Developed Surface: The Developed Surfaces is a method of drawing the interior of a space in a manner that folds the surfaces outward and flattens them, so that the interiors are legible as two-dimensional elevations. This method is notable because developed surface drawings trace the history of the wall's significance to the room as well as the hierarchy of the objects within the room.
Wallpaper: According to Lavin, Wallpaper is the use of multiple media on the surface of the wall. She believes that Wallpaper moves the architectural wall surface away from the Greenbergian painterly surface, but that at the same time reinvokes Greenberg's focus on materiality.
Hyperpainterly: The Hyperpainterly is an effect used to contemporize the architectural wall. An effect that arises from the use of color, shifts in pattern and tone can be used to lend the wall the qualities of both indeterminateness and presence.
“The room is no longer a circus, but a miniature internal landscape. It is no longer an edge and a centre (distantly but distinctly related to those spectral archetypes, the domed space and the ideal city), always looking towards the latent authority of the centre, as was so well parodied in Reptonʼs Cedar Parlour. It is now a topography of varied elements distributed picturesquely across the floor, without evident formality, but nevertheless with concern for the niceties of subdivided, heterogeneous association.” (Evans, The Developed Surface: An Enquiry into the Brief Life of and Eighteenth Century Drawing Technique)
“They also, however, take a distinct pleasure in being wallpaper because they understand the wall in an architectural way. While painting suffers from the brutal realism and abstraction that Greenberg forced on the surface, architecture suffers from the historic and unaccounted for disappearing act of the walled surface. For architecture, the wall and its surface were generally seen as getting in the way of other truths like those of materials, of structure, and of space.” (Lavin, What Your Surface is What You Get)
“Color becomes contemporary as it moves away from indexicality, symbolism, codification, and ideation because this move away from signification allows color to register traces of a much more complex series of historically specific conditions and forces: those of technology, sensibility, capital, taste, materiality, manufacture. In other words, when working through the field of effects, color can do more engage contemporaneity than when it works through the structures of meaning.” (Lavin, What Color is Now?)
The wall once was defined by the furniture within the room, arranged as almost a connection to the wall surface. As furniture began to migrate away from the wall, the wall began to disappear. This disappearance was also at times intentional, with Modernists attempting to make the materiality of the wall recede from sight. The wall surface has re-emerged, though, through the use of effects such as wallpaper.