The project was created in response to Operation Guardian of the Walls, during which the IDF carried out strikes in the Gaza Strip for 12 days. The project depicts four buildings that were destroyed in Gaza as part of the military "roof knocking" procedure. These four buildings are drawn as whole and intact, as they appeared before their destruction. The "roof knocking" procedure, first implemented by the IDF during Operation Cast Lead, is used on buildings that house Hamas forces as well as civilians. As part of the procedure, the IDF calls the civilians in the building to warn them of the impending strike. A small missile is then fired near or onto the roof, followed by a bomb that demolishes the building.
The buildings in the project are drawn based on images found online, which generally fall into two categories: pictures showing the buildings engulfed in flames and smoke during the explosion, and aerial photos released by the IDF. The act of drawing these buildings after their destruction aims to serve as a testimony to their existence and offer a new perspective, distinct from the predominant war-related narratives
The buildings depicted are (from top to bottom): the Al-Jalaa building, destroyed on May 15; the Al-Shorouq building, destroyed on May 18; the Al-Jawhara building, destroyed on May 12; and the Al-Nadi building, destroyed on May 13.
All of these buildings have a generic, modern appearance, similar to buildings that can also be found in Israel. By considering the destruction in Gaza through the lens of "urbicide"—a term referring to violence directed at the urban fabric—it becomes clear that the destruction of these buildings reflects a similar pattern. The generic, anonymous, and modern architecture of these buildings, with their strong resemblance to others, actually facilitates their destruction. The demolition of what is familiar creates a distinction between the two sides, once again defining the other as the other
Alongside the depiction of the buildings, a 3D printer constructs a model of an apartment from the Al-Jawhara building. The act of printing the apartment shifts the focus of the project from the public discussion of the building's external structure to a more personal and intimate narrative—one that is hidden and internal, that refer to the scale of a person. The apartment is printed from the ceiling downwards, toward the floor, following the vector of its destruction