Susan Sontag defined ‘camp’ as a cult sensibility formed around an appreciation for artifice. With earnest love for failure and exaggeration, this ‘camp’ provides a queer way of seeing through the moral seriousness of modernity.
Summer Camp is the rural cousin to Sontag’s, a heterotopia in the woods. With a formal language of vernacular theatricality, its architecture enables spaces for domestic collectivity and the rehearsal of plastic folklores.
These ‘camps’ produce two conflicting queer sensibilities that could generate a contemporary architecture of the urban pastoral. Between them we find a method for making ‘camp’ as a disobedient architecture of everyday estrangement.
Harvard Graduate School of Design
Thesis advised by Jennifer Bonner