design.

These are similarly set with orbs of crystal, but they possess the

ability to change in colour and tone. Sometimes the sconces emit plain

white light; at others they display colours, usually in tones that echo

and add to the predominant themes of the surroundings. This is a

particularly clever way of lighting interiors while adding to the

artistic agenda of the building.

 

 

The Formal Style: Exterior Architecture

 

------------------------------------------------------------------------

 

A different style of architecture is apparent in those structures

dedicated to governmental buildings. The one coincidence is in the use

of tall, graceful columns in some buildings; the vertical emphasis that

creates an interesting variation in the Artistic style is perhaps the

most important feature of the Formal. Many of these buildings are

particularly tall, as suits the social importance of their inhabitants,

and this use of tall columns is only one among a range of methods used

to emphasise the towering height of each structure.

 

One such is the wholly different shape and structure of windows. Instead

of evenly-proportioned windows with an emphasis on rounded curves, those

lighting buildings in the Formal style are tall, narrow and usually

graced with pointed arches. This style is consistent with the doorways,

which are likewise unnecessarily tall and topped with pointed arches.

Stupendous vaulting can also be seen in some of the city court rooms,

usually of the fan style and sculpted from crystal. This vaulting

probably serves a practical purpose in contributing to the support of

those impossibly tall ceilings; their decoration is so elaborate,

however, that one must conclude that their purpose is dual. They

contribute considerably to the palpable sense of towering magnificence

in these spires, quite mesmerising in their detail and level of

accomplishment. A degree of vaulting is used in the Conservatory of

Music also, a single example of its use outside of Formal buildings. It

is unusually placed, here, but its nature is so aesthetically pleasing

that it melds agreeably with the otherwise Artistic nature of the

Conservatory.

 

Structures in the Formal style tend to take a generally traditional

shape of squared walls, though they often feature tapering tops to the

spires. The Spire of the Lawgivers is based on squares in its

construction, appropriately employing rather harsh, precise angles.

Statues frame the entryway; these mostly depict lucidians or trill

engaged in pursuits deemed noble and worthy by the city of Hallifax.

Reading, writing or some forms of artistic endeavours are most popularly

represented among the city's statues.

 

 

The Formal Style: Interior Architecture

 

------------------------------------------------------------------------

 

It is unsurprising to find that buildings in the Formal style are less

likely to indulge in particularly fabulous and elaborate interiors. This

is not to say that they are immune to the temptation to indulge in fine

colours and materials, and are often to be found dressed in their best.

 

--Mosaics--

 

Mosaics appear occasionally in Formal structures. They are almost as

fabulous and tend to display similar types of imagery as their Artistic

counterparts. They are likely to depict famed figures from Hallifax

history, especially prominent leaders or government officials. Though

not quite as colourful or as creatively constructed as in the Artistic,

these mosaics are splendid and imposing as suits their surroundings.

 

--Sculptures and Statues--

 

As with mosaics, interiors in the Formal style do not differ from the

Artistic in some matters of sculpture and statues. Figures in crystal

are still popular, though they are perhaps somewhat sober in appearance

and invariably indulging in reading or writing activities rather than in

dramatic artistic endeavours. Bureacrats and government officials are

very popularly depicted.

 

--Textiles--

There is no apparent fondness for sumptuous textiles in Formal

buildings, though fabrics are by no means absent. The usual preference

is for relatively sober velvet upholstery in appropriate places:

cushions for chairs and benches, and curtains for the tall windows.

These options are apparent in the law courts and most of the Ministry

buildings. Deep carpets teamed with long velvet drapes are common in the

bureaucratic Ministry centres, though their complete lack of comfortably

upholstered chairs creates an interesting contrast. The plush drapery

enhances the formality of the surroundings rather than contributing

anything to comfort.

--Lighting--

 

The same methods for enchanted crystal are used to light Formal

interiors, though they tend to be less exciting in colour. Typically

these consist of relatively simple globes of crystal in consistent

colour schemes, with little variation.

 

--Windows--

 

Generally narrow and tall and topped with pointed arches, on the inside

these windows are less exciting. Stained or coloured glass does not tend

to appear with any regularity; windows are more likely to be set with

plainer clear crystal, serving a wholly functional purpose.

 

 

The Intellectual Style: Exterior Architecture

 

------------------------------------------------------------------------

 

Those buildings dedicated to the primary scholastic pursuits of the city

tend to be constructed in the Intellectual Style. The primary features

of this style are a fondness for geometric shapes and patterns, and an

enthusiasm for experimenting with the traditional building forms. Most

of these structures are fascinating in their deviations.

 

The Library of Universal Knowledge, for example, is an octagonal

structure with an interesting triangular facade. Pillars frame the

entryway, as seen elsewhere in both Formal and Artistic style. Statues

are employed to decorate the exterior of the structure, adding to its

aesthetic appeal and sense of importance: these statues invariably

reinforce the importance of scholastic excellence, depicting lucidians

and occasionally trill employed in reading or writing.

 

The Matrix Research Institute carries this idea still further. The

building is composed of glass hexagons joined edge-to-edge to create a

structure somewhat resembling a honeycomb. This rather original creation

seems to span the divide between the Intellectual and the Artistic

styles; the repeated use of logical shapes such as the hexagon is

consistent with the Intellectual style, but its creative use suggests

more than a casual link with the aesthetic. The Centre for Aeromantic

Engineering is another such, though its peculiarities of design are

consistent with the priorities of a scholastic mind. Missing walls and

disconnected windows and ceiling seem less an attempt at art, and more a

convenient and clever design allowing its scholars ample access to the

winds surrounding the tower.

 

The University of Cosmic Understanding draws features from both the

Intellectual and Artistic styles. It is predominantly built in the

Intellectual, its shape being geometrically perfect and utilising

equations and theories as decoration. It is topped with an Artistic

dome, however, and a rounded crystal arch adorns the entryway. The

result is a curious but interesting blend of the two.

 

 

The Intellectual Style: Interior Architecture

 

------------------------------------------------------------------------

 

Interiors of Intellectual buildings tend to be fascinating and

mesmerising rather than beautiful or imposing, though they are not

without their own peculiar form of aesthetic appeal. As with other

styles, the Intellectual draws some influences from other buildings

(particularly Artistic) and turns it to its own unique purposes.

 

--Mosaics--

 

Mosaics prove to be a consistent choice for decoration across all three

architectural styles. Those adorning Intellectual interiors are distinct

in their arrangements, however. Mosaics consisting of repeating

geometric patterns are particularly common, and it is more likely to

find complex repeating patterns in these buildings than to find

pictorial images. Use of varied colour is consistent across nearly all

examples, usually employing shades of colour according to some set

pattern.

 

--Sculptures and Statues--

 

There are two main types of sculpture to be encountered in Intellectual

interiors. These follow the examples of the other two styles in quite

regularly using figures of scholars, as discussed earlier with reference

to Intellectual exteriors. The second type consists of geometric shapes

interpreted into sculptural form, usually made from crystals or metals.

In such cases the emphasis appears to be on the precision and accuracy

of the form rather than on any aesthetic interest of shape or colour.

 

--Textiles--

 

Textiles are not often found in Intellectual interiors. Minimal

upholstery is sometimes used to add a modicum of comfort to a room, but

fabrics are otherwise little used. Perhaps this is because swathes of

cloth or silk are unneeded for any aesthetic purpose and would only

conceal the academic imagery that tends to adorn walls, archways and

windows.

 

--Windows--

 

Windows in the Intellectual style occupy a sort of middle ground between

the extravagance of the Artistic and the imposing restraint of the

Formal. Intellectual windows are often unusually shaped, for example

built in a hexagonal or octagonal form. The glass is either plainly

coloured to serve merely a practical purpose, or in some cases the

windows maintain the theme of repeating geometric patterns. Metal

tracery appears in some, creating a pattern of hexagons or diamonds;

usually the spaces are set with clear glass, but sometimes coloured

crystal is used to add a further logical pattern in colour as well as

shapes.

 

--Lighting--

 

Light is of paramount importance to any scholar in his or her work, and

appropriately Intellectual interiors tend to be well-lit. Sconces

emitting strong, clear light are common, while coloured crystal globes

are less regularly found. Light sources tend to be wholly practical,

with little attempt made to decorate; in some examples sconces are

crafted into geometric shapes as an effort to fit them to their

surroundings.

 

 

The Crystal Bridges of Hallifax

 

------------------------------------------------------------------------

 

No study of Hallifax architecture would be complete without mention of

the city's rather spectacular bridges. Made from solid crystal, they are

equipped with only minimal crystal railings, rather slender, graceful

creations apparently intended more for aesthetic interest than for

practical purpose. In fact the same could be said for the bridges in

their entirety, particularly those four connecting the Matrix to other

parts of the city. Their design is similar to the bridges connecting

some of the expanses of clouds in Clarramore Cloud Gardens; it is

probable that the two collections of bridges were built according to

similar plans and customs.

 

The Bridge of Wings is particularly impressive, constructed as it is

from translucent crystal. The effect is, aesthetically, highly

interesting and decidedly magnificent; it is a clear example of

sacrificing all other concerns to artistic effect, as the experience of

walking over such a very airy bridge can be disconcerting. The bridge

is, appropriately enough, adorned with glass sculptures of trill on

either side, and framed by tall, rounded glass archways. The consensus

appears to have been to build bridges predominantly in the Artistic

architectural style.

 

 

The Six Primary Gemstones

                                                                       

------------------------------------------------------------------------

 

Gems are vitally important in Hallifax architecture; not only as the

primary and most significant building material, but in a symbolic and

mystic sense. There are six minor generators in the city, each of which

contains a central core constructed from one of six types of gemstone.

These include: amethyst, ruby, diamond, beryl, emerald and onyx. This

theme is picked up by the mercantile towers: the same six gems appear in

the construction of six of them, with the addition of two more towers

composed of sapphire and jade.

 

These six gemstones and their predominant colours are echoed within the

artistic galleries in the area of ward 3. The Windwhisper Gallery is

decorated primarily in amethyst crystal, along with associated purple or

blue shades of heliotrope, cerulean and lavender. Ruby is associated

with the Cloudwalker Gallery, also adorned in carmine, crimson,

carnelian, vermilion and red coral. The Silverplume Gallery has adopted

diamond, teaming it with columbine, quartz and magnolia. Emerald is for

Skysoarer Gallery, along with viridian, celadon, chartreuse, olivine and

citrine. The Shevat Gallery is clothed in golden beryl, together with

shades of persimmon, ecru and yellow quartz. Finally, onyx is for

Goldfeather Gallery, in combination with shades of ebony, sable and

indigo. These colour themes are adhered to in all instances.

 

Moving still higher, the Manifestation of the Matrix follows similar

themes. It is arranged with a symmetrical, logical layout roughly

resembling a stylised flower. Its six 'petals' are dedicated to each of

the same six gemstones in turn, each with an with associated sculpture

which emits energy of the relevant colour. Under certain circumstances,

exquisite mandalas join the sculptures at the tip of each petal,

displaying the original colours mingled with many of the associated

shades displayed at each artistic gallery.

 

These patterns are not simply common or popular decorative themes. They

are deeply ingrained into the structure and architecture of Hallifax and

its workings, both physical and magical. The consistency of this highly

logical and regularly repeated arrangement is a powerful demonstration

of the rigidly ordered thought processes of the architects of Hallifax.

The undeniable beauty of most of these structures is testament to the

artistic skill of those same architects. The result is an intriguing

marriage of the logical and the aesthetic which is everywhere apparent

 

in this unique city.