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This paper starts from the consideration of the drawings of architects and urban designers and how precisely they prefigure actual realised space. It will use Henri Lefebvre’s notions of constructions of space, the significance of drawing and the space within the medium itself. It will examine a number of architectural drawing projects, most significantly a travelling panorama rotunda (mechanically drawn), which will expand upon Lefebvre’s notions of space and will be transferable as an analytical drawing tool. The paper will use drawing to analyze the political and productive relations of space and the space of the drawing itself. It is constructed from the point of view that architecture and urban design are both a potential communication medium, and will explore the discursive space of this through the drawing and abstract representations of the space (the media of the design professions). It frames drawing as part of a process of encoding information and considers what the functions and knowledges of these drawings might be. One of the intentions of the drawing study has been to develop a new visibility of a space, including the social consequences (the flows of bodies in space) of urban design. Visibility in the drawings is concerned with the visibility of social relations.

This paper is intended as a contribution to current debates about the changing conditions of urban space and uneven development. It will analyse the functions of the architectural professions in this process and how their productions prefigure the social and economic arrangement of space. It will examine these notions through analysis of Cardiff Bay and will analyse the changes occurring under late capitalism in the shift to Post-Fordist modes of accumulation. While the paper will examine the local space of Cardiff Bay, the analytical ground will be extended to the ongoing restructuring of space under the new global economies at a macro scale.

Urban restructuring is most evident in the decentred metropolis of the post-modern city, the new cities for consumption. The growth or collapse of multinational capital needs to be seen as framing the occupation of space, its investment and disinvestment, and as an ongoing process, part of a systematic reprogramming of space that can and should be examined at every stage of its operations.

Relocating the economic, political and social into considerations of space means that the paper will also incorporate historical analysis of modes of production and social formations. To consider space as ideological means that transfigured space must also be considered. The paper will therefore raise ideas that are directed towards the transformation of social and political space, and will examine that which identifies Lefebvre's distinction between appropriated and dominated space.

Rather than confirm existing identities and conventions, we believe architecture can be most effective when it allows us to become some- thing else by imagining and fabricating alternative models of inter- action towards a better future. In that sense architecture is one of the most powerful creative disciplines of world-making available.

Based in Umeå, Northern Sweden, this project looks at the phenomena of moving whole houses and other buildings. This practice occurs through- out Sweden, in the USA, New Zealand and other territories. Moving structures this way has occurred for over a hundred years. This research picks up the practice, initially through the potential spectacle of the event 

of moving structures, and then focuses on a more material and poetic aspect of the practice. It has not been researched in depth and much of what seems to be understood as a normal, if infrequent phenomena, raises questions about the use of resources, spatial planning and conceptions and representations of space and artifacts. There is also an appreciation of the substantial immediacy of process of moving a particular house, the aquired skills and knowledge of the mover, of materials and substances in the process and also how it stands in contrast to the production and representation of architecture and spatial plans framed through the conceptual and actual lens of digital screens. 

The process of moving a particular house became the subject of documentation, from stages of preparation to the uplift, the unsettling, moving and settling. Through re- peated visits to the sites of the house moves, it became possible to develop awareness of the history and extent of this practice. The house mover Magnus Mårtensson has more than forty years of experience of the history of house and building moving. 

Part of the research was to re-visit original sites and the new location of the house after several months. This was a photographic and video documentation and material for re-thinking the process. The form of this was further photographic and video work, to record and project the mid-summer move, along with historic materials from the public library history collection and regional museums onto and into sites, buildings and surfaces. 

This chapter has four parts. There are inserted transcripts of comments from a video interview with Magnus Mårtensson and his son Andreas Mårtensson (who had worked with Magnus on house moving). There is an historic overview of the practices of moving houses by James Benedict Brown. There is also a theoretical frame to the process of mov- ing houses and the fourth section is a description of some of the creative and potentially 

speculative re-presentation of the process and practice of moving buildings, which has been developed collaboratively with Robin Serjeant, through the Relate North Symposium at Yukon University in January 2023 

The inserted transcripts develop the spatial significance of this particular form of building moving. It allows for close reading of the economy of the production of space, through this traditional process, which is associated with restrictions on the dimensions of the space. It occurs without the use of specialist cranes and cages. 

The book is a photographic archive and text of a house move in Northern Sweden. It considers the historic, cultural, technical and material significance of wholesale house moving (husflyttningar) in the region, through a single, historic house move in Umeå, 2021. The main frame of analysis is the spatial politics of un-building. It is an investigation of the vernacular mobility of shifting built and occupied forms in relation to a historic and future context of urban reconfiguration, a proposed architecture of de-growth in Northern Sweden. 

The visual work explores context through the form of the book itself. It is also a potential model that constructs and translates analysis of the space. It is a collaborative architectural work to document the house move and other spatial productions, models, drawings and collage of the space beneath and between the ground and house, image projections, exhibitions and events, as public exchange. 

This chapter argues that cinematic representation can, and must, be understood as amethod of developing a form of critical architectural enquiry and thinking in the samemanner as text - a textual analysis and a communication means for practice-basedresearch. The proposition is that cinematic architectural drawing and the discourse ofoccupied space are inseparable and that the limits of both are products of specificideological and cultural practices. In this chapter, two different bodies of iterativecinematic collage research practice are considered. Both sets of representationspresent new rigorously created architectural design knowledge and refer to thecontention by Claude Lévis-Strauss (1966/1962:16-17) that the practice of thebricoleur, understood here as architect-bricoleur, is in marked contrast to themeasurable output of the scientist, or architectural design scientist.