The film reveals the inventiveness derived from the dialogue  between each artist's practice and the construction  of their handmade homes. The results range from the romantic  (Hudson River School painter Frederic Church's Olana, framing  views of the Catskills to echo his paintings), to the futuristic  (Urbanist Paolo Soleri's silt-casted structure Cosanti growing out  of experiments in bell making in the Arizona desert). Commentary  from cultural critic Alastair Gordon and an original score by Jamie  Rudolph help to evoke the spiritual dimension of the locations  and argue the case that the intuitive vision of artists can create  great architecture.