Foyer Area Quotes

It appeared to be from behind us. We were all turned and listening to Barry as he was in the midst of a rant and had all our attentions. The gun shot seemed to come from the area of the foyer.

Every walk carves out a new city. And each of these tiny cities has its main square, a downtown area all its own, its own memorial statue, its own landmarks, laundromats, bus terminal—in short, its own focal point (from the Latin word focus, meaning fireplace, hearth, foyer, home), warm spot, sweet spot, soft spot, hot spot.

The day of Mia’s first surgery was not only a big day for her; it was a big day for me, too. Handing my three-month-old daughter to the anesthesiologist and watching her walk away with my baby was one of the most heart-wrenching things I have ever done. I knew that Mia was in someone else’s care and that I had absolutely no control over what happened to her until after the procedure. I tried my hardest not to cry, but after the anesthesiologist walked through the secure doors, I broke down in Jase’s arms. He was very emotional about the situation, too, but the two of us handled our intense feelings in different ways. I went to join our family in a large foyer area, where about fifteen of them had gathered to support us, and Jase headed outside to a small grove of trees near the parking lot. As I mentioned earlier, being outdoors makes Jase feel closure to the Creator, who he knows can do mighty things. That grove of trees, which was surrounded by such a large concrete jungle, became a special place for Jase, a place where he said many heartfelt prayers.

Mother Superior of the Sisters of Mercy herself was lying in wait for Jane at the foyer. "You have to keep in mind we only can restock our supplies once a month. Frankly, it always stresses our supplies of medications when Mr. Rogers is having a streak of bad luck. With fighting breaking out right and left..." "Mother Superior, this is Nigel Reid. Nigel, Mother Superior is head of the nuns that oversee this hospital. Anyone attacked by a monster is brought here to be treated." Which of course was all that took. TV hosts were kind of like napalm. You threw them at any major infestation and they cleaned out the area of all hostiles. Nigel lit up as if introduced to Santa Claus. "Oh, how simply wonderful to meet you!" Taggart caught what she had done and his eyes glittered with his smile. "That was pure evil." "Judicial use of resources is always appropriate.

I walked the short distance to Nogizaka, then strolled up and down Gaienhigashi-dori. It took awhile, but I finally spotted it. There was no sign, only a small red rose on a black awning. The entrance was flanked by two black men, each of sufficient bulk to have been at home in the sumo pit. Their suits were well tailored and, given the size of the men wearing them, must have been custom-made. Nigerians, I assumed, whose size, managerial acumen, and relative facility with the language had made them a rare foreign success story, in this case as both middle management and muscle for many of the area’s entertainment establishments. The mizu shobai, or “water trade” of entertainment and pleasure, is one of the few areas in which Japan can legitimately claim a degree of internationalization. They bowed and opened the club’s double glass doors for me, each issuing a baritone irasshaimase as they did so. Welcome. One of them murmured something into a microphone set discreetly into his lapel. I walked down a short flight of stairs. A ruddy-faced, prosperous-looking Japanese man whom I put at about forty greeted me in a small foyer. Interchangeable J-Pop techno music was playing from the room beyond. “Nanmeisama desho ka?” Mr. Ruddy asked. How many? “Just one,” I said in English, holding up a finger. “Of course.” He motioned that I should follow him. The room was rectangular, flanked by dance stages on either end. The stages were simple, distinguished only by mirrored walls behind them and identical brass poles at their centers. One stage was occupied by a tall, long-haired blonde wearing high heels and a green g-string and nothing more. She was dancing somewhat desultorily, I thought, but seemed to have the attention of the majority of the club’s clientele regardless. Russian, I guessed. Large-boned and large-breasted. A delicacy in Japan. Harry hadn’t mentioned floorshows. Probably he was embarrassed. My sense that something was amiss deepened.

The old Hoover Building had housed the Federal Bureau of Investigation before the Split, but the FBI was long gone. The People’s Bureau of Investigation now occupied that building and several others in the area, forming a huge complex dedicated to the dark work of internal security. The name “Hoover” had been scrubbed from the building and whitewashed from history when the People’s Republic had first arisen, but later came back when J. Edgar had been embraced as a pioneering example of resistance and the face of the toll oppression had taken upon gender-fluid individuals in the hateful old United States. His statue, in a flattering cocktail dress and a pair of strappy heels, graced the central foyer of the recently added annex.

A Tale of Two Parking Requirements The impact of parking requirements becomes clearer when we compare the parking requirements of San Francisco and Los Angeles. San Francisco limits off-street parking, while LA requires it. Take, for example, the different parking requirements for concert halls. For a downtown concert hall, Los Angeles requires, as a minimum, fifty times more parking than San Francisco allows as its maximum. Thus the San Francisco Symphony built its home, Louise Davies Hall, without a parking garage, while Disney Hall, the new home of the Los Angeles Philharmonic, did not open until seven years after its parking garage was built. Disney Hall's six-level, 2,188-space underground garage cost $110 million to build (about $50,000 per space). Financially troubled Los Angeles County, which built the garage, went into debt to finance it, expecting that parking revenues would repay the borrowed money. But the garage was completed in 1996, and Disney Hall—which suffered from a budget less grand than its vision—became knotted in delays and didn't open until late 2003. During the seven years in between, parking revenue fell far short of debt payments (few people park in an underground structure if there is nothing above it) and the county, by that point nearly bankrupt, had to subsidize the garage even as it laid employees off. The money spent on parking shifted Disney Hall's design toward drivers and away from pedestrians. The presence of a six-story subterranean garage means most concert patrons arrive from underneath the hall, rather than from the sidewalk. The hall's designers clearly understood this, and so while the hall has a fairly impressive street entrance, its more magisterial gateway is an "escalator cascade" that flows up from the parking structure and ends in the foyer. This has profound implications for street life. A concertgoer can now drive to Disney Hall, park beneath it, ride up into it, see a show, and then reverse the whole process—and never set foot on a sidewalk in downtown LA. The full experience of an iconic Los Angeles building begins and ends in its parking garage, not in the city itself. Visitors to downtown San Francisco have a different experience. When a concert or theater performance lets out in San Francisco, people stream onto the sidewalks, strolling past the restaurants, bars, bookstores, and flower shops that are open and well-lit. For those who have driven, it is a long walk to the car, which is probably in a public facility unattached to any specific restaurant or shop. The presence of open shops and people on the street encourages other people to be out as well. People want to be on streets with other people on them, and they avoid streets that are empty, because empty streets are eerie and menacing at night. Although the absence of parking requirements does not guarantee a vibrant area, their presence certainly inhibits it. "The more downtown is broken up and interspersed with parking lots and garages," Jane Jacobs argued in 1961, "the duller and deader it becomes ... and there is nothing more repellent than a dead downtown.