On the Spot

Salt Lake City’s Aaron Sain


eBernin, of course. Gian Lorenzo Bernini.


eMy parents had this African sculpture. It was three monument looking abstractions of the human form that was representative of a cohesive family—mother, father and child. The sculpture was one. The piece wasn’t very important, but it stands out for me. Apart from that, my dad’s record collection and the album covers were very influential for me artistically. Taking in the different bands and the music and how they were portrayed was very powerful in my young mind. I remember being a young four year-old sitting in front of my dad’s speaker that he had made and flipping through the gatefold of Pink Floyd’s “The Wall” that was illustrated by Gerald Scarfe. I was quite horrified by the giant walking ass with the Victorian wig. I later read about how it was a play on the phrase “the law’s an ass”, but at the time I remember thinking, “What is this? What am I seeing?” All those Stones, Zeppelin, Black Sabbath, Frank Zappa, et al album covers were amazing. I loved it.


eAs someone that is passionate about architecture, I’m hesitant to say that no singular building stands out for me. However, there is something about the concrete mass of Snowbird— branded, architecturally as a whole from the Cliff Lodge carried architecturally throughout the mountain. The warmth of the wood against the cold structures of concrete refined through the interior Asian décor of The Cliff Lodge set against the beauty of the canyon is amazing. Something about that building resonates with me in its environment. Further down the canyon there’s a residence, again in concrete and wood that I’ve always admired. It’s a wooden rectangular form with a concrete angular piece that protrudes in an acute angle of glass panels that I’ve always loved. Every time I drive by it I make a point to enjoy it’s exquisite design.

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