... While I'm not an architectural historian, I would call all of this art, and these structures, and Harbin places, vernacular art and architecture, meaning here emerging from place and Harbin's local codes, ethnographically-read, and influenced significantly by both '60s thinking and Harbin's vision.
When I connect Harbin's buildings and art with Harbin's valley and property, and interpret them, in the context of the natural, and even as a kind of people-centric, living, organic, artistic, building and growth process, I suggest that this connection between Harbin 'builds' and Harbin's nature – Harbin as place – is an ongoing expression of counterculture, emerging from the 1960s, relating to Harbin's unique topography and lay of the land, and, especially, its waters. Harbin has built all around these geothermally-heated underground water, pools of water, waterfalls, rain, and rivers and creeks in the wet season, and its valley, and enfolded into an unfolding Harbin vision, - which waters then flow away at the low end of the Harbin property, eventually to the sea. These builds and artistic objects each become a living instance of the Harbin experience, and of what all the folks who have come through the gate at Heart Consciousness Church have created. It's specifically this connectedness of 'builds' and 'designed' objects to land, that gives form to the possibilities for, in my experience, heightened experiences of release and enjoyment, and of alternative, New Age delights, in the Harbin pools and at Harbin, as a whole.
Harbin residents' builds themselves, for themselves, are unique expressions of resourcefulness …
(http://scott-macleod.blogspot.com/2011/04/colca-canyon-connecting-harbins.html - April 8, 2011)