Deeply connected to the concept of "Repair," Kader Attia’s works often reflect on the notion of re-appropriation and trans-cultural transfer. One socially relevant example is modernist architecture: Architects such as Le Corbusiers and his successors were influenced by Northern African Vernacular architecture: settlements often built around one center. On this basis, they developed a social architectural theory of “housing for all”, that was applied to suburban and banlieue architecture in the expanding cities of the West, with their increasing population of migrant workers. In reality, their ideal of housing for all became perverted into an instrument of power and control. Grouped together and isolated from the city centers, the inhabitants have become easy to supervise — in fact, this dynamic is still at stake with postmodern or urbanist social housing complexes.

The grid sculpture on the steel plinth, both made of industrial materials, reflects on the ideals and ideologies of such housing projects, that by the way often were built by immigrant workers who later came to be gathered inside them. Not only do material and form allude to banlieue architecture and working classes but also to universal patterns and structures that can be found in nature and space, and that are reflected by cultural formations — such as in the vernacular architecture that inspired early Modern intellectuals.