In a speech made at an informal general meeting of the Royal British Institute of Architects on December 9, 1936, László Moholy-Nagy outlined the spatial concepts that he elaborated in his Bauhausbüch, Von Material zu Architektur (1929):

“We speak to-day of mathematical, physical, geometric, Euclidean, non-Euclidean, architectural, dance, pictorial, scenic, cinema, spheric, crystalline, cubic, hyperbolic, parabolic, elliptical, bodily, surface, lineal, one-dimensional, two-dimensional, three-dimensional, projective, metric, isotropic, topographic, homogenous, absolute, relative, fictive, abstract, actual, imaginary, finite, infinite, limitless, universal, etheric, inner, outer, movement, hollow, vacuum, formal, etc., etc., space.”

When immersed in a dynamic constructive system of forces, such as that found in the city, the experience is transformative. Sensual perception is not only heightened, it is expanded to conceive of new spatial understandings. In the film script, Dynamic of the Metropolis (1924–25), Moholy-Nagy attempted to recreate the experience of the city as a vehicle for spatial and social transformation.