Walls Have Feelings: Architecture, Film and the City By: Katherine Shonfield

Euclidian Space:
An essential property of a Euclidean space is its flatness. Other spaces exist in geometry that are not Euclidean. For example, the surface of a sphere is not; a triangle on a sphere (suitably defined) will have angles that sum to something greater than 180 degrees. In fact, there is essentially only one Euclidean space of each dimension, while there are many non-Euclidean spaces of each dimension. Often these other spaces are constructed by systematically deforming Euclidean space. (http://en.wikipedia.org/wiki/Euclidean_space)

Chapter 6: Against the City of Objects: Our Mutual Friend, Mary Poppins, L.A. Story

"Euclidean space... is literally flattened out, confined to a surface... The person who sees and knows only how to see, the person who draws and knows only how to put marks on a sheet of paper, the person who drives around and knows only how to drive a car- all contribute in their way to the mutilation of a space which is everywhere sliced up... the driver is concerned only with himself to his destination and in looking about sees only what he needs to see for that purpose; he thus perceives only his route, which has been materialised , mechanised, and technicised and he sees it from one angle only - that of its functionality: speed, readability in mind amounts to a sort of pleonasm, that of 'pure' and illusory transparency. Space is defined in this context in terms of the perception of an abstract subject, such as the driver of a motor vehicle, equipped with a collective common sense, namely the capacity to read the symbols of the highway code, and with a sole organ- the eye- placed in the service of his movement within the visual field. Thus, space appears solely in its reduced forms. Volume leaves the field to surface and any overall view surrenders to visual signals spaced out along fixed trajectories already laid down in the 'plan'. An extraordinary- indeed unthinkable, impossible- confusion gradually arises between space and surface, with the latter determining a spatial abstract space eventually becomes the simulacrum of a full space... Travelling- walking or strolling about - becomes an actually experienced, gestural simulation of the formerly urban activity encounter, of movement amongst concrete existences." (Lefebvre, 313)( The Production of Space, Henri Lefebvre)