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BECKET HESS 🚪
❝ Father Becket is at peace until he dreams. And then the zeal opens its pitiless mouth and chews him with eager, champing teeth. He’s terrified that the zeal waits for him in the chapel ruins. And when he dreams—dreaming of the summer he came here in college, alone and with the zeal blazing so hot inside him that he couldn’t even think—he dreams of being in the thorn chapel. He dreams of standing in front of the altar and feeling like a pillar of fire because he was so consumed with a desire to know his god.
And when he wakes up, he wakes up with his skin burning against the air, like he’s aflame with righteous hunger once again. ❞
❧ A LESSON IN THORNS by Sierra Simone
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imann · 1 year
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I know it's been years since Door of Bruises was published but I just really wish I'd seen Becket one last time. Just to make sure our priest was okay.
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kevin-day-is-bi · 2 years
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By your own vows and your own blessing, you the bride and you the lord of Thornchapel are bound together.
The Thornchapel Series by Sierra Simone
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vintagelasvegas · 3 years
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Construction of Terminal 1 at LAS Airport, c. 1963
The clam-shell rotunda for the A & B gates encloses more than two acres under a roof with no internal supports. Architects: Welton Becket Associates with John Replogle.
Alan Hess: “The structural engineer working with Welton Becket Assoc. was Richard Bradshaw, a brilliant expert in thin shell concrete construction; that soaring roof is as thin as four inches. It is in fact a more authentic expression of modern thin shell structure than the TWA terminal by Eero Saarinen, who designed that building as elegant sculpture, and then handed it to his engineer to figure out how to build it using more conventional means. Bradshaw began with the engineering principles of thin shell, and then expressed those elegant principles as elegant forms. Both buildings were in the design process basically at the same time. The TWA building has definitely received more publicity but Las Vegas can be proud of this design.”
Welton MacDonald Becket: “Pierre Cabrol AIA at Welton Becket Associates was the designer.”
Photos: Las Vegas News Bureau
Airport’s Art Zone, LV Sun, 11/26/2007. Quote from Alan Hess on Vintage Las Vegas, Facebook.
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spainwealth89-blog · 5 years
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LACMA architect Peter Zumthor comments on museum’s revised design
Among the chorus of critics and celebrities who have reacted publicly to LACMA’s revised plans for its campus, one voice has been conspicuously absent. The designer of the project, the Swiss architect Peter Zumthor, has been largely silent—until now.
Last week, Zumthor spoke about the project for the first time since museum officials presented a new plan in April. In an interview in the Zurich newspaper Neue Zürcher Zeitung first spotted by art writer William Poundstone, journalist Sabine von Fischer asked Zumthor about the controversy surrounding the museum’s proposal, and why the design has endured so many major changes.
According to the interview, which is in German, Zumthor’s early experimentations within the grid-like limitations of the existing site left him unable to “establish a meaningful relationship with the various architectural and urban elements” on the LACMA and the La Brea Tar Pits campuses. The “Black Flower,” Zumthor’s name for the original amoeba-like design, solved the problem, he said. “When I began to respond to it with a free building form, we made the breakthrough.”
As for why the original form was scrapped when the museum was redesigned to cross Wilshire Boulevard, Zumthor said it takes a “greater linear tension to cross the big boulevard,” but “towards the park... the freely curved forms have remained.” He doesn’t discuss why the color of the museum shifted from black to beige.
Several Twitter users criticized Zumthor’s description of the museum as Asyl für heimatlose Objekte, which Google Translate translated as an “asylum for homeless objects.” However, multiple German speakers told Curbed this is a mistranslation of Zumthor’s original wording. The comment was made in reference to the new building’s goal to create an encyclopedic museum for the county, but appeared insensitive amidst LA’s worsening homelessness crisis. As architecture writer Eva Hagberg noted on Twitter, and two other German speakers confirmed to Curbed, a better English translation for heimatlose would be “displaced” or “out of context.” And asyl is a term more closely translated to political asylum than to a physical asylum. (The other quotes selected for this story were accurately translated by Google, according to the two German speakers Curbed consulted.)
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In one 2016 iteration, the “Black Flower” design crossed over Wilshire, but when revised again in 2017, the shape and color of the building had changed dramatically.
LACMA
Zumthor also dismissed an ongoing concern from art and architectural critics that the location and scale of the museum—it will be his largest project as well as his first major project in the U.S.—will mean many structural decisions and operational details will end up falling to SOM, the firm that’s serving as the local architect. “I not only participate in the execution plans of the SOM architects, I also look at all the workshop drawings of the executing craftsmen,” he told von Fischer.
“So far, I see no difficulties,” he said.
Although a majority of the speakers at an April LA County Board of Supervisors meeting spoke in favor of LACMA’s plan, including actors Brad Pitt and Diane Keaton, public records obtained in May by Esotouric’s Richard Schave and Kim Cooper showed that 83 percent of the emails sent to county supervisors about LACMA preceding the vote were opposed to the project. Only 48 emails received by the county regarding LACMA were in favor of Zumthor’s design, with 226 emails against. The county supervisors voted unanimously in favor of the project.
Schave and Cooper have since formed a group to officially oppose Zumthor’s design, largely on the grounds that the county should not be allocating $117.5 million to demolish the museum’s 1960s structures designed by William Pereira and Hardy Holzman Pfeiffer. The group has launched a petition asking the county supervisors to reconsider their vote. (A separate coalition of neighborhood associations have filed a lawsuit against LACMA that claims the new proposal would not provide enough parking.)
In June, LACMA hosted a symposium on 1960s architecture where LACMA director Michael Govan spoke about the museum’s desire to continue discussing these issues, says architect and historian Alan Hess, who gave a talk on Pereira’s work at the event.
“The symposium was a valuable first step in bringing attention to the enormous contributions of Pereira, [Welton] Becket, [Albert C.] Martin, DMJM, and others in shaping Los Angeles in the 20th century,” Hess says. “We need to pay attention to conserving their buildings and planning.”
That includes more dialogue around the LACMA plans, says Hess. “Great public buildings that find a place in the heart of citizens—like the LAX Theme Building, Music Center, City Hall, Central Library, Union Station, Disney Hall—always demand a sensitive interaction with that city’s people and culture,” he tells Curbed.
Zumthor told von Fischer he has personally managed to avoid reading much of the controversy around his own project. When asked if Zumthor had seen any of the criticism surrounding the new design, including commentary about the county meeting, he said he hadn’t. “Michael Govan said it was unnecessary for me to read [it],” he said. “You make the design, and I’ll do the rest, he said.”
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Source: https://la.curbed.com/2019/7/3/20674385/lacma-new-design-peter-zumthor-interview
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AUDEN GUEST 🌲
❝ He dreamed of Proserpina the most often and the most vividly. They met at the altar in his dreams and they rambled around Thornchapel’s forests and broken stone circles and hidden dolmens. They kissed too, and they held hands, and as he got older, the dreams grew both darker and richer, the place where he could be every bleak and tender thing he wanted to be. Sometimes it was him and St. Sebastian, sometimes it was him and Proserpina, and sometimes it was all six of them, doing things that made him blush the next time he’d see Delphine and Rebecca in real life. He dreamed and he burned. Thornchapel waited. And in a clearing in the woods, in a church ruined by thorns and time, something stirred. Something called all six of them by name. ❞
❧ A LESSON IN THORNS by Sierra Simone
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PROSERPINA MARKHAM 🥀
❝ He really shouldn’t be holding me like this, he shouldn’t be touching me at all, because aren’t engaged men supposed to keep their hands to themselves? Do not fall in love, Proserpina Markham. You are not stupid. But I’m so susceptible to this kind of touch. I bloom like a rose when I’m handled like a weed. ❞
❧ A LESSON IN THORNS by Sierra Simone
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REBECCA QUARTEY 🪴
❝ 'It was lovely,' Rebecca says, 'but it was wild too. The grass was so tall you could barely see where you stepped, and it was so still that the air itself felt thick. Like you could suspend things in it, like you could grab hold of it.' And then Rebecca—confident, left-brained Rebecca—shivers, the few braids she’s left out of her low bun dropping in front her face as she does. 'It felt like it wanted something,' she says quietly, tucking the braids back. 'Like it was waiting.' ❞
❧ A LESSON IN THORNS by Sierra Simone
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DELPHINE DANSEY 🥂
❝ Delphine is waiting for us by the altar, all faint flickering light and glimpses of long gold hair. There is something very lordly about her as we approach the two menhirs that guard the entrance to the stone row. Even in her red wool coat and rain boots, she looks regal, and even though she’s been alone in this buzzing, magic night for at least fifteen minutes, she seems nothing short of confident and brave. Sweet, bubbly Delphine is the lord of the manor for real right now, and somehow that makes perfect sense. Somehow it feels like it couldn’t have happened any other way. ❞
❧ A LESSON IN THORNS by Sierra Simone
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SAINT SEBASTIAN MARTINEZ 🦋
❝ He catches his lip ring in his teeth for a moment, then continues. 'But it’s so strange. Every time I think of leaving, I ache with wanting to stay. I can’t make myself go. It’s like I’ve put down roots without even wanting to, and I don’t mean family roots, because my aunt and uncle have always been here and I only barely remember my dad and his parents. I don’t mean friend roots, because I don’t really have any of those. I mean the kind of roots that happen privately between you and a certain place. Like you come to a place, and instead of planting a flag and saying mine, the place plants something in you. The place claims you, it knows your name and the crooked corners of your heart, and you’ve pledged yourself to it before you’ve even realized what’s happening.' ❞
❧ A LESSON IN THORNS by Sierra Simone
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