Cathedral for a Dead Protocol

The largest work Adeyi-Marsh has released and the only one she has allowed to be described as a building. The geometry is a nave with no apparent structural logic — forty-one metres of vault carried on nothing that would carry it — and the light falls through it as if the sun were an afterthought somebody added later. What makes it hold is the floor. She modelled every tile individually, wore them unevenly, and left a drain in the wrong place, which is the kind of detail that persuades an eye before the eye knows it has been persuaded. The protocol of the title is not identified. She has said only that it was in use for eleven years and that nobody wrote it down.