Demolition Man

Demolition Man (1993) imagined San Angeles 2032 as an engineered utopia — a sterile, gleaming civic interior of glass curves in pastel cyan and peach over polished chrome and white. Crime is gone, profanity is fined, and every surface beams with airless wholesomeness.

This design system distills that "Taco-Bell-clean" future: pale cyan grounds, sanitized teal accents, rounded civic signage, and the faint unease of a world too bright to trust. Everything is curved, spacious, and pointedly friendly.

《超时空战警》（Demolition Man，1993）将 2032 年的"圣安杰利斯"想象成一座经过精心设计的乌托邦——无菌、闪亮的市政空间，淡青与桃色的玻璃曲面叠在抛光铬与纯白之上。犯罪消失了，脏话会被罚款，每一处表面都散发着令人不安的、毫无瑕疵的健康感。

本设计系统提炼了这种"塔可钟般洁净"的未来：淡青底色、消毒过的青绿强调色、圆润的市政标识，以及那种亮得让人无法信任的微妙不安。一切都是弧形的、宽敞的、刻意友好的。