This thesis attempts to understand 'lines'; lines on a specific site (site-lines) and how the architect responds and reads those 'sight-lines'. Even those lines that are visible but not seen, due to their ubiquity or our habitude. Lines that may seem permanent, transient, seasonal, narrative, temporary or metaphysical. The site is to be found on the Skootamatta River in the township of Elzevir in the Province of Ontario, Canada. The plot of land can be seen from that impossible view, bird's

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... as a slightly irregular rectangular patch in a quilt of others seemingly just like it. On the official land registry map it is called Concession 9 part Lot 5. This thesis will investigate the types of lines found on Concession 9 part Lot 5 to inform a reading of the site that provides the architect with considerations of the land beyond that of the objective survey that is often preliminary to design. The resultant 'maps of consideration' are made of the layers of lines and will influence the design and build of a small intervention where the invited and uninvited may retreat to share their stories if they are moved to do so. iii Acknowledgements I could fill pages with the names of those who have encouraged me through their words, acts of kindness, support, and guidance. I will endeavor to thank them all in some way. I will use these few pages to thank and acknowledge those who have shared this project with me most closely. For my partner in life, Matt, for how we celebrate our lives together and how he supports the way I see the world. None of this is possible without him. He and our two beautiful daughters fill my heart everyday and make my life such a loving one. Federica Goffi has been my mentor since the first year of my studies and my admiration for how she looks deeply and encourages all manner of considerations only grows. Her guidance and insightful comments, what I affectionately call, 'her clues', have allowed me to explore and find my own way in architecture for which I am very grateful. Claudio Sgarbi challenged my thinking with humour and encouraged me to approach all projects with humanity and delight. Roger Connah graciously invited me to be deschooled and through his writing, thought filled editing, and by way of example has showed me there is life after architecture. iv I would also like to thank my studio brothers Mike, Kyle, Trevor, Amir and Andrew without whom our unique studio culture would not have been possible or nearly as much fun. The writing of this thesis came after the talking with Ryan. Much talking. And drawing. Maps of consideration found their origins in work we had done together in an earlier studio. We called them 'Sensation Maps' and it was the first time I realised that a site plan could help me consider the site differently and found that dialogue was perhaps my method of understanding. Through questions and more questions he helped me find my way to the words about the site that were in my own heart and the courage to write down the dialogues I had been having with the land in my head. I will look forward to more of his questions. Finally, for all those who love and share that dark fast flowing river: my brothers David and Mac,