In considering the current and historical state of furniture fabrication an essential conflict was identified between the creation and subsequent idolisation of artefacts through the act of exhibition^[1], and the repetition, replication, and ironical diminution of status of such artefacts (through methods of mass production), which this act results in.

Exposition is, by definition, an act creating vulnerability. This vulnerability is exploited by the forces of taste or desire of ownership expressed by the audience/market, through the methods of mass-production. In this way the act of exposition becomes an integral element of an object's transition from artefact to commodity^[2]. The architecture of exposition therefore has a subversive relationship with the material it is built to house.

A difficulty inherent to developing discourse between architecture and furniture becomes the trap of taking the literal path towards form and connections. Furniture factories were visited with this in mind, and the spatial implications and repetitive processes of the production of furniture on a mass scale became influential. The path between the informant and the informed is thus abstracted in order to avoid the literal reading.

Images gained of repetitive acts of stacking are representative of the nature of the process of mass-production - of acts being repeated again and again, with each having its own individuality and yet simultaneously aspiring to exactly emulate the previous example. When these acts are successively placed together, as in the stacking (act ) of table tops (product), or a floor of placed (act) chairs (product), then the spatial implications that result are formed by the collective texture, rather than the individual event/item.

Repetition, when extended through space or across a surface, begins to establish a texture or consistent field. The result is a population of parts, however the status and form of each individual becomes subsumed by the whole.

Furthermore, if we inhabit this field then observing it from a neutral frame of reference becomes impossible, and disorientation likely amidst this world devoid of unique signs or landmarks. The placement of foreign elements within such a field immediately provides means of orientation and relief to an environment that is otherwise destructive in its uniformity.

An interdependent relationship between the viewer and the viewed results - the space between parties resonant with looking .