Rectangular structures are displaced and notched into one another by 8ft by 8ft.

Floors decrease in height by 4ft as you climb (first floor = 20 ft, second floor =16 ft, third floor =12 ft).

Movement from one floor to another is encased in circular structures and staircases.

Shared spaces are defined with square apertures.

Papermaker’s workshop and private space are defined with rectangular apertures.

Globe maker’s workshop and private space are defined with circular apertures.

Windows that share the same color mean they are a pair (have a matching window). These window pairs share one of two conditions:

1) The matching window is next to each of it.

2) The matching window is across from it. This means one could look through the first window and then through its matching window to view the outside/ inside. I call this window phenomenon the “Russian Doll Window Effect.”  

“Russian Doll Windows” Explained:

The paper maker and globe maker are mediators of external reality. The paper maker abstracts reality from 3D (the plants needed to make paper) and reduces it to 2D with the product of flat paper, while the globe maker abstracts 2D flat maps, to 3D globes. In both practices, where flattening/unflattening is essential, the view from one window to another window to the outside world is also a flattening. These “Russian doll” windows limit the view of the outside world afforded the globe and paper maker making them view that world as flat, just as they do in their practices.

The Papermaker and Globemakers’ personal windows are not colored because during their practice/personal time they are already so entangled in flattening that they do not need the Russian Doll windows as support.