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This is why I was doing research on my own end about Haussmann's Renovation of Paris.
I'd sought for the oldest human-inhabited part of Huxley III, 1-I-A Old Dome, to be specifically modeled off of Haussmann's developments, since I'd had a thought to myself about them being the first real attempt at "futuristic" architecture. Rather than a reconciliation with the past, Haussmann as prefect of Paris sought to geometrically construct a "perfect model" for the city, and then conduct however many demolitions that would require, effectively destroying Paris for the sake of an idea; a bringing forth of the Nominal into the Real, following Lacan's formula of sexual perversion exactly.
With futuristic art, going back to the days of Gernsback, that is the operation present; an imagination is produced of a future utopia or dystopia, and then everything from the past is simply erased for aesthetic purposes. The fact that this never successfully happens is, in a large part, the root of Science Fiction from the 80's onward (Neuromancer, Snow Crash, etc.), which concern themselves as much, if not moreso, with how the past lingers within the present or even how past visions of the future do.
One of the reasons that I draw 2-III-C-Delta-Gimmel in such a historicist style is that I'd like to convey a world which looks as if it has a past, and so buildings, places, and people from the past will look, well, old. Not in a Ralph McQuarrie way of being coated in dirt and dust and visibly worn, but in a very real way of being in an archaic, kind of trite visual style which could not be replicated today without the result being used in the future as a definition of poor taste. Science Fiction concerned with the past, rather than the future, could be described as the movement of the genre since the 80's, and I find myself trying to convey that in a way which looks different than the usual conventions of Cyberpunk, Steampunk, Dieselpunk, etc.punk.
Here's the weblink: sites.google.com/view/23cdelta…

Description
This is why I was doing research on my own end about Haussmann's Renovation of Paris.
I'd sought for the oldest human-inhabited part of Huxley III, 1-I-A Old Dome, to be specifically modeled off of Haussmann's developments, since I'd had a thought to myself about them being the first real attempt at "futuristic" architecture. Rather than a reconciliation with the past, Haussmann as prefect of Paris sought to geometrically construct a "perfect model" for the city, and then conduct however many demolitions that would require, effectively destroying Paris for the sake of an idea; a bringing forth of the Nominal into the Real, following Lacan's formula of sexual perversion exactly.
With futuristic art, going back to the days of Gernsback, that is the operation present; an imagination is produced of a future utopia or dystopia, and then everything from the past is simply erased for aesthetic purposes. The fact that this never successfully happens is, in a large part, the root of Science Fiction from the 80's onward (Neuromancer, Snow Crash, etc.), which concern themselves as much, if not moreso, with how the past lingers within the present or even how past visions of the future do.
One of the reasons that I draw 2-III-C-Delta-Gimmel in such a historicist style is that I'd like to convey a world which looks as if it has a past, and so buildings, places, and people from the past will look, well, old. Not in a Ralph McQuarrie way of being coated in dirt and dust and visibly worn, but in a very real way of being in an archaic, kind of trite visual style which could not be replicated today without the result being used in the future as a definition of poor taste. Science Fiction concerned with the past, rather than the future, could be described as the movement of the genre since the 80's, and I find myself trying to convey that in a way which looks different than the usual conventions of Cyberpunk, Steampunk, Dieselpunk, etc.punk.
Here's the weblink: sites.google.com/view/23cdelta…