The project looks to densify a Victorian terrace street applying a bottom-up approach. Disrupting the Victorian typology and its ingrained public/private hierarchy, the houses are flipped. Domestic labours are no longer forced into small hidden back rooms and a new second skin façade creates communal intra-private spaces, both for socialising and economising domestic living and work.

Space is unlocked and families can expand and contract into the new streetscape. Shared living spaces are formed to replace under used spaces from private homes.

Judy Atfiel, in her interviews with the architects of Harlow New Town, records their distraught reaction to the residents ‘misusing’ and ‘corrupting’ their design. The project methodology attempts to counter this elite god-like architect’s eye which often overlooks interiors and spaces of domestic labour (traditionally female spaces) and sees any domestic user inhabitation as corruption.

A methodology of ‘cute cartoons’ (a phrase used by a critic to demonstrate how this style of representation is in opposition to ‘architectural drawings’) focuses on domestic spaces and languages, inhabitation, and the residents, which are represented as equally important in the architectural narrative and process as the formal layouts and external envelope.