Each of the four overlapping floor plans corresponds to a different moment within four years and roughly maps the movement of objects and beings within the house. As an architectural representation tool, the floor plan offers a top-down view, attempting to suggest the potential movements of those inhabiting the space. Yet, remembering this space through plan drawings— a space that has always been used for more than its intended functions— introduces an almost ironic narrative layer, as it is not possible to capture the elusive spatialities in this method of drawing, such as an ambiguous room created by two massive paintings within a vast, open exhibition area without walls. Furthermore, the textures, scents, corners, conversations, cabinets, dust, and debris that form the spatial experience tend to infiltrate through architecture’s inherent aversion to intimacy.