This geometric arrangement is made up of straight, parallel, vertical, horizontal and diagonal lines which define solid surfaces or delimit a void. Depending on the spectator’s viewpoint, they all structure and vary a multi-faceted field of perception. By dividing the space into its three dimensions based on flat divisions these real and virtual lines—the lighting plays an active role in the reading by casting shadows—reactivate the dialectic between plane and depth, aperture and closure, fragmentation and totality. Moreover, they define any frame as the place of a specific way of thinking about space, and as a possible perception. Using prepositions, “if, as, to”, incorporated in the arrangement, Downsbrough offers the spectator different forms of potential rather than a closure of meaning. Well removed from any idea of small scale architecture, these “maquettes” offer more the image of projections of spaces applying structuring and connection of forms in the public place.