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| Georges Vantongerloo Rapport des Volumes 1924 |
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| Lebbeus Woods Lower Manhattan Ink drawing 1999 |
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| Sophie Tottie Written Language (line drawings), # V and # VI India ink on paper 2008 |
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| Sophie Tottie Written Language (line drawings), # V [detail] India ink on paper 2008 |
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| Anatole de Baudot Project for a great public hall Model in cardboard, paper, and cloth c. 1900 |
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| Atsuko Tanaka Drawing after Electric Dress Crayon on paper 1956 This inspired me to cover a whole wall of our apartment with red crayon. |
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| Haus-Rucker-Co. City 47 Project Cut and pasted silver gelatin photographs with graphite mounted on board 1967 |
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| Diller + Scofidio Blur Building, Yverdon-les-Bains, Switzerland 1998-2003 |
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| Katsuhiko Narita Sumi 1969 |
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| Kitadai Shozo Mobile (Mobiru) Wood and Japanese paper 1956 |
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| Superstudio The First City from Twelve Ideal Cities Photolithograph 1971 Twelve Ideal Cities is a wry comment on twentieth-century modernist utopias and it represents, the architects have written, "the supreme achievement of twenty thousand years of civilization." In The First City, or 2,000-Ton City, cubic cells stacked atop one another form a continuous building that stretches across a green, undulating landscape. Each cell is equipped with technology capable of accommodating all human desires and physiological needs. In this city, humans are in a state of equality and death no longer exists, but if an inhabitant tries to rebel against this ideal state, the ceiling of his or her cell will descend with a two-thousand-ton force obliterating the dissenter and making way for a new perfect citizen, This dystopian scenario originated in a critique of modern ideals of planning, rationalization, and consumerism; it uses architecture as a device that, like literature, can express political viewpoints about society. |
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| Bernard Tschumi The Manhattan Transcripts Project, New York, New York Introductory panel to Episode 3: The Tower (The Fall) Photographic reproduction with colored synthetic laminate 1980 |
In response to the microclimate created by adjacent buildings, which supports dense plant growth, a metal walkway lifts off from the High Line level and allows the landscape to fill in below. While an undulating terrain of moss and shade groundcover blankets the High Line bed, the Flyover carries visitors upward, into the shady canopy of a stand of sumac trees.
Mignola: You know, I’m constantly looking for visual references. Story-wise, I’ve got all that stuff in my library—but I can never have enough photo references. There are still stories that are waiting to be told until I have the right references; and there are certain stories that I decided to set in a location just as an excuse for me to draw a particular place or building.PS Here's one more place that seems like a Mignola invention: The Skeleton Lake of Roopkund.
Haus-Rucker-Co.
1967–1992
The Planet of Vienna, Rooftop Oasis, New York
project, 1971
Project for the Opening of Haus Rucker Studio
5 Beekman Street doesn’t have any tenants. In fact, it’s completely empty, essentially abandoned, and has been for a decade, with much of the interior shuttered since 1940.Oh my god! Apartment search over!
