Nearly transcending the three dimensions of human depth perception, this sketch depicts an emblematic feature of Constant’s new urban environment: the labyrinth. In this case, he prevents processional habits by making spaces and means of arrival unpredictable, and, thus, unrepeatable.

The Purism of Le Corbusier magnifies procession as the essential goal of architectural space, but the mobile labyrinth exists purely in chaos. There is no designated “entrance,” and certainly no focal point, as imagining this structure from any other exterior angle is almost futile. By extension, imagining the structure’s interiors is an artistic act.

What is more, scale retains mystery. Possible perspectival changes in the sketch, in consideration with unidentifiable and wheeled objects of unknown orientation and size, make the overall dimension of the structure challenging to surmise. Yet perhaps that is the entire point of the labyrinth–architectural theory unburdened by dimension and perspective, an Expressionist manifestation of living space.

This unnamed model is photographed with scale in mind. The photo is curated to appear as a large, imposing structure–akin to a building of approximately three floors. However, it still seems a model. This appearance is intentional, however, as Constant merged the lines between abstract sculpture and living city architecture throughout his New Babylon series.

The mid-twentieth century saw the convergence of Modernist truth-to-material construction and practices in sculptural creation. The missing link: revolutionary potential. Sculpture as architectural theory is not only powerful and subversive, it is also viable by treating sculpture as building prototype. Coming into fruition, a model such as the one pictured would collapse art, everyday life, and experience–the founding goal of the Situationist International.

Comparative Map New Babylon/Amsterdam Ookmeer is difficult to examine without close inspection of its constituent parts. Constant depicts a possible reinterpretation of a Dutch urban center wherein various sections of the “center” are sporadically connected, never receding to commonplace grid organization. These sectors comprise distinct locations–curving, intersecting, changing shape, changing orientation, and applying the labyrinth concept one level beyond the sole building.

Situationist anti-consumerism guarantees these locations to house anything but stores, or meaningless gathering places of consumption and distraction. Instead, these locations should inspire creativity and creation with unique-to-location challenges. Take the last photo as an example. Every location would present a unique form and structure. With it, a unique way of thinking.

Constant designates a large area near the sectors as “SPORT,” as an area to play. Perhaps this region would house revamped Situationist team sports, but playing as an everyday, non-competitive activity can be detected throughout the comparative map. Its curves, complete lack of grids, disorder, and seeming senselessness is a sort of game. This game treats discovery, however, not some immature notion of “winning.”

This unnamed mixed media piece tells a clearer story regarding the functionality of the new Situationist everyday and its experiences. Overall, the structural elements depicted seem inverted in some respect. Material is heavier, more apparent, at the respective structure’s highest points. Hardly an entity can be made out towards the bottom of these buildings. They have no foundation.

This Modernist move makes sense with materials that need no foundation. Materials with the properties needed for this inversion should be used as such. Constant certainly argues that architectural tradition does nothing but stifle human activity. Allowing new materials to test physical limits might ultimately produce places and spaces with greater purpose.

The piece’s foreground is dominated by a frantic steel structure–sculptural, but viably usable with some creative thought and physical prowess. A human may certainly climb and dwell, hang and play, throughout what appears to be an undirected three-dimensional graph. 

In the background, some semblance of closed space can be made out. This means Constant does not refrain from the notion of privacy altogether. Yet in a brilliant move, he elevates these rooms, of different colors and sizes, to allow exploration through them. 

Even in a region as small as the one modeled, humans would have unrestrained movement and countless means of travel. Each niche is unburdened and free for exploration, as the design principles evoke an entirely open urban environment complemented by the symbiosis of technology and human desire.