Paul Laffoley
(b. 1940, Cambridge,
Massachusetts)
Tesseract House
1978
Ink and Letraset on Board
51 x 33 in.
Subject:
The Cosmic Mission of Architecture
Symbol Evocation: The Tesseract as the Key to the Mystery of
the Universe
Comments: Because: On September 30, 1976 in Boston, I received
the idea that makes the time machine a practical device- a new form of
a gyroscope, “The Levogyre,” which weighs less while in operation
that still- which models a photon or a black hole and makes possible the
control and amplification of pre and retrocognition (pre-perception of
the future and retroperception of the past), and, therefore, can access
all of time without violating the localism of the intertial frame of reference,
as does the device depicted in H.G. Wells’ novel The Time Machine(1895),
which purports to alter the entire universe from a single location.
Because: The Time Machine implies that all creature will meet eventually
throughout the universe and genetically retrofit themselves into one species
of being with one goal- the fulfillment of the Cosmic Task, which is to
transform all of the absolute matter of physical universe into absolute
spirit, starting from one instant before the Big Bang to whatever and
whenever a motionless future is reached.
Because: The Big Bang is God (He, She, It) expelling all deadness from
the ultimate void, and since there is nothing but “the all,”
we must work to bring aliveness to the matter of physical universe and
prepare it to be delivered from our dimensional frame of Time Soluoid
into the next higher dimensional realm of Eternity-Vosolid, and live with
the fact that we have no way of knowing where we are going, but we do
know that we have to go.
Therefore: The only logical thing to do is establish a series of built
environments around the world that provide a higher dimensional mood,
thereby allowing any strange phenomena to be interpreted in relation
to time mechanics, such as flying saucers, UFOs, implants, psychic phenomena,
all as being, therefore, parts of the time machine.
These environments, called Tesseract Houses (or fourth- dimensional houses),
were invented by the American architect Claude Fayette Bragdon (1866-
1946), born in New London, New Hampshire. When his father moved to Rochester,
New York, Claude helped him found The Genessee Lodge of the Theosophical
Society, while sitting on a bench in Central Park, New York City. In 19367.
the 71 year old met 30 year old Robert A. Heinlein (1907- 1988). Heinlein,
a then budding writer, listened with fascination to the architect who
claimed that the secret to the “mystery of the universe” was
to be known through architecture and he (Bragdon) had the key.
Four years later Heinlein wrote a story in the architect’s honor
entitled And He Built a Crooked House. It was humorous in the intent but,
alas, was not entirely in th spirit of what Bragdon wanted. I, therefore,
have taken on the task of presenting The Tesseract House as it should
be, i.e. as envisioned by the architect.
It is a live-in architectural studio for a team of designers, seven people
in all, three married couples and the team leader who is single. When
children begin to appear they will become trained within the team. The
team leader has private quarters at the ground level. The team will pursue
such design problems as: 1. Physically alive architecture, both vegetative
and mammalian, 2. Developing time machine variations in relation to the
natural scale of inerial frames of references, 3. Mega and nano engineering
such as the earth-moon link up, redesign of the solar system and eventually
the entire universe, and the replacement of natural evolution by an understanding
of authentic human intentionally under the guidance of pure spirit.
