Guardian Angel Cathedral in Las Vegas has a great distinction of being my favorite Modernist cathedral of all time, created by the architect who helped define the cosmopolitan, international but not “International” and varied styles of Los Angeles.
Paul Revere Williams had the incredible empathy absent from so many architect-client relationships, along with the historical knowledge, to design buildings in almost any style. The Theme Building at LAX is perhaps his most iconic, obvious space age emblem.
Paul Revere Williams had the incredible empathy absent from so many architect-client relationships, along with the historical knowledge, to design buildings in almost any style. The Theme Building at LAX is perhaps his most iconic, obvious space age emblem.
Paul Revere Williams had the incredible empathy absent from so many architect-client relationships, along with the historical knowledge, to design buildings in almost any style. The Theme Building at LAX is perhaps his most iconic, obvious space age emblem.
Paul Revere Williams had the incredible empathy absent from so many architect-client relationships, along with the historical knowledge, to design buildings in almost any style. The Theme Building at LAX is perhaps his most iconic, obvious space age emblem.
Paul Revere Williams had the incredible empathy absent from so many architect-client relationships, along with the historical knowledge, to design buildings in almost any style. The Theme Building at LAX is perhaps his most iconic, obvious space age emblem.
His work is severely prolific in Southern California, the architect to the stars, whose distinctive style is in that no two buildings looked the same. This is unheard of when we think of architects as auteurs.
His work is severely prolific in Southern California, the architect to the stars, whose distinctive style is in that no two buildings looked the same. This is unheard of when we think of architects as auteurs.
His work is severely prolific in Southern California, the architect to the stars, whose distinctive style is in that no two buildings looked the same. This is unheard of when we think of architects as auteurs.
His work is severely prolific in Southern California, the architect to the stars, whose distinctive style is in that no two buildings looked the same. This is unheard of when we think of architects as auteurs.
Las Vegas is my favorite city because I love bombastic, honest, maximalist style. I am also a fan of being humbled from Vice just a short walk away from the Strip.
Of course, the world built around Guardian Angel was far different than it is today—these postcards from the sixties show you a different modernity from the Strip—the blue a frame panel suggests the sky without admittance to imitation.
Of course, the world built around Guardian Angel was far different than it is today—these postcards from the sixties show you a different modernity from the Strip—the blue a frame panel suggests the sky without admittance to imitation.
Of course, the world built around Guardian Angel was far different than it is today—these postcards from the sixties show you a different modernity from the Strip—the blue a frame panel suggests the sky without admittance to imitation.
For an architect who could’ve recreate a historical style at ease, the choice of this mid century modern, almost influenced by Googie in its Diamond tiling at the front entrance, actually recalls how the Gothic has a fulfillment with storytelling within its ornamentation.
For an architect who could’ve recreate a historical style at ease, the choice of this mid century modern, almost influenced by Googie in its Diamond tiling at the front entrance, actually recalls how the Gothic has a fulfillment with storytelling within its ornamentation.
For an architect who could’ve recreate a historical style at ease, the choice of this mid century modern, almost influenced by Googie in its Diamond tiling at the front entrance, actually recalls how the Gothic has a fulfillment with storytelling within its ornamentation.
The A Frame is particularly important here not only because Williams designed a cathedral to stand what he foresaw as the increasing modernity of Las Vegas future architecture, but the A Frame was the frame of mid century homes.
It’s also a beautiful reference, through modernity in aesthetic, of the Holy Trinity, and the invitation of the Church as God’s home, the one you’ve always been welcome to enter. It is not a relegation of the Church to something secular, it’s how we experience His love.
In modern styles you could not have asked for a more beautiful cohesion of the meticulous tradition of mosaic and the newer, geometric, stylized art form than this. The text inlay is as flashy as a neon sign, the starbursts of Googie lay at their feet.
In modern styles you could not have asked for a more beautiful cohesion of the meticulous tradition of mosaic and the newer, geometric, stylized art form than this. The text inlay is as flashy as a neon sign, the starbursts of Googie lay at their feet.
In modern styles you could not have asked for a more beautiful cohesion of the meticulous tradition of mosaic and the newer, geometric, stylized art form than this. The text inlay is as flashy as a neon sign, the starbursts of Googie lay at their feet.
In modern styles you could not have asked for a more beautiful cohesion of the meticulous tradition of mosaic and the newer, geometric, stylized art form than this. The text inlay is as flashy as a neon sign, the starbursts of Googie lay at their feet.
Two Hungarian sisters, Edith and Isabel Piczek, worked on the mosaics and stained glass. The altar makes incredible use of the A Frame, the dynamism of the colors and figures emerging; the kind of mystic sublime seen in something like Agnes Pelton (in color alone)
Two Hungarian sisters, Edith and Isabel Piczek, worked on the mosaics and stained glass. The altar makes incredible use of the A Frame, the dynamism of the colors and figures emerging; the kind of mystic sublime seen in something like Agnes Pelton (in color alone)
Two Hungarian sisters, Edith and Isabel Piczek, worked on the mosaics and stained glass. The altar makes incredible use of the A Frame, the dynamism of the colors and figures emerging; the kind of mystic sublime seen in something like Agnes Pelton (in color alone)
Two Hungarian sisters, Edith and Isabel Piczek, worked on the mosaics and stained glass. The altar makes incredible use of the A Frame, the dynamism of the colors and figures emerging; the kind of mystic sublime seen in something like Agnes Pelton (in color alone)
Two Hungarian sisters, Edith and Isabel Piczek, worked on the mosaics and stained glass. The altar makes incredible use of the A Frame, the dynamism of the colors and figures emerging; the kind of mystic sublime seen in something like Agnes Pelton (in color alone)
The amount of color invited in only makes sense for such a colorful city, the economic and useful nature of the multiple A Frames creating a new kind of vault ceiling, like lights falling down. The stained glass is maybe my favorite part of this though.
If you don’t know, to stain glass, or color it, one can either enamel it (paint on) or use specific chemical treatments in glass making to create color. What’s incredible is that the sketchy, woodcut effect comes to bring these windows beyond glass to active illustration.
So you have this intentional strive for modernity. Hence forth the windows here are not circular nor arched but triangles and rectangles.
So you have this intentional strive for modernity. Hence forth the windows here are not circular nor arched but triangles and rectangles.
So you have this intentional strive for modernity. Hence forth the windows here are not circular nor arched but triangles and rectangles.
What’s actually most fascinating is they, despite depicting The Stations of The Cross, the windows are also very blatant admissions of site specificity—references to historic casinos and hotels and Vice of Vegas lore. What happens in Vegas is confessed here.
What’s actually most fascinating is they, despite depicting The Stations of The Cross, the windows are also very blatant admissions of site specificity—references to historic casinos and hotels and Vice of Vegas lore. What happens in Vegas is confessed here.
What’s actually most fascinating is they, despite depicting The Stations of The Cross, the windows are also very blatant admissions of site specificity—references to historic casinos and hotels and Vice of Vegas lore. What happens in Vegas is confessed here.
What’s actually most fascinating is they, despite depicting The Stations of The Cross, the windows are also very blatant admissions of site specificity—references to historic casinos and hotels and Vice of Vegas lore. What happens in Vegas is confessed here.
I think this one is incredible powerful, this mise en scene of the crucifixion, the pained expressions, the way Jesus’ face carries warmth...
If Googie was the architectural language of a developing Las Vegas, then its place of worship should reflect what attracts its residents: the honesty of their lifestyles, their seclusion in the desert, a Cathedral one could only find out there.
If Googie was the architectural language of a developing Las Vegas, then its place of worship should reflect what attracts its residents: the honesty of their lifestyles, their seclusion in the desert, a Cathedral one could only find out there.
If Googie was the architectural language of a developing Las Vegas, then its place of worship should reflect what attracts its residents: the honesty of their lifestyles, their seclusion in the desert, a Cathedral one could only find out there.
If Googie was the architectural language of a developing Las Vegas, then its place of worship should reflect what attracts its residents: the honesty of their lifestyles, their seclusion in the desert, a Cathedral one could only find out there.
Modernity isn’t all bad in places of worship. Often it can be delightful, true to its location, vernacular and a compelling reminder of how God gives us talent to make places of worship that continue to be relevant and needed.
This is such a ridiculously impressive building and maybe the standalone greatest Googie building ever made, in Sin City. Only in a place so adamant about the nature of transgression and Vice could you make a Cathedral so diametrically opposed to it all.
This is such a ridiculously impressive building and maybe the standalone greatest Googie building ever made, in Sin City. Only in a place so adamant about the nature of transgression and Vice could you make a Cathedral so diametrically opposed to it all.
This is such a ridiculously impressive building and maybe the standalone greatest Googie building ever made, in Sin City. Only in a place so adamant about the nature of transgression and Vice could you make a Cathedral so diametrically opposed to it all.
This is such a ridiculously impressive building and maybe the standalone greatest Googie building ever made, in Sin City. Only in a place so adamant about the nature of transgression and Vice could you make a Cathedral so diametrically opposed to it all.
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