In the post-war architectural imaginary, campuses (as a compositional problem) are defined by collage, fragmentation, overlay, and historical sampling. Carlo Aymonino’s “assembly of known buildings” for East Rome, James Stirling’s autobiographical scatters for his office’s entry into the Roma Interrotta exhibition, and Stan Allen’s generative exploration of “dissonance and disjunction” in Piranesi’s Campo Marzio plan all speak to urban dispositions that privilege play, happenstance juxtapositions, and weak- or open-form over top down composition. Inspired by these and other related urban studies, the Campus is a compositional problem seen through the phenomenological lens of a video game user; forefronting real time discovery, accident, and visual precarity. The project revisits analogous methods of urban collage with the aid of digital form-finding tools.