The formal argument of the Desert House project begins with a cube conceptualized as a flat, unfolded box, composed of six, two-dimensional surfaces. Each surface is structured with a grid, and understood as a graphic problem. Taking a cue from Swiss Modernist graphic design manuals, the surfaces of the box are cast as improvisatory games where particulate elements are distributed within the bounds of a sixteen or nine-square grid. Four drawings, nine elevation studies, two furniture elements and a short pamphlet construct a visual narrative around the design at different scales and levels of resolution.