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Georges Perec’s Species of Spaces (first published in 1974) lies just beyond arm’s length, yet remains a source of metaphorical inspiration. The title and physical presence of Alan Fletcher’s book The Art of Looking Sideways (2001), a recent gift, is a real partner in crime. In the play of stability and vulnerability, my work finds relational synthesis. This prepares the ground to broaden the designer’s imagination for the scope and perhaps the cultural agency for architecture. 62 Surface Knowledge An in-progress version of a Vertical Surfaces speculation has garnered my focus for these few hours of concerted effort.

Ibid, p 142. 3. For a wider description of these seven continua and older AVATAR work, see: Neil Spiller, Digital Architecture Now: A Global Survey of Emerging Talent, Thames & Hudson (London and New York), 2008, p 368. 4. Neil Spiller and Rachel Armstrong, 3 Protocell Architecture, March/April (no 2), 2011. 5. René Daumal, Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, Stuart (London), 1959. The drawing is a magic wand with which to conjure this future.

A World A 48-inch (122-centimetre) long parallel rule tracks up and down the drawing construction site distributing information, bits of found graphic material, and drawn marks to selected territories of the evolving translucent surface. Copenhagen ship curves, architectural scales of various kinds, a compass, fluorescent yellow tape and patterned cut paper are shuttled in and out of the speculative field of play. Figures, fields and fragments are assembled variably as thoughts are registered as marks embroidered inside and under micro-assemblies.

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