In 1921, Paul Klee gave a lecture at The Bauhaus on perspective. He explained to his students that “the point of the entire procedure is simply to be able to exercise control,” and that “accurate perspective drawing has no merit whatsoever, if for no other reason than anybody can do it.” A few years earlier, Klee had seen perspective disintegrate in the paintings of the Parisian Cubists. He later painted Uncomposed Figures in Space, in which the entire composition seems governed by linear perspective. However, it isn’t. The floating volumes have what Klee calls “stray” centers: their vanishing points are dislocated from one another ever so slightly. Similarly, this anti-perspective model is a three-dimensional study of perspectival dislocation. It is an experiment gathering several techniques of perceptual distortion such as reverse, flat, and fishbone perspectives. It uses Marcel Breuer’s Pirelli Tire Building as its source material. The model investigates continuity and discontinuity in three-dimensional reading using a set of projection and mapping methods. It questions our habitual understanding of reciprocity between images and space.