This chapter discusses the relationship between a proto-topology and aesthetics in Architecture, Time and Form. It is argued that the topological notion of architecture at play in this project resides first with a pervasive dissemination of artifice in the modern era: a complexity of assemblage, organisation and deployment, with a number of imports for notions of relationality, increasingly in focus in aesthetics and architecture; second, with a particular non-representational transvisuality, practiced visual forms – which develops from diagrammatic drawing upon the cartographies of artifice, which feeds into the matter of architecture in new ways. On this background, the chapter discusses the ideas behind the drawing material of Architecture, Time and Form as presented in this book, as a relationship between transduced space and transvisual aesthetics. The material of drawing treated in this book is asserted as a highly interesting, if not original, way to approach not only creativity in contemporary architecture, but also to bring forward new material aspects of the art of building, on the edge of, and beyond, notions of language, hermeneutics and phenomenology, dominant in the theory of architecture for the past four decades.