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Turkish illustrator Emin Mete Erdogan creates painstakingly detailed mashups of modern architectural structures, and then augments them to massive proportions. In contrast to the short, two-letter signifiers (HC, GY, or AW) that serve as the titles of his sci-fi-esque architectural works, each of his paintings seems to encompass entire panoramas with their presences. Using a combination of classical and technical methods, Erdogan references similarly massive machines like the Large Hadron Collider, imbuing his illustrations witha  level of detail that draws the eye deep into the worlds he has created.

Erdogan told The Creators Project that he thinks of his creations as “aimless structures,” impossibly giant machines he conceived by “taking out [their] actual functions.” He plans out the locations for his functionless tubes, arrays, and rivets by compositing collages of modern architectural masterpieces, technical graphs, or whatever else catches his fancy. He projects those composites onto a canvas, then traces over the projections, weaving the real patterns into non-existant machines. It’s a combined process that straddles the edge between imagination and actuality.
Despite their concretized inspiration, Erdogan’s work comes off like a photo series of industrial spaceship yards, urban future highways, or interstellar weapons thankfully beyond the scope of modern science.

More: We Spoke To The Illustrator Behind These Incredible Sci-Fi Architecture Mashups | The Creators Project

Turkish illustrator Emin Mete Erdogan creates painstakingly detailed mashups of modern architectural structures, and then augments them to massive proportions. In contrast to the short, two-letter signifiers (HC, GY, or AW) that serve as the titles of his sci-fi-esque architectural works, each of his paintings seems to encompass entire panoramas with their presences. Using a combination of classical and technical methods, Erdogan references similarly massive machines like the Large Hadron Collider, imbuing his illustrations witha  level of detail that draws the eye deep into the worlds he has created.

Erdogan told The Creators Project that he thinks of his creations as “aimless structures,” impossibly giant machines he conceived by “taking out [their] actual functions.” He plans out the locations for his functionless tubes, arrays, and rivets by compositing collages of modern architectural masterpieces, technical graphs, or whatever else catches his fancy. He projects those composites onto a canvas, then traces over the projections, weaving the real patterns into non-existant machines. It’s a combined process that straddles the edge between imagination and actuality.

Despite their concretized inspiration, Erdogan’s work comes off like a photo series of industrial spaceship yards, urban future highways, or interstellar weapons thankfully beyond the scope of modern science.

More: We Spoke To The Illustrator Behind These Incredible Sci-Fi Architecture Mashups | The Creators Project

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Writer Darran Anderson … [in connection with a] book he’s writing …  about how fictional cities and fantastic architectural ideas seep into the real-life cities we live in. … [B]egan sifting through piles and piles of books. He found fascinating literature, from works on obscure architectural “-isms,” and blueprints to mythical structures that featured in pulp-fiction novels.
… [T]o share the treasures he was uncovering, Anderson started tweeting the images out, name-checking often-overlooked designers, architects, and texts. …  @Oniropolis, has gained a significant following. 

(via a pretty badly written story that didn’t even bother to direct link to this guy’s Twitter account, at Building ‘Imaginary Cities’ - CityLab)

Writer Darran Anderson … [in connection with a] book he’s writing …  about how fictional cities and fantastic architectural ideas seep into the real-life cities we live in. … [B]egan sifting through piles and piles of books. He found fascinating literature, from works on obscure architectural “-isms,” and blueprints to mythical structures that featured in pulp-fiction novels.

… [T]o share the treasures he was uncovering, Anderson started tweeting the images out, name-checking often-overlooked designers, architects, and texts. …  @Oniropolis, has gained a significant following. 

(via a pretty badly written story that didn’t even bother to direct link to this guy’s Twitter account, at Building ‘Imaginary Cities’ - CityLab)

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(via Postcards From The Future Show What London Will Look Like After Climate Change | Co.Exist | ideas impact)
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(via Fictional Collaborations Between Artists and Architects)
Photoset

We have recently read, with considerable amazement, a report from Curbed NOLA about what is most likely the last Hypothetical Development Organization sign that still exists “in the wild.”

Back in 2010/2011, when the project first appeared around the city, many of the signs were stolen or otherwise removed almost immediately. Others stuck around for a few months, a year.

Honestly by now we’d assumed they were all gone, to whatever destinies await such curious objects.

But, no. 

In an August 28, 2014 post, Curbed shared these pictures of the site near Urquhart St & Music St. that inspired Karmalot: “A retail karma market: The place to take the good karma others give you and sell it secondhand, or trade your spare karma for cold, hard cash. This building could be the first location of a nationwide chain with broad appeal. Kash 4 Karma, y’all” 

I couldn’t be happier to note that someone appears to have tagged the sign — “We Got It.” What does that mean? I don’t know!

Worthy of note: This particular manifestation of HDO was a collaboration with a super-backer who bought “naming rights” to one of our developments. That backer was SVA’s Masters In Branding program, founded and overseen by the delightful Debbie Millman. We worked with students from the class of 2011, who devised a thoughtful, engaging brand identity for our absurd Karmalot idea — informing the rendering ultimately executed by Mauricio Espinosa.

Also worthy of note: The primary motivation for our Kickstarter campaign was to raise money to cover the cost of hiring a printer to make professional-grade signs. And we must say, looking at how well this one has held up, OPA Signs did a great job. Worth every penny — or rather, worth every bit of time and effort it took to wring those pennies out of all you backers through Kickstarter.

Thanks again.

HDO

Via Signage Depicting Imaginary Building Uses In New Orleans by Hypothetical Development Organization » Hypo D STILL In the Wild (Incredibly!) — Kickstarter

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One winning entry in an architecture competition to reimagine the Astrodome proposes a Houston Ark.
The designers behind the entry, HiWorks with Erica Goranson, write an amusing story to go along with the images from a post-apocolyptic perspective 150 years in the future:
“In 2046, when storm waters from the relatively weak Tropical Storm Rick breached the trillion-dollar [Ike Memorial Dike] and surged up the Ship Channel, Houston knew it had only a few years left to prepare … It was not a dramatic surge of a storm that moved the Houston Ark off its moorings. Instead it was the slow and incremental rise of the Gulf.” Eventually the ark floats across what was the state of Florida.

 (via Will the Sea Swallow Houston? | OffCite Blog)

One winning entry in an architecture competition to reimagine the Astrodome proposes a Houston Ark.

The designers behind the entry, HiWorks with Erica Goranson, write an amusing story to go along with the images from a post-apocolyptic perspective 150 years in the future:

“In 2046, when storm waters from the relatively weak Tropical Storm Rick breached the trillion-dollar [Ike Memorial Dike] and surged up the Ship Channel, Houston knew it had only a few years left to prepare … It was not a dramatic surge of a storm that moved the Houston Ark off its moorings. Instead it was the slow and incremental rise of the Gulf.” Eventually the ark floats across what was the state of Florida.

 (via Will the Sea Swallow Houston? | OffCite Blog)

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paddleson:

JAMES BRIDLE Continuous Monument: Manhattan, 2014archival pigment print and interactive digital fileBeginning in 1969, Superstudio, an Italian design and architecture collective, published a series of theoretical drawings called The Continuous Monument – a structure they envisioned as a single piece of architecture that would span the entire world, unifying continents and cultures. Although Superstudio conceived of this series as a physical entity, its closest expression today is found in our digital infrastructure, which is vast, global, and yet almost entirely invisible. As a tribute to their vision, James Bridle recreates The Continuous Monument inside Google Earth, allowing the viewer to explore and virtually inhabit these fantastic spaces. 

Register to BID IN PADDLES ON! in London on July 3rd →Register to PRE-BID on Paddle8 starting June 18th →

paddleson:

JAMES BRIDLE Continuous Monument: Manhattan, 2014
archival pigment print and interactive digital file

Beginning in 1969, Superstudio, an Italian design and architecture collective, published a series of theoretical drawings called The Continuous Monument – a structure they envisioned as a single piece of architecture that would span the entire world, unifying continents and cultures. Although Superstudio conceived of this series as a physical entity, its closest expression today is found in our digital infrastructure, which is vast, global, and yet almost entirely invisible. As a tribute to their vision, James Bridle recreates The Continuous Monument inside Google Earth, allowing the viewer to explore and virtually inhabit these fantastic spaces. 


Register to BID IN PADDLES ON! in London on July 3rd →
Register to PRE-BID on Paddle8 starting June 18th →

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Con/struct: The Fictional Urban Architecture of Justin Plunkett | Colossal
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laughingsquid:

Hive-Inn, A High-Rise Shipping Container Hotel Concept
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Danse Macabre - Time lapse (by Benjamin Sack)

Benjamin Sack’s incredible cityscapes are drawn with extraordinarly complex detail and filled with myriads of miniature and sometimes recognizable buildings. In his most recent solo exhibition at Ghost Print Gallery, Sack’s works loosely corresponded to the four movements of Beethoven’s “Eroica” symphony. “The overarching theme of this ‘symphony,’ Sack says, “is the hero’s journey (viz the viewer’s) into drawings detailed, complex and rich in metaphor; a sort of modern, existentialist epic.”

(Source: juxtapoz.com)