However, as the sun goes down the con’s tone slowly changes to become more Mardi Gras and less Disney. This is, in fact, specifically recognized with the event that has slowly been gaining notoriety, the Dragon*Con After Dark Costume Contest of which the author has had the privilege of being the co-master of ceremonies several times. For persons interested in being contestants, I will remind you that “no costume means no costume.” And Dragon*Con After Dark complies with relevant Atlanta and Georgia laws regarding nudity.
Barely.
(On a further note, my good friends Rogue and Jessica DuPont of Cruxshadows are usually among the judges.)
This has been my only attempt to describe Dragon*Con and I really could not do it justice. It is one of those things in life that truly has to be experienced to be believed.
However, it was not until I was doing research for “fiddly bits” of this story that I realized (or even in fact noted) the amazing architecture especially of the Hyatt Regency Hotel. I’m not an architecture fan. It’s the sort of thing you throw into a book to lend authenticity. So when this novel was in its final draft I desperately asked my lovely and talented (and much more architecturally oriented) fiance Miriam to look up the architectural details and explain them to me. In small words.
Although Miriam had been involved with the design of the new walking bridge between the Hyatt and the Marriott (one detail that was left out since the Dragon*Con of Janea’s spiritual journey was from an earlier period) she had, surprisingly, never really paid much attention to the architecture of the Hyatt itself.
Prepare to be enlightened.
Built in 1967, the Hyatt Regency Atlanta is generally described as “the first contemporary hotel.” Designed by “visionary” (and I agree) architect John Portman, it incorporated several novel design features that remain subjects of study and use to this day. The “bubble” (glass open) elevators that Janea so casually dismissed were in fact the first of their kind in the world. All subsequent glass elevators simply drew on the Hyatt design. The “modern art sculpture” in the middle is anything but. The Flora Paris is, in fact, one of the most brilliant examples, ever, of a critical structural necessity being turned into pure art. The gold and silver plated steel tubes run in parallel from the foundation up to the lobby level then spread out into hundreds of separate tubes, twenty-two stories high, in the architect’s own words, “arms in praise of the sky and the sun.”
However, their purpose is purely structural. The top of the Hyatt is a (now closed) rotating restaurant. The basic structure of the building could not support its weight. The Flora Paris is what supports the entire weight of that massive and essentially separate building. It floats on beauty.
Brilliant.
There was no place to include those details in the story but the author thought that some people (including long-time attendees of Dragon*Con such as the author) might be interested.
See you in Atlanta at Labor Day.
John Ringo