he continued to use them through the 1920s in both graphic designs and the theatrical sets he created during a second career as a New York stage designer. Bragdon was well regarded for his ink rendering talent, his many very successful designs for both residential and institutional buildings, and his inventive geometric ornament. His most important contribution to both architectural modernism and progressive reform came in 1915 with his creation of a new ornamental vocabulary he called “projective ornament.” Projective ornament was a system for generating geometric patterns that could be adapted for use in architecture, the fine and decorative arts, and graphic design. Basing ornament on mathematical patterns abstracted from nature, Bragdon created a universal form-language to replace the variety of historical and national styles, which provided designers and clients with a vocabulary for articulating differences of class, culture, gender, nationality, and religion. By showing how his repertory of patterns could be adapted to any kind of design problem, Bragdon aimed to integrate not only architecture, art, and design, but also his divided society. Bragdon's ornament appeared in the Rochester Chamber of Commerce (1915–17), as well as in the design of magazines, posters, and books. It spread throughout the region through its use in a series of Festivals of Song and Light that Bragdon staged with community music reformers from 1915 to 1918 in Rochester, Buffalo, Syracuse, and New York. These nocturnal community chorus festivals incorporated ornamental lamps and decorations into massive public events that drew tens of thousands of spectator-participants. Through its role in both civic architecture and print media, projective ornament began to integrate these distinct realms into a single public sphere visually unified by geometric pattern. In 1917, after a dispute with photography magnate George Eastman (of Eastman Kodak fame) over the design of the Rochester Chamber of Commerce Building, Bragdon's architectural practice waned. He incorporated his own design of the hypercube in the structure of the building. He moved to New York City in 1923 and became a stage designer, and remained in New York until his death in 1946. In 1925, knowing Alfred Stieglitz and having been introduced to Margaret Lefranc (Frankel), an eighteen-year-old American studying in Paris and Berlin, Bragdon took her to Stieglitz to show her art. Bragdon and Lefranc remained friends for the remainder of his life while his influences rounded out her education. In his books on architectural theory, The