Enormous structures I: The Illinois

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Frank Lloyd Wright’s architectural genius rather overreached itself with his 1956 proposal for a mile-high skyscraper of 528 floors situated in Chicago and to be named The Illinois. A building of this size would have severely tested the engineering capabilities of the time (bear in mind that the world’s tallest skyscraper was still the Empire State Building) and would provide difficulties even today. Aside from the obvious fire hazards, the topmost floors would need some form of weighting in order to prevent their swaying violently in the wind. Then there’s the question of moving around the people who live or work there. So many elevator and service ducts are required for a structure of this size that the lower floors are almost entirely taken up by the core shafts that run through the building which makes very tall buildings uneconomical when so much valuable rental space is lost.

Wright was 89 years old in 1956 so The Illinois represented his last hurrah; having changed the face of 20th century architecture he’d obviously decided to go out on a high point, as it were. I often wonder whether he expected that it might eventually be built, just as the medieval cathedral builders drew up plans that they knew they’d never see completed in their lifetimes.

Previously on { feuilleton }
Frank Lloyd Wright’s future city

Michelangelo revisited

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In order to coincide with the British Museum’s exhibition of Michelangelo drawings, the current edition of Gay Times tries to imitate some of the more famous works in their main photo spread. What’s interesting about these pictures is seeing how much they lack the compelling dynamics of the artist at his best. Maybe this is down to the photography and lighting, perhaps somebody like Dylan Ricci would have done a better job. I prefer to think that this has more to do with the Oscar Wilde principle of nature struggling to imitate art.

The Malcontent has more of the photos here.

Elsewhere on { feuilleton }
The gay artists archive

Ballard on Modernism

A handful of dust

The modernists wanted to strip the world of mystery and emotion. No wonder they excelled at the architecture of death, says JG Ballard

Few people today visit Utah beach. The sand seems colder and flatter than anywhere else along the Normandy coast where the Allies landed on D-day. The town of Arromanches – a few miles to the east and closer to Omaha, Gold and Sword beaches – is a crowded theme park of war museums, cemeteries and souvenir shops, bunkers and bunting. Guidebooks in hand, tourists edge gingerly around the German gun emplacements and try to imagine what it was like to stare down the gun sights at the vast armada approaching the shore.

But Utah beach, on the western edge of the landing grounds, is silent. A few waves swill over the sand as if too bored to think of anything else. The coastal land seems lower than the sea, and fails to echo the sounds of war inside one’s head.

More here.

The Apple logo

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The original company logo from 1976 depicts Isaac Newton sitting under a tree with the fateful apple glowing above his head and looks about as far removed from a computer company logo as it’s possible to get. The picture frame contained Wordsworth’s description of Newton, “A mind forever voyaging through strange seas of thought, alone.”

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Rob Janoff designed the more familiar Apple at about the same time. The typeface used was Motter Tektura.

According to the logo designer…the typeface was selected for its playful qualities and techno look, in line with Apple’s mission statement of making high-technology accessible to anyone.

As with many old typefaces, there doesn’t seem to be a font of Motter Textura available today apart from this Cyrillic clone.

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The original apple was streamlined and given coloured bars at
Steve Jobs’ behest in order to “humanise the company”.

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Ironically, it was Jobs who also decided to remove the colour bars in 1998. The current logo is now a typical piece of flexible contemporary branding, easily reproduced in any colour, at any size or shape.