Super Ordinary

…a productive tension is cultivated between containers of programme, and Lamport Field becomes a place of intuited balance between opposing forces, a fragile constellation in which a sense of completion is denied (Ramberg 43). Compelled by our curiosity to explore the unknown, to reconcile the opposed, and to make sense of that residual space, we embark on a journey, where the building reveals possibilities beyond the sum of its parts.

“All the possible consistent states of the measured system and the measuring apparatus (including the observer) are present in a real physical (not just formally mathematical, as in other interpretations) quantum superposition”

(Wikipedia)

Super Ordinary is an architectural interpretation of quantum mechanics: that architecture, rather than objective, is “spatial and performative” (Isozaki 24), a subjective interpretation of superimposed experiences. Lamport Field is a place of uncertainty, where only through experience can the infinite possibilities of this exploded frame be collapsed into something real (in other words, the Copenhagen Interpretation).

In an architecture of frames, our imagination overcomes the gaps, relating spaces to one another…

“Even what the hero is searching for vanishes before the obstinacy of his pursuit, his trajectories, his movements; they alone are made apparent, they alone are made real.”
—Alain Robbe-Grillet (Allen 72)

Paradoxically, the architecture of an infinite game must be geometric and ludic at the same time. Consider the “shifting, indeterminant plane” (71) of Piranesi’s Campo Marzio: there, the “internal consistency of a work authored all at once is absent, by necessity.” As a result, two games emerge simultaneously; a set of rules that “supercede the subjectivity of a single author” establish finite games—providing the framework for its inverse corollary, the infinite game. Rather than the author, Piranesi is the ‘recorder’, taking fragments of space and time in order to suggest a unified and generative whole (76-77). Piranesian space is not defined by its boundaries, but by their relation to other spaces—relationships established by the infinite possibilities of experience.

“Even what the hero is searching for vanishes before the obstinacy of his pursuit, his trajectories, his movements; they alone are made apparent, they alone are made real.”

Alain Robbe-Grillet

Fields of play exist as interval spaces, anticipating change and new experiences.

Folded renderings imply the added dimension of time to space.

Through action, space is created curated.

Accepts and encourages irresistible flows through space.

Top: badminton court as event space; above: squash courts can be opened up to become a continuous, larger space.