Bienvenue chez Yuval "Nosferatu" Harari. "Abandon hope, all ye who enter here": a high-rise devoid of indoor toilets.
However, much of its freakiness -- at least to me -- arises not only from the monochrome blackness :3 but from the fact that it's just a maquette, complete with blunt, "Play-Doh" corners and "Secret Society" (i.e. no) fenestration (wouldn't want the occupants peeing out the windows now, would we?).
Not to mention the traumatic memory of getting stuck with all the licorice Halloween candy that one time.
For what it's worth, there is a large painting by Lempicka on display at the DeYoung Museum that has an eerily identical building as the backdrop for a glamorous portrait of a woman friend of the artist's. As metaphor, it was intended to suggest, deco-style, the apotheosis of the Modern Woman.
Bienvenue chez Yuval "Nosferatu" Harari. "Abandon hope, all ye who enter here": a high-rise devoid of indoor toilets.
However, much of its freakiness -- at least to me -- arises not only from the monochrome blackness :3 but from the fact that it's just a maquette, complete with blunt, "Play-Doh" corners and "Secret Society" (i.e. no) fenestration (wouldn't want the occupants peeing out the windows now, would we?).
Not to mention the traumatic memory of getting stuck with all the licorice Halloween candy that one time.
Frank Gehry's buildings still suck worse.
Was it supposed to look like a series of “Firstborn” Monoliths intended to trigger a shift in the prisoners’ evolution into solid citizens? 🥴
This is the ugliest one of 2024 in my opinion. It is a jail, however--ugliness is suitable.
Shouldn't we prefer that the ugliness not radiate outward?
I checked 2023 and 2022 since then. Still Grand Champion Ugly with no close rival. I am glad I do not live near there.
Agree wholeheartedly.
For what it's worth, there is a large painting by Lempicka on display at the DeYoung Museum that has an eerily identical building as the backdrop for a glamorous portrait of a woman friend of the artist's. As metaphor, it was intended to suggest, deco-style, the apotheosis of the Modern Woman.