Urban Defamiliarization | Sophi Lilles | FA21 Degree Project Research

Degree Project: Magic Fall 2021 Booklet

Operating through the Gutter:

Urban Defamiliarization

Sophi Lilles

Operating through the Gutter: Urban Defamiliarization Sophi Lilles Fall 2021 Degree Project Research Magic Faculty: Adam Elstein, Frank Gesualdi, Saul Anton DPAC Advisors: Dragana Zoric, Ariane Harrison, Robert Bracket III

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Table of Contents Project Statement with Beren Saraquse

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Urban Gutter: Constructing Spatial Opacities Methodology Statement

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Weird Montage and Engaged Digitalism Machine Assisted Assemblage

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Assemblage of the Familiar Strange Context Statement

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Anecdotal City Icons Research Essay

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The Weird Interval: Architecture of the Familiar Strange 12

The Mismade Lady

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Montage and The Weird and Eerie

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Collage City & Hong Kong’s Time Square

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Comic Panels and The Gutter

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Strange Object

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Glossary

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Bibliography

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Urban Gutter: Constructing Spatial Opacities Consumerism in the 21st century remains a dominant driver for almost all decisions and every decision becomes a data point. The nature of marketing and digital commerce renders consumers as data points in the mass system of curating search results and ads.

This data collects, generates, uses, shares, and processes: consumer profiles, addresses, and interests in order to perpetuate us to consume more. We become a commodified part of consumption. “The market, indeed, does not tell us what to do; it gives us what we want–once it gets through telling us what it is that we want.”1 The marketplace does not provide space to deliberate, rather it lists the “wants” that we therefore seek.

Under consumptionist conditions, surveillance is not optional but rather a key feature of capital that we have no choice but to comply (“accept terms and conditions”) in order to consume. The default choices presented to the consumer are designed so that they make a decision that was ultimately curated by the digital. We define consumerism in three parts: the first being the curation of desire through marketing, advertising, and branding, the second being the act of consumption, and the third is becoming a data point and the cycle begins again. In a consumer driven society, our identities are always made aware; whether consuming digitally or physically, we are constantly being tracked. How can we consume without becoming a commodity?

How can we reimagine the consumerist landscape, a previously legible space, into an illegible space?

Within the realm of consuming, tracking 1 Barber, Benjamin R. “Shrunken Sovereign: Consumerism, Globalization, and American Emptiness.” World Affairs 170, no. 4 (2008): 73–81.

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and data points; it is ultimately our choice to provide those details and purchase those goods, the responsibility and choice is on us. Free choice is the notion that guides our society. The dominance of choice not only deconstructs but could serve as a counter argument to consumerism. Our definition of consumables is divided into wants and needs. A want is something that an individual desires, but would be able to live without. A need is necessary to sustain life; this includes healthcare, shelter, food and sanitation. Access to healthcare is given less authorial priority in the United States, especially among those that are considered noncitizens. States that vote red serve as sites that require resistance and demand for spaces of opacity. Across the U.S., capitalism is part of the everyday that crosses between wants and needs; that are sometimes unattainable. Individuals are unable to access these needs without being surveilled and becoming a data point. Their identities are immediately tracked and used against them. This proposal demands a customization of the city as a void-space of total circulation within these ‘red states’ as a way to resist the politically-driven consumerist lifestyle.

What kind of spaces can form resistance in a post industrial consumerist society?

As a response to the grasp of digital consumerism on user data collection, we propose spatial opacities as a mechanism for resistance. As an apparatus for the construction of spatial opacities, we utilize the screen. The screen can display infinite images and therefore infinite information.

Project Statement with Beren Saraquse

Figure 1. Urban Gutter Collage

This project demands the use of image roster content, forming an alliance between the screen and the image. Because the image can be anything, we are therefore concerned with where the screen is placed and who gets to see it. The screen is a tactile visualization of the virtual into the actual. This calls for an assemblage of material architecture and the screen, where individuals circulate and communicate. This assemblage operates through and with the gutter: the interval, gap, space between elements. Coined by American Cartoonist Scott McCloud, the gutter is “the space between panels, an interstitial space where meaning is made by connecting the contents of one panel to the next.”2

To relate and juxtapose actual architecture and the virtual screen, this project explores the potentialities of montage and assemblage. Montage was a method of the nineteenth century, a response to industrialization. But, insufficient as a method of the 21st century, our method must respond to the emerging dependency on the digital: the juxtaposition of actual elements (architecture) with digital elements (the screen) into a site of resistance. This project proposes physical urban commons that embeds the screen, providing a gutter for the creation and dissipation of opacities; a space for dialogue and the recomposition of identity.

2 McCloud, Scott. Understanding Comics: The Invisible Art. NY: HarperCollins Publishers, 1993.

Project Statement with Beren Saraquse

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Weird Montage and Engaged Digitalism This project interrogates what I am calling the “identifiable familiar,” that is, everyday familiar spaces that form our daily routines.

By reorganizing and reconfiguring icons, symbols, and the scenographic elements that help to shape our everyday reality, my goal is to defamiliarize the everyday world and to subvert its recognizability. To do so, I would like to explore the use of montage and digital media to create “weird” forms.

Mark Fisher equates montage to “the weird” because it “is that which does not belong,” and “montage [is] the conjoining of two or more things which do not belong together.”1 The success of montage comes from “dialectical juxtapositions” between “heterogeneous elements,” and representations of the real. The methodology of the project is driven by relationships and disjunctions uncovered from the juxtaposition of discrete, identifiable elements, objects, details, scenes, and experiences. The adjacencies of and seams between these elements become an important part of this process of creating a new synthesis, of evoking weird, new experiences within existing, familiar elements. Further, the space between heterogeneous elements also has the ability to become an agent of the process, and I would like to explore the potential of bringing forward the background within different collage strategies.

With the logic of montage, fragments of daily life can be cataloged according to their architectural qualities. Through a digitallyaided generative process, these fragments of the everyday can then be reconfigured in altered, unexpected ways, into a new “deviant” architecture, a form of recombinant 1 Fisher, Mark. “Introduction.” The Weird and The Eerie, Random House Inc, 2017, pp. 8–13.

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“weird” design. In this manner, montage can be a method for deviant architecture, for a making-strange of the built environment that we tend to take for granted. The result will be a built environment that transcends notions of the familiar and the regular and resists becoming normative.

Jesus Vasallo describes engaged digitalism as bringing “attention once again to the real, through operating on its fragments in a postproduction space in order to generate alternative futures.”2 My intention is to actively enable users to recognize the mediation between the digital and the real, that is the ways in which fragments of the built environment and everyday life are digitally mediated and determined. The digital brings us much closer to what could be real.

The use of digital media, where forms and visual effects are readily available, stitches together with fragments of the real for a plausible alternative. This dismemberment and reconfiguration of fragments of reality is what Vasallo calls hunter-gatherer realism, which uses “repressed objects, places, or references, things that they detect as charged with a certain energy.” These fragments are reaggregated and recontextualized to criticize, imagine, discover new relevancies and agency. These digital images, videos, and experiences mess with the real, but are constructed on the basis of realism, allowing for a convincing alternative reality.

2 Vassallo, Jesús. “Seamless: Digital Collage And Dirty Realism In Architecture.” Log, no. 39 (2017): 45–65

Methodology Statement

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B2

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Figure 2. Diagram of the Mismade Lady

Methodology Statement

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Assemblage of the Familiar Strange via Grasshopper

Figure 3. Familiar Elements

Figure 4. Sample Result

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Machine Assisted Assemblage

Figure 5. 6 interations (of infinite versions) made up of 50 elements

Machine Assisted Assemblage

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Anecdotal Icons This is a project of defamiliarization, of making strange by reorganizing recognizable discrete icons, symbols, scenes, of reality in new adjacencies. Deviant architecture is the result of this shift from the recognizable state (the real) into the disturbing familiar (the realistic). But what and where are these familiar elements that make up deviant architecture? By defining the elements as familiar and recognizable, there must be a global understanding or collective knowledge of the identification, visualization, and significance of these elements. This situates the project in an urban context, where the elements are found in densely populated, highly active, intentionally curated and constructed cities.

Here, the familiar elements are what defines a city.

powerful conventions of commercial visual and verbal story-telling in which icons have become one of the key visual tools in the construction of branding.”3 Can altering, misusing, defamiliarizing these icons therefore change a city’s identity? Can the familiar elements of urban life of a city— elements of desire, exchange of goods and services, places, branding, culture—be controlled by architecture, and thus control the collective?

The project will aim to challenge how the present city operates. The discrete, familiar elements are defined as urban iconography (form) and iconology (meaning). Icons “transform(s) chaos of the experience of the city into knowledge and meaning through representational practices.”1 However, I do not define icons as monuments or landmarks. Here icons can be found in a more similar approach to Robert Smithson’s identification of monuments as “antiromantic” and in “mise-en-scene.”2 This project uses the icons of the everyday, of routine activity, recasting a new modality of the everyday icon. They also don’t only have to be visual to begin with. City icons can be identifiable experiences, desires that define the city. Icons can brand cities, leaning into a consumerist-driven society where “advertising has also established

“Horror suggests a desire to understand and value deviance; to be suspicious of fundamentals and appearances; to let the norm be weirded by the exception.”4

1 Ethington, Philip J., and Vanessa R. Schwartz.. “Introduction: An Atlas of the Urban Icons Project.” Urban History 33, no. 1 (2006): 5–19.

2 Smithson, Robert. “A Tour of the Monuments of Passaic, New Jersey.” Originally published as “The Monuments of Passaic.”

Artforum 6, no.4 (December, 1967).

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These city icons are then cataloged to then be reconfigured, re-membered, restored into deviant architecture. The result of the unrecognizable, new reconfiguration is shocking, is a familiar strange, is maybe even horrifying. From this, new significance is created and the deviance is given value.

How can architecture control or uninhibit behavior, routine, and desires? The reconfiguration of the elements of daily life (meaning deviant architecture) dictates routine, behavior and desires, of the individuals, and therefore also collective life.

Deviant architecture dismembers and remembers city icons of desire, reconfiguring a city’s identity into a familiar strange alternative.

3 Ethington, Schwartz, “Introduction: An Atlas” 4 Comaroff, Joshua, and Ker-Shing Ong. “Introduction.” Horror in Architecture, ORO Editions, Novato, CA, 2018, pp. 7–47.

Context Statement

Figure 6. Mapping of Soho Shopping Avenue: Messing with Broadway

Figure 7. Photographs by Robert Smithson from The Monuments of Passaic

Context Statement

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The Weird Interval: Architecture of the Familiar Strange The Mismade Lady

Figure 8. Stills from the Mismade Lady magic trick

On stage are two magicians, their female assistant, and a tall cabinet made up of four cubes. The woman enters the cabinet. The magicians then slice the assistant into four pieces and creating a top and bottom for each cube. The magicians disassemble and reassemble and stack the cubes back into the whole cabinet configuration. The doors of the cabinet are slowly opened, revealing the woman’s body from top cube to bottom cube: legs, torso, head, and then feet. The audience sees the woman dismembered and rearranged. Her head, two feet from the floor, is still smiling with no signs of pain or blood. To restore her, the magicians once more unstack and rearrange the cubes back together, revealing the re-membered, restored, and completely unharmed woman.

In the “Mismade Lady” magic trick, the audience is led to believe that the woman’s body is sliced into 4 pieces, yet the magician is able to keep her alive and then put her back together again. This leaves the audience in awe with fear when she is dismembered, and in awe with wonder when she is made whole again. The audience’s astonishment is attributed to the familiar yet unexplainable alterations of reality.

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The cabinet performs as a threshold, it is the interval between the familiar and the reassembled familiar, the whole lady and the mismade lady. The interval executes the slicing method, allowing access to an alternate familiar. What is the seam between the real lady and the mismade lady? This is the limbo between the identifiable and the unrecognizable. The in-between of objects and experiences are invisible gaps that both bridge and separate. While a seemingly insignificant prop for the trick, the cabinet, this interval, is the path of transformation from the familiar, normal lady into the mismade lady. It is a necessary connector and divider.

The mismade lady appears all too familiar, the audience can recognize the pieces yet not comprehend the whole of what they see. They perceive the disturbing familiar and for a moment they experience horror.

The mismade lady reflects parts of reality, but collages these parts together in unnatural, and delightfully disturbing ways.

Research Essay

Figure 9. The Mismade Lady magic trick drawing transcription

The trick plays to human familiarity by deploying the identifiable and familiar in weird ways. It follows the parameters of reality, so that it can successfully exist in it.

As a result, the audience does not feel the need to distinguish what is real or the trick, rather, they believe what they see.

Through the cutting and rearranging these elements, one’s experience of reality is manipulated into a new experience. A new synthesis is created from the reaggregation of elements. This essay explores the possibility of juxtaposing elements to create a sense of the familiar strange, to unsettle recognizable patterns.

Research Essay

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Montage and The Weird and Eerie Methods of cutting and reconfiguring, as seen in collage and montage, suggest that familiar elements, be it cultural artifacts or architectural details, can present multiple narratives and new ways of understanding the same set of elements. Martino Stierli’s Montage and the Metropolis details how montage is a technology of the 19th century as a response to industrialization, used to manipulate pieces of the insurmountable “metropolitan space in order to come to terms with it.”1 Montage uncovers new readings, and is therefore most successful when juxtaposing elements are placed adjacent to each other. The unusual collision of familiar elements alerts the reader because they see and experience familiar objects as an unfamiliar whole, this alert is addressed by “conceiving a synthesis.”2 Relating back to the “Mismade Lady” magic trick, in addition to the elements themselves, it is the unsettling rearrangement of her body parts that challenges what the audience believes to be real. There is a deliberate process for reconfiguring the pieces so that it operates not just as a representational tool but a tool “to extend the idea of the real to something not yet seen.”3 Montage is successful when its pieces are identifiable discrete elements. It is able to convert the original, known reality by using familiar, everyday materials and objects.

Montage is the collision of different elements that do not belong together. It uses the technique of juxtaposition to evoke new synthesis of familiar elements. This 1 Stierli, Martino. “Introduction.” Montage and the Metropolis: Architecture, Modernity, and the Representation of Space, Yale University Press, New Haven, 2019, pp. 1–31.

2 Sterli, “Introduction” 3 Sterli, “Introduction”

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new synthesis can result in weird and eerie experiences. Mark Fisher’s writing on The Weird and The Eerie explores both terms as related to the strange, and how we have a “fascination for the outside, for that which lies beyond standard perception, cognition and experience.”4 Fisher defines the weird as “that which does not belong,” it “brings to the familiar something which ordinarily lies beyond it.” Methods of montage achieve moments of the weird, generating weird juxtapositions. But the weird and eerie remain appealing to us, there is enjoyment found in “seeing the familiar and the conventional becoming outmoded,”5 the creation of new realities. The eerie on the other hand questions what the agent is that produces moments of the weird. We question the existence of things that seem out of place. This allows us to detach and escape from the mundane everyday. These deviations from the familiar create moments of horror. Horror highlights the “unresolved tension between the whole and its parts.”6 Horror exists where change is abundant, so that the familiar is always at a state of unease. It interrogates “fundamentals and appearances; to let the norm be weirded by the exception.”7 Montage has the potential to achieve horror.

By juxtaposing parts and therefore creating tension between elements and their strange whole, montage has the ability to construct moments of deviation. This is the method that favors the exception over the norm, the tension over the resolution, the weird forms.

Using montage, we can interrogate spaces of mundane reality to evoke the familiar strange.

4 Fisher, Mark. “Introduction.” The Weird and The Eerie, Random House Inc, 2017, pp. 8–13.

5 Fisher, “Introduction” 6 Comaroff, Joshua, and Ker-Shing Ong. “Introduction.” Horror in Architecture, ORO Editions, Novato, CA, 2018, pp. 7–47.

7 Comaroff, Ong, “Introduction”

Research Essay

These deviations from the familiar create moments of horror. Horror highlights the “unresolved tension between the whole and its parts.” Horror exists where change is abundant, so that the familiar is always at a state of unease. It interrogates “fundamentals and appearances; to let the norm be weirded by the exception.”

Research Essay

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Hong Kong’s Time Square

Collage City Fred Koetter and Colin Rowe’s Collage City uses montage to challenge the modernist transformation of cities. The clash between the traditional and modernist approaches to urbanism attempts a reconciliation between them through “the articulation of difference.”1 Collage City suggests montage as the contrast between values, beliefs, and cultures (manifested as architectural styles) from different times, emphasizing how urbanity should be understood as the collision and accumulation of many layers.

It can be a method to synthesize a whole disordered collection, complex layering of architectural, historical, cultural objects. By collaging a plethora of city systems into one, the newly formed Collage City can embody fragments of utopias without needing to replicate and follow a single utopia model.

This method in which, “objects and episodes are obtrusively imported,”2 inherently welcomes multiplicities of form and meaning, allowing for the emergence of discoveries as a result of the collage. Rather than accepting a single model of the perfect contemporary city,

Collage City is inclusive, it establishes a new reading of a city by allowing city fragments to coexist and strengthen each other.

1 Sterli, “Introduction” 2 Khachatryan, Tigran. “Architectural Context Part 5: Colin Rowe & Fred Koetter.” Medium. May 4, 2020.

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An example of the Collage City is Hong Kong’s Time Square, located at the intersection of Happy Valley and Causeway Bay. Hong Kong’s unique postmodern identity is attributed to its historic tension between its era of British imperialism and Chinese culture.

Hong Kong is characterized by “disappearance” and “hyphenation,”1 it exemplifies a city of fragmentation, an intertwining of past and future, memory and desire, east and west.

Time Square is a shopping mall complex built above a busy metro station, replacing the former tram-depot and street markets.

It has transformed into a commercial, technologically advanced building, “a bewildering collage of signs and patterns with enough anarchic elements remaining to create a sense of pastiche.”2 This commercial complex is a collage of programs, occupants, economic classes, aesthetics, and time periods. It is an amalgamation of hybridity.

These fragmentations and ruptures can be seen as opportunities for strength, where difference creates the multiplicity of space, a third or other meaning that would not have been found otherwise. Time Square’s creation of pastiche is described by Wong Kin Yuen as a “redemption of history” and the “transformation and reinterpretation in tension between loss and desire.”3 1 Wong Kin Yuen. “On the Edge of Spaces: ‘Blade Runner’, ‘Ghost in the Shell’, and Hong Kong’s Cityscape.” Science Fiction Studies 27, no. 1 (2000): 1–21.

2 Yuen, “On the Edge of Spaces” 3 Yuen, “On the Edge of Spaces”

Research Essay

It simultaneously is confusion of identity while being open to alterity. Time Square exemplifies methods of montage and collage, and by articulating and embracing culture’s hybridity, constructs “a thirdspace of unassimilated otherness.”4 Favoring flow and uncertainty, it provides a public space for the construction of identity.

Figure 10 + 11. Shopping mall Time Square in Causeway Bay, Hong Kong

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Yuen, “On the Edge of Spaces”

Research Essay

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Comic Panels and The Gutter In Modernism and the Collage Aesthetic, Budd Hopkins argues that the textures of our modern world is why collage is naturally the metaphor for modern existence.

Technological changes have sped up the deterioration of old, outdated unities and ways of connection, increasing the gap between urban life and nature. Hopkins explores how transit is an indicator of modern life because it is itself a “collage of places” more than a sequential journey.

Flying to another place within a few hours is less of a slow journey and instead “an immediate juxtaposition of locations.”1 The collage allows the ability to both collapse and expand the time between two elements so that, “we can jump from A to D immediately, and then on to L and V.”2 To Hopkins, collage is not a special method but it is just the way we now live our lives.

Hopkin’s reading of college starts to suggest that the seams and gaps between two entities, where the juxtaposition occurs, exists in our modern world as spaces that we occupy. This shifts the focus from the elements that make up the deviated whole to the intervals between them. While the interval seems, at first, to perform only as a transition between elements, it is the “construction ‘with intervals’ [that suggests] that in montage, it is not the elements that are significant, but the space in-between them that defines the potential depth.”3 When are seams between two different objects revealed? In addition to connecting, can these intervals operate to deepen a relationship between objects?

The two-dimensional arrangement of panels 1 Hopkins, Budd. “Modernism and the Collage Aesthetic.”

New England Review (1990-) 18, no. 2 (1997): 5–12.

2 Hopkins, “Modernism and the Collage Aesthetic” 3 Stierli, “Introduction”

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on a comic page uses similar collage and montage techniques of the juxtaposition of different images to tell the story. However, the comic, because of the nature of the media, utilizes the interval between the images, the physical space between the panels on the paper, to aid in telling the narrative, or multiple narratives in a single page, in a single instant. The visual twodimensional layout of images of a narrative allows the viewer to read the page as a group of panels, challenging the “very idea of a single narrative line.”4 American cartoonist Scott McCloud names the comic interval as “the gutter,” defined as

“the space between panels, an interstitial space where meaning is made by connecting the contents of one panel to the next.”5 This meta-technique in comics can further utilize the gutter by dividing a single image, invading another panel, or using another image to fill the whole page, replacing the gutter.

This page from Jimmy Corrigan by Chris Ware shows the view from Jimmy’s window.

The page links panels through element commonalities (the same object appearing in different panels) and visual commonalities (different objects sharing visual edges through panels). By utilizing the gutter, Ware is able to represent multiple narratives in a single point in time in the context of the story.

The viewer then reads all the narratives at the same time. The effect of the narrative is most successful when the whole page, every panel and gaps in between, is read at once.6 4 Bredehoft, Thomas A. “Comics Architecture, Multidimensionality, and Time: Chris Ware’s ‘Jimmy Corrigan: The Smartest Kid on Earth.’” Modern Fiction Studies 52, no. 4 (2006): 869–90.

5 McCloud, Scott. Understanding Comics: The Invisible Art. NY: HarperCollins Publishers, 1993.

6 Bredehoft, “Comics Architecture”

Research Essay

Figure 12. Comic panel by Scott McCloud

Figure 13. View from Jimmy’s window, from Jimmy Corrigan by Chris Ware

Research Essay

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Strange Object In my model I explore how the use of the interval acts as an agent of the eerie to manipulate the familiar into a new reality, generating a weird juxtaposition. On one side of the mirrored black box is the shape of a house; on the other side is a shape with the same number of edges, yet is completely different. The second shape is a deviant of the first. The interval takes the familiar edges and reconfigures them to make a shape beyond mundane reality.

The mirrored black box can be opened so that the interval is revealed, showing a black elastic fabric, representing the destabilized connection between the two shapes. The interval, performing as a three dimensional gutter, draws connections between the two shapes, creating new meaning. The interval becomes part of the whole narrative and a new synthesis is created. The ability to open the box to expose the interval suggests that it could be a visualized gap, like the comic, or maybe occupied.

Figure 14. Photographs of Strange Object: The Interval

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Research Essay

1.

2.

Montage, collage, juxtaposition, and working actively with the interval between real objects and images creates the possibility of an architecture of what I’d like to call “the familiarstrange”.

3.

Figure 15. Grasshopper post-production: Operating through the Gutter

This architecture creates uneasy analogies and conditions that resist becoming mundane. The interval has the potential to act as the mediator between elements.

It provides space for the author, artist, architect to create relationships or disjunctions, and thus form one or more narratives. In operating through and by means of the interval, it has the potential to unsettle the everyday into a familiar deviation of reality.

Research Essay

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Glossary familiar element _ a discrete and recognizable part _ parts needed to create the familiar strange

montage _ the collision of different elements that do not belong

together _ a heterogeneity or plurality of the image _ whole reproduced images or their parts are juxtaposed and thus brought into a productive, at times dialectical relationship or synthesis

weird _ that which does not belong the gutter _ the interval, seam, gap, space between elements familiar strange _ the result of reconfiguring familiar elements in

alternative, weird, and unexpected ways _ the creation of uneasy analogies and conditions that resist becoming mundane _ a desire to understand and value deviance; to be suspicious of fundamentals and appearances; to let the norm be weirded by the exception

defamiliarization _ making strange / ostranenie _ presenting to audiences common things in an unfamiliar or strange way so they could gain new perspectives and see the world differently

consumer _ participating in the act of shopping, purchasing, and consuming

consumerism _ curation of desire through marketing, advertising, and branding, and the act of consumption

identity _ one’s individual thoughts about personal characteristics, interests, and skills

opacity _ the level of transparency granted to a viewer 22

DP Magic Fall 2021 Sophi Lilles

Bibliography Stierli, Martino. “Introduction.” Montage and the Metropolis: Architecture, Modernity, and the Representation of Space, Yale University Press, New Haven, 2019, pp.

1–31.

Fisher, Mark. “Introduction.” The Weird and The Eerie, Random House Inc, 2017, pp.

8–13.

Comaroff, Joshua, and Ker-Shing Ong. “Introduction.” Horror in Architecture, ORO Editions, Novato, CA, 2018, pp. 7–47.

Khachatryan, Tigran. “Architectural Context Part 5: Colin Rowe & Fred Koetter.”

Medium. May 4, 2020. https://geometrein.medium.com/architectural-context-part-5-colin-rowe-fred-ko etter-cb7952e9e87c.

Wong Kin Yuen. “On the Edge of Spaces: ‘Blade Runner’, ‘Ghost in the Shell’, and Hong Kong’s Cityscape.” Science Fiction Studies 27, no. 1 (2000): 1–21. http://www.jstor.org/stable/4240846.

Hopkins, Budd. “Modernism and the Collage Aesthetic.” New England Review (1990-) 18, no. 2 (1997): 5–12. http://www.jstor.org/stable/40243172.

McCloud, Scott. Understanding Comics: The Invisible Art. NY: HarperCollins Publishers, 1993.

Bredehoft, Thomas A. “Comics Architecture, Multidimensionality, and Time: Chris Ware’s ‘Jimmy Corrigan: The Smartest Kid on Earth.’” Modern Fiction Studies 52, no. 4 (2006): 869–90.

Barber, Benjamin R. “Shrunken Sovereign: Consumerism, Globalization, and American Emptiness.” World Affairs 170, no. 4 (2008): 73–81. http://www.jstor.org/stable/20672823.

Ethington, Philip J., and Vanessa R. Schwartz. “Introduction: An Atlas of the Urban Icons Project.” Urban History 33, no. 1 (2006): 5–19. http://www.jstor.org/stable/44614169.

Smithson, Robert. "A Tour of the Monuments of Passaic, New Jersey." Originally published as "The Monuments of Passaic." Artforum 6, no.4 (December, 1967).

Vassallo, Jesús. “Seamless: Digital Collage And Dirty Realism In Architecture.” Log, no.

39 (2017): 45–65. http://www.jstor.org/stable/26324002.

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Degree Project: Magic Fall 2021 Booklet