In No-Stop City, artist Alan Ruiz, Visual Studies faculty, takes the image of the unfinished luxury residential tower as a point of departure to examine how the skeletal forms of these buildings function as screens of inclusion and disclusion, harbingers of socioeconomic change, and the distinction between moderation and excess. Using the standardized architectural element of the steel stud as a modular unit, his series of twelve architectural plans accelerates the repetition of the stud’s form into overdrive. The material of his forms proliferates, yet the plans exist without ground. Located in non-sites, these blueprints ask how we can conceive of a radically formalist critique of neoliberal space, urban homogeneity, and hegemonic power through architectural rendering.
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