b'Knownasforcedperspective,thisisatechniquethatemploysopticalillusiontomakeanobjectappearfurtheraway,closer,larger,orsmallerthanitactuallyis.Thistechniqueisoftenemployedinart,filmmaking,photography,andarchitecturetoalterdepthperception.Itcanmakethedifferencebetweenaroomthatlookstruetoscaleandonethatlooksatadoff.Itsaskillrarelyunderstoodorachievedbyminiaturists.Inadditiontoforcedperspective,Robertlovescreatingspaceswithinaspace;thoselovelylittleinvitingnooks,crannies,anddoorwaysthatdrawyouinward.CreatingaspacewhichhasmysteryassociatedwithitisexactlywhatIamstrivingtoaccomplish,Robertadmits.Whentwodifferentpeoplelookinoneofmyboxes,Iwanteachonetowalkawaywithadifferentexperienceandnarrative.Ialsoenjoyfillingthespacewithvariousobjectsthatshouldntnecessarilybethere.Iusethemasemotionaltriggerstotryandinvokeasubconsciousresponse.AskRobertwherehisconceptsoriginateandhehasnoclearanswer.Hebeginswithablanksheetofpaperonwhichhesketchesabasicfloorplan.Fromtherehecreatesscaledrawingsofthefloorandwallspaces.Oncehehasasetofdrawingsfirmlyinhand,hesreadytobeginconstruction.Hisworkspaceissetupinabout600squarefeetinthecellarofhishome.Withnumerouspowertools,twotablesaws,adrillpress,sanders,andshapers,Robertsurroundshimselfwithphotosofhispastworksmountedonthewallsforinspiration.Forhimthereisnotypicalday.Hemayworkforeighttoninehourssomedays;notatallonothers.Muchofthetimehesmullingoversolutionsforaparticulardesigndilemma.Thethinkingandvisionstuffactuallytakeslongerthantheactualhands-onconstruction,saysRobert.Manyofmyconstructionstepsarecounter-intuitive.Forexample,Igenerallybeginattherearoftheboxandmoveforward.AsIcreatevariouswallsandcomponentsoutsideoftheboxandinstallitlater,thisrequiresmuchforethoughtandpre-planning.Waitingforglueandpainttodryislikewatchingapotboil;constraintsthatmakemanyofuschafe.Whilstwaiting,Robertfrequentlypopsintohisstudiotoaccomplishaquicktask,onlytoemergehourslater,havinglostalltrackoftime.Imoftenlaterforappointments,helaughs.IoriginallyboughtaspeakerformyiPod,butsoondiscoveredI'