
Harvard architecture student Bryan Boyer redesigned the US Capitol building for a grad school project. His motivation is that the US House of Representatives stopped growing in 1911 simply because the building couldn't hold any more seat. As a result, he says, "the US Capitol changed from monument to memorial." More interesting than the elevations and photo illustrations though are the souvenir plates and $50 bill that Boyer designed to support his big vision. Over at the Sceptical Futuryst, Stuart Candy digs into this example of "architectural time travel." From the Sceptical Futuryst:
Architectural Time Capsule (Sceptical Futuryst), Our New Capitol (bryanboyer.com)It's not by the "direct" schematic and traditional design representations of the building that we get a feel for it. Instead, it's through the mediation of the new Capitol building's role as a cultural force -- one iconically reproduced on currency, commemorated in tacky souvenirs, and glimpsed through grubby windows from the backseats of cars -- that the presence of his future makes itself felt. In cinema and television, the artifacts of documentary (jerky camerawork, imperfect vantage points, bad sound fidelity) can sometimes lend a more nuanced and lifelike texture to the story than squeaky-clean realist cinema, with the camera always positioned just-so. Boyer has found his way to a sort of architectural equivalent of documentary, and I think it works.
David Pescovitz is Boing Boing's co-editor/managing partner. He's also a research director at Institute for the Future. On Instagram, he's @pesco.
More at Boing Boing
-
Cupcake Faerie
-
Steve Ater
-
dculberson
-
godfathersoul
-
Takuan
-
bryanboyer
-
Takuan
-
bryanboyer
-
thrillbot
-
scottso
-
anatomical gift
-
bryanboyer
-
pork musket
-
Antinous
-
orhan ayyuce
-
jringenberg
-
Takuan
-
Anonymous
-
thrillbot
-
jphilby
-
godfathersoul
-
sammich
-
Antinous
-
clabber_grrl
-
jere7my
-
Antinous
-
-
scottso
-
showyourthoughts
-
godfathersoul
-
neurolux
-
bryanboyer










It's not by the "direct" schematic and traditional design representations of the building that we get a feel for it. Instead, it's through the mediation of the new Capitol building's role as a cultural force -- one iconically reproduced on currency, commemorated in tacky souvenirs, and glimpsed through grubby windows from the backseats of cars -- that the presence of his future makes itself felt. In cinema and television, the artifacts of documentary (jerky camerawork, imperfect vantage points, bad sound fidelity) can sometimes lend a more nuanced and lifelike texture to the story than squeaky-clean realist cinema, with the camera always positioned just-so. Boyer has found his way to a sort of architectural equivalent of documentary, and I think it works.