The Cathedral of Hugo de Vries de Los Angeles, Greater Hollywood District, Los Angeles Sub-metropolis, Cascadia Metropolitan Zone.

The Cathedral of Hugo de Vries de Los Angeles,

Greater Hollywood District,

Los Angeles Sub-metropolis,

Cascadia Metropolitan Zone.

 

(taken from the book The Los Angeles District: A History in Architecture by Alison Stone)

 

“The Hugo de Vries cathedral was completed in the year 2622. According to the document Imperial Charter of Architectural Projects, recently re-discovered in the Imperial Archival Library, the design of the building was at least partially based on ruins found in the Seine Valley region of the Western Eurasian Continent, which were modified to suit the cathedral’s intended purpose. Originally the Hugo de Vries cathedral was not intended as a Cathedral at all, but was rather a multi-storey shopping complex built as part of the celebrations commemorating the Founding of the Empire commissioned by then-Empress Louisa Catherine Payne. The mall contained 33 restaurants, 42 clothing outlets, and at least 56 other miscellaneous stores. It was not until 2878 that the building was converted into a cathedral at the behest of Empress Harriet Powers, who wished to assign a prominent building within the Los Angeles District to her favoured religious organisation, the Church of Social Darwinism. The cathedral became the Metropolitan Cathedral of the West-Coast Dioceses, and continued to serve in that capacity until 3173, when the Church of Social Darwinism fell out of favour with the Imperial Court, and the cathedral was confiscated. It was subsequently converted into a ceremonial hall, due to the fact that it was the oldest surviving usable building in the district, with the purpose of serving as the venue in which to hold the inauguration of newly elected Empresses…”

 

(taken from the book Hugo de Vries de Los Angeles: A Story in Reinforced Concrete by Robert E. Morgan)

 

“…over it’s history the cathedral has undergone several extensive architectural changes and structural remodelling. While originally the building simply consisted of the impressive façade, dome, nave and apse, the changing nature of both the building and its role in the sub-metropolis has required frequent extensions and expansions. The largest expansions have included the enormous catering department with adjoining event-planning departmental offices attached to the far-eastern corner of the building; the broadcasting centre northern corner; and the most recent expansion; a large airship-docking port atop the southern tower. Non-structural alterations have included the fitting of a large air-conditioning system, the conversion of the building’s primary energy source to wind-power, and demolition of a large portion of the surrounding residential area to provide for the cathedral’s parking needs…”

 

(taken from the book Imperial Design: Luxury in Utility by Cyril Summerson)

 

“…the interior inauguration chamber of the cathedral has remained relatively unchanged for over 600 years since its construction. During the time that the Hugo de Vries served as a mall the room was the office of the mall owner, the original incumbent requesting that it be designed and furnished as closely to the ruins it was based upon as possible. At that time it was even more richly furnished and decorated; these lavish furnishing subsequently were removed when the cathedral was taken over by the austere Church of Social Darwinism. Although it has been somewhat embellished since, the original luxury of its interior has never been fully restored, with the official statement from the Imperial Office of Public Work claiming that they “lack essential funds”. During the run-up to each inauguration ceremony, however, the room is decorated by an imperially-commissioned artist, sponsored by the patrons of the incoming Empress. This includes practical considerations, such as the addition of cameras and advertising, alongside luxurious embellishments such as expensive draperies and elaborate altarpieces, usually prominently featuring the motifs and insignia of the Empress’ sponsor…”

 

(inscription over the main cathedral door)

 

Nicholas Flamel woz ‘ere”

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