hyperreal cartography & the unrealized city
maps of real places that don't exist.
hyperreal cartography & the unrealized city
maptitude1:

This gif show the expansion of the city of Paris from 300 A.D to 1850 A.D.
design-is-fine:

Mario Chiattone, House and apartments VII, 1915. Italy. Source
mapsontheweb:

Map of Washington D.C. in 1815.
mapsontheweb:

Unexpectedly interesting map of Canada - does anyone know what’s going on here
George Washington Bridge as it's designers intended
ZoomInfo
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
thekhooll:

Facsimile Murat Germen
“Cities may seem to grow only upwards, but they actually accommodate two different worlds: First being the obvious Überland, the city over the ground level; and the other Unterland, the underground. Even though soundly developed metropolises have a very intricate and large underground infrastructure, the most lived, experienced and perceived urban world appears to be the one above: Überland. Unterland is usually ignored, misperceived, underestimated and not particularly pleasing by many; since the times we spend in the Unterland is usually temporary and we do not reside there.”
ZoomInfo
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
thekhooll:

Antonio Sant’Elia
My senior project in Architecture School owed a lot to this architect. For a brief while I became obsessed with the ideas and aesthetics that he taught. Antonio Sant’Elia was an Italian architect, that left no built legacy but was a key member of the Futurist movement in architecture. The manifesto Futurist Architecture was published in August 1914:
"COMBAT AND DESPISE:
All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
The embalming, reconstruction and reproduction of ancient monuments and palaces;
Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
The use of massive, voluminous, durable, antiquated and costly materials.
AND PROCLAIM:
Read More
giseducenter:

This survey map of San Francisco in 1891 shows that while the city was growing on the eastern side of the peninsula, the western and southern sides were nearly empty. Source.
archiveofaffinities:

Venturi, Scott Brown and Associates, Times Square Hotel, New York, New York, 1994
1959 cra plan bunker hill by gsjansen on Flickr.