I’m never without the impression that Denver International Airport is creepy. It just feels creepy. Whether its about the blue Mustang sculpture – “cursed” because it actually killed its creator Luis Jimenez – or the gargoyles in the suitcases that await you at baggage claim, it’s always been a confusing, contradictory space.
There is plenty already out there about the apocalyptic murals, the swastika-like shape of DIA’s layout, and the dedication stone “control console.” (And we’re just talking about what is visible at DIA). Therefore, I want to focus on new observations and things I haven’t been able to find much about, situated on Concourse A.
Concourse A Central Core Sculpture
The massive sculpture in the center of concourse A – David Griggs’ Dual Meridian – is obviously exploring themes of travel, technology, and the evolution of transportation.
On this visit however, I was struck most by the poor visibility for much of the sculpture.
Two sides are arranged in such a way that the sculpture can be viewed and appreciated from those vantage points. But, visibility is painfully impaired from the two other sides situated against the flow of train traffic below. Important and costly elements are visible only from certain angles and heights, such as the stone “world map” feature of the installation.
Why is this?
For such an advanced structure in terms of engineering and architecture, wouldn’t this have been taken into consideration by the New World Airport Commission? After all, opening at $2 billion over budget, sticking to the numbers has hardly been an issue for DIA.
If viewed from certain angles, you also get some interesting geometric effects.
Not far away from “central core” as DIA calls it (?!) sits an unwieldy and extremely heavy artifact – presumably a beacon from aviation history. As with so much of the airport, wall texts and explanations regarding the installations and displays are sparse. I couldn’t find anything regarding this piece nearby, and my research was not productive either. Even worse, I failed to document the artifact on my last visit and have not found an image in my subsequent research.
The conspiracy theory takeaway from “The Beacon?” “Light” and the Promethean act of providing illumination to man are important themes in Illuminati symbology.
At first, there isn’t anything obviously sinister about the floor mosaics entitled Patterns and Figures – Figures and Patterns in Concourse A. It’s after a little study that you start to have questions.
Like Dual Meridian at the center core of the A gates, viewing and processing the floor mosaics isn’t easy. The content is severely obscured by its installation. Little of it can truly be read and absorbed from the first level.
But, take a ride higher on the escalator, and elements become more clear. Others however, not so much. Areas along the border of the mosaic are confused and hidden from that vantage point. Why? It is as if this element along with others – just as with Dual Meridian – are intended to be viewed from a much higher vantage point. And, by “much higher,” we’re looking at two to three floors higher along with the removal of some elements of existing floors.
The names of continents are scattered within the mosaic, which of course makes sense thematically for an international airport. But, symbols, words, and phrases are included, much of which are difficult to decipher. Presumably, the themes would adhere to the usual cliched universal values displayed in this kind of context – such as peace, love, and understanding.
However, one word is obvious: “quiet.”
What is the relation of quiet, or silence, to the continents? To global travel? Why would other words and phrases be so comparatively indecipherable?
And, again, there is no wall text or accompanying information readily available for what was a significant undertaking to install. Go to the web site and you get bland and brief expository texts.
So Many Questions . . . Did They Call Zone 2?
Just as with the Georgia Guidestones, you leave the site asking even more questions. Regardless of your thoughts on conspiracy theory ties, the Illuminati, or just plain creepiness, there are some basic and reasonable questions anyone would ask: Why are there such problems with artwork display, installation, and visibility? Why would you place some of the artwork that they’ve chosen – including gargoyles, stormtroopers, and apocalyptic narratives – in this context? Is the swastika style layout really a good idea for a cluster of runways? Is it all just poor planning? Bureaucratic incompetence?
And finally, is it really true that the British monarchy owns real estate near the airport?