by Hans Tursack
In the post-war architectural imaginary, campuses (as a compositional problem) are defined by collage, fragmentation, overlay, and historical sampling. Carlo Aymonino’s “assembly of known buildings” for East Rome, James Stirling’s autobiographical scatters for his office’s entry into the Roma Interrotta exhibition, and Stan Allen’s generative exploration of “dissonance and disjunction” in Piranesi’s Campo Marzio plan all speak to urban dispositions that privilege play, happenstance juxtapositions, and weak- or open-form over top down composition. Inspired by these and other related urban studies, the Campus is a compositional problem seen through the phenomenological lens of a video game user; forefronting real time discovery, accident, and visual precarity. The project revisits analogous methods of urban collage with the aid of digital form-finding tools.
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The animation forefronts the process of plan-based collage; as though the field of solutions is open ended, indeterminate, flexible, and unfinished. Individual elements are spaced in a manner suggestive of gameboard layouts, vacant stage sets, obstacle courses, or labyrinths; their literal positions alluding to a perceptual phenomenon in which discrete volumes radiate their own space. While objects adhere to a plan-based logic, the composition unfolds for the viewer in time as a field of industrial components in part-to-part episodes. The objects speak to each other in an obscure language meant to be read as a topographic essay in relations between individuals, sets, and charged, interstitial vacancies.