“Deductive with respect to the past. Inductive with respect to the future. Alive in the present.” These three sentences, by French writer Charles Tamkó Sirató, summarize the essence of Dimensionism. Published in Paris in 1936 on a loose sheet from a magazine, the Manifeste Dimensioniste contained signatures of the highest regarded avant-garde artists of the early 20th Century. Inspired by advancements in mathematics and physics, the artists proclaimed that literature leave the line and enter the plane, painting leave the plane and enter space, and sculpture leave immobile form for four dimensions.
Playing off of the original proclaimations of the Dimensionist Manifesto, this thesis challenges the third-dimensional architecture of today to go beyond the static. Peripatopian Architecture4 asserts that architecture has gone beyond structure to the kinetic, beyond program to the purposeless, beyond beauty to the visually ambiguous, and beyond site to the peripatetic. Exploring transformative architecture through models that explode and collapse, this thesis aims to stimulate curiosity and provoke imagination through interaction. “Peripatopian” comes from peri- meaning “around” +patien meaning “to walk” +topos meaning “place” or, simply having an undefined place for an undefined space.