Inspired by the hundreds of thousands of ruined archives leftover by the Stasi after their fall in 1990, Post Surveillance Narcissus anticipates a Berlin where machine vision exists in a post-surveillance state, and its use is not one of subversive data collection and spying but rather used as a tool for responsive spatial arrangement. The building, an archival restoration centre and public gallery, becomes a choreography of moving mechanisms driven by machine classifications, given the name 'Narcissus' because of its constant self-observation. Carrying a heavy philosophical load, the materiality and construction will exist in contrast, as a light, movable aluminium structure which responsively constructs its own world.

The building is an active participant in its environment: constantly watching, folding, and reforming itself in reaction to visual cues captured from the street. Each classified pattern or misclassification gives rise to new architectural folds, forming both spatial divisions and aesthetic language. These folds, inscribed with embossed patterns optimised for computer vision, reflect a contemporary form of ornament that represents a language purely for machines.