In the spatial sense, the grid states the autonomy of the realm of art. Flattened, geometricized, ordered, it is antinatural, antimimetic, antireal. It is what art looks like when it turns its back to nature. In the flatness that results from its coordinates, the grid is the means of crowding out the dimensions of the real and replacing them with the lateral result not of imitation, but of aesthetic decree.

Rosalind Krauss, “Grids,” 1979

The Moscow Kremlin is bounded on all sides by a 15th century fortified wall. Within this territory is a collection of buildings, each built under a specific regime of power in Russian history. The political specificity of each historic era forms one dense urban environment.

This project develops an extranged urban monument studying the kremlin through a series of grids. Within each cell is a differently defined center point which attracts the objects within cell, pull and sweeping the objects. The grid is defined and arranged by the kremlins own autonomous measuring system, which focuses on a centripetal layout.