Twist evokes images of the Russian avant-garde, particularly El Lissitzky, who translated the ideas of Suprematism into spatial-constructive compositions.
In Suprematism, objects are liberated from their physical constraints and become an order of line, plane, axis, and tension.
In Twist, the entrance hall, with its columns, skylights, glass surfaces, and aluminum-clad wall panels, loses its clear architectural legibility.
Through superimposition, layering, and oblique axes, the real space is transformed into a collaged visual construction of abstracted architecture.