This thesis focuses on the spatial representation of the subjective time at the urban environment, which is based on the novels “Alice in Wonderland” and “Inside the mirror”. The transliteration of Lewis Carroll’s keywords, such as dream, memory, time, transition, scale, and trace, leads to the creation of an underground sculpture; a path and/or a transition space driving us from the uniformity of the urban network, to a parallel reality. This path is formed as an “urban conduit” growing along the metro tunnel, and is deprived from any notion characterizing the conventional time and space. This new reality is perceived to be spatialized in the in between space of familiar and uncanny, of the existent and imaginative; and describes a new spatial convention which is able to accommodate the city’s dreams.

Elements such as the secret threshold, the accession and the descent to and from the underground network, the light in relation to the movement of the bodies and the cross-section interchange of this underground sculpture, the “framed views” that are created from the holes toward the urban landscape, the scale alterations, the sound of the train’s machine, the accidental “visual meeting” between the walker and the passenger, and the traces that preserve this “communication” with the city, compose a choreography coming up as an alternative, spatial interpretation of Alice’s escape trip to the “Underland”.