圖：《聚變：AA倫敦建築聯盟的前銳時代》展場，左圖為《獻給博羅米尼的三張椅子之一》

羅德尼．普萊斯所描繪的椅子，其造型是從兩個交疊成星狀的三角形衍生而來，而這個六角的星形中，每個角都被切割成凹和凸的弧狀。這樣的設計摹習自弗朗切斯科．博羅米尼（Francesco Borromini）於17世紀羅馬教堂的複雜曲線，由此可證明普萊斯在幾何學上的涉獵，以及對博羅米尼個人作品的鑽研；另一方面也是普萊斯在AA倫敦建築聯盟最後兩年期間，與建築史學家羅賓．埃文斯（Robin Evans）及建築師弗烈德．史考特（Fred Scott）兩位導師的交集所激盪出的餘韻。博羅米尼建築的複雜度與精準性，在普萊斯的繪圖中轉化為一系列的現成物件，包括自然蜿蜒的實體絲線，以及構圖上迷樣地組成畫面的螺栓。

Rodney Place’s drawing portrays a chair whose form is derived from two superimposed triangles in the shape of a star with concave and convex arcs carved from their corners. The plan resembles the complex curves of Francesco Borromini’s 17th century Roman churches—a testament to Place’s interest in geometry in general and Borromini in particular—echoing also Place’s intersections with his tutors, the architectural historian Robin Evans, and the architect Fred Scott during his final two years at the AA. The intricacy and precision of Borromini’s architecture is transformed in Place’s drawing by a number of ready-made elements, from the free-flowing actual thread to the drawn screw that enigmatically holds the composition together.