Multi-dimensional space is a system of systems [SOS], assembled as a kit of parts through syntactic devices [SDEVS]. With the excuse of aesthetic resolution, SDEVS often mask the uneasy fit of components of all scales that are enslaved to wholistic readings. As a result, architecture avoids fragmentation. In response, this thesis proposes an innovative design paradigm structured about a cinematic syntax & three SDEVS: frames // + links __ + brackets [ ].
A matrix of applications [MAPPS] materializes in 81 scenes: erstwhile-assembled, now-dispersed fragments articulated as “event containers” [ECS] for an architectured polycentric system [POLYSYS]. The POLYSYS, Space.City, a Seattle Web-based art & architecture network, undergoes condition_al applications that reinforce a fragmentary – as opposed to totalizing – narrative through cinematic optics [OPTS]. The structuralist [project] has at least two dimensions: physical & virtual.
The method of constructing the POLYSYS is based on a reversal from a “gestaltic” approach – one that gives the impression that the whole supersedes its parts – to an “anti-gestaltic” one – explicitly oscillating between dispersion & assembly. This shift results in multiple readings for Space.City, advancing the “matter of fragmentation” on a theoretical level through a language both visual & metatextual [MTXT] thus drawing inspiration from various media: cinema, videotexts, Internet, art.