When one attempts to communicate spatial intention, formal qualities supersede use. The public becomes reduced to compartmentalized groups for the convenience of the form maker. Any represented interaction with the carefully configured structure becomes a post rationalization for the form’s existence. Bjarke In-gels work is an example of this phenomenon. So how would we represent individually driven space-making in a speculative manner?

The utility of the graphic novel as a format lies in the frame. It sequences a series of drawings so that there is a continuous narrative, and sets the plot in a place and time. As comic theorist Scott McCloud puts it: “In a medium where time and space merge, the storyteller has some unusual tools at his/her disposal, such as the polyptych, where a moving figure … is imposed over a continuous background.” This format allows for the extrapolation of the potential use of space through the lens of various characters. Personalizing use through representation allows for a built environment that is in constant dialogue with its occupants.