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'Arc d'Atlanta' ... or a new bit of kitsch?

Some find the city's new classically designed monument beautiful; others say it reflects a cultural inferiority complex.

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The gate is built entirely with private funds, and Cook considers it his gift to a city with which he has sparred before over architectural direction and monuments. The idea of a triumphal arch set into a neighborhood that didn't exist five years ago is an example of American willpower at a time when Americans are searching for meaning, says Bob Barr, the former congressman and current Libertarian Party presidential candidate.

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"Just as Atlanta is the city too busy to hate, we have to always work to ensure Atlanta is not a city too busy to remember or too busy to honor or a city too busy to build," says Mr. Barr.

Critics have already panned it as Arc D'Ikea. Residents bombarded the online architecture forum with arch invective, one writer calling it "a kitschy McMonument that bespeaks a cultural inferiority complex."

"It appears to be another attempt to make Atlanta look like other cities," says Kristen Eberhart, who lives near the monument. "It's neat, but I wish Atlanta would start concentrating on its own personality."

For Cook, architectural dissonance at Atlantic Station doesn't detract from the monument's power. The structure, he says, is likely to be standing through more urban changes, even tear-downs, on this corner near Atlanta's midtown, a few hundred yards from the rumbling 16 lanes of the city's downtown connector.

"In any modern city, you have these things smash into each other all the time," he says. "We need to build things that ennoble our people and give them great civic spaces to enjoy each other. Classicism is the architecture of democracy."

Hugh Petter, the project's London-based architect, says the arch represents professional as well as creative freedom. Since World War II, large-scale classical monuments and buildings have been all but impossible to build in Europe. The arch is a testament to teamwork and one man's dream of Roman ideals, he says, even though others might point out that the country itself hasn't seemed too interested in monumentalizing its modern achievements, at least not in classical terms.

But traditions are changing, and the Millennium Gate may be part of that.

"Modernism when it started was a revolution that was very attractive to younger, creative individuals, but it's grown so distorted and out of control," says New York sculptor George Kelly, who created a massive bust of George Washington for the gate's 12,000-square-foot museum. "People are more drawn to tradition. It's the scale of it, it's the warmth of it. The word is beauty."