The numerous and diverse positions surrounding the idea of a project certainly results from the lexical abundance of the term itself. As an action, to project is to plan a scheme as well as to have an idea or to speculate; in other words, it simultaneously evokes acts of methodic precision and conjectural wondering. In Freudian terms, to project describes the externalization of an internal process, a making visible of an invisible condition, and thus it relates to the political and ethical dimension of making things public. As a noun, a projectcan be a final building, but it may also be the process surrounding it. It can refer to a body of research or to the pedagogical framework of a design studio. In several languages, such as Spanish and Italian, a project (proyecto, progetto) may refer to the plan drawing of a building as well as the design of it, with the verb form projecting (proyectar, progettare) being the activity proper to architects, as opposed to designing (diseñar, disegnare). The family of derivatives surrounding the term—such as projection, projective, projectable, projecting—demonstrates its malleability within architectural discourse. In one notable example, Robin Evans problematizes the complexities of architectural projections in his aptly titled book The Projective Cast, concluding with the provocation that “projection breaches the boundary between world and self, object and the objective and the subjective.”3
Within such a vast field of definitions and understandings, the nature of projects seem to generally address the ambiguity of volatile and concrete actions that precipitate in demonstrations. Fundamental to any form of project is that it must be manifested. In their appearing, projects have the capacity to sustain the continuous experimental nature of their existence. These demonstrations prompt the architect’s reflection on his or her own judgment and perception, yet another kind of projection. Within the nature of projects and projecting, the original meaning of theory as an inherently reflective practice thrives and persists. The work, in turn, projects outward, allowing the architect to keep wondering, changing, and testing.