The Geometry of Home

Author:Elias Krovic
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5(1)

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About the Story

A structural engineer is called to assess an old tenement whose interior geometry shifts to meet its occupants' needs. As a storm forces fast, dangerous changes, she must use her professional skill to retrofit a living hinge in the foundation, balancing safety and the fragile social patterns threaded through the building’s movements.

Chapters

1.First Measurements1–7
2.Patterns of Weight8–15
3.Anchors and Openings16–24
Supernatural
Urban Fantasy
Engineering
Community
Moral Choice
Storm
Living Building

Story Insight

In The Geometry of Home, a pragmatic structural engineer named Iris Vance is called to inspect an aging tenement whose interior does something uncommon: it rearranges itself. Thresholds misalign, stair treads drift, and a hidden pivot in the foundation—built into a lattice of rivets and plates—allows the building to reconfigure in response to the lives inside it. The supernatural element is embedded in material practice rather than metaphysical spectacle: brick, steel, timber and joint detail behave as if they have agency. That premise gives the story an unusually tactile quality. The author renders technical work—calibrated load cells, turnbuckles, splice plates, and polymer dampers—with the clarity of someone who understands how structures behave, and those details are integral to plot and meaning. This is not an abstract haunting; it is an engineering problem with real human consequences, and the opening chapters establish a careful rhythm of observation, measurement and small, improvisational rescues that feel both vivid and credible. The narrative explores what happens when professional judgment collides with the social fabric that a building supports. Iris faces a moral choice: make the safe administrative decision to immobilize the structure and displace a fragile community, or design a nuanced retrofit that preserves the building’s adaptive advantages while limiting risk. This conflict unfolds not as a broad ideological polemic but as a sequence of practical dilemmas—procedural planning, failed tests, and an escalating storm that forces decisive hands-on work. Residents are more than background color; Agnes anchors the neighborhood with pragmatic warmth, Marco supplies sharp, irreverent humor and creative improvisation, and Jules contributes childlike initiative that grounds the stakes. Domestic textures—the smell of bakery flatbreads, a neighbor’s laundry clipped across a landing, a terrier’s exaggerated dramatics—soften the technical focus and keep the emotional stakes human. Humor and small absurdities are threaded through tense scenes, so that compassion and competence coexist with the uncanny. The story is particularly appealing to readers who enjoy speculative fiction anchored in material reality and procedural problem-solving. Its three-part structure moves from assessment through experimental intervention to a high-pressure retrofit resolved through expertise and action: the decisive moments are solved with bolts, jacks and live calculations rather than late-stage revelations. The prose privileges sensory detail—rain striking masonry, the metallic tang of wire brushing, the tactile authority of a torque wrench—so technical passages become sources of atmosphere as well as plot propulsion. At its best the book treats profession as a form of care: engineering choices reshape how people move, neighborly economies persist in thresholds and corridors, and responsibility becomes a continuing practice. If interest lies in moral complexity, intimate community dynamics, and a grounded, craft-focused take on the uncanny, this story offers a thoughtful, believable exploration of how built spaces hold, protect and rearrange the lives sheltered within them.

Read the First Page

Page 1
Chapter One

First Measurements

First Measurements

I arrived with a van full of clamps and a silence that had learned to be useful. Northwell Court leaned into the street like a person who's spent a lifetime in narrow rooms and figured out how to keep their elbows to themselves. Its façade was a patient collection of brick, old steel lintels, and a coat of paint that reminded you of hospital curtains one stormy morning: practical, faded, and impossible to match. I should have worn gloves because my hands wanted to touch everything—mortar, metal, the way a handrail met a landing. Instead I clipped on my safety harness and let my fingers go to work on the measured parts of it.

I keep a toolkit that is an expression of priorities: a torque wrench, a folding laser measure, calipers whose jaws read like the teeth of a small animal, and a pencil I sharpen on the first day of every job. I do not carry much sentimental baggage. Practical things fit in pockets; regrets do not. The contract in my inbox said “preliminary structural assessment” in polite, bureaucratic capitals. It also said “occupants to remain during inspection.” Someone somewhere had decided the law required words like occupants rather than people. I think of people when I measure.

The lobby smelled like chickpea stew and something tangy from a bakery two doors down; a vendor’s cart on the corner sold a flatbread with caramelized onion that people in the building favored for breakfast. Those details were not part of the structural report, but they sat nearby, like a mug on a windowsill. The concierge—a woman with a stitched cardigan and a laugh like a brass bell—pointed me up the original staircase. It was not my favorite kind of stair: narrow, neat, the kind with landings you could hide a misunderstanding on. Still, each step bore impressions of shoes: worn in the same few spots, someone’s broom strokes, a faint smear of someone’s dog. The building kept a record of habits in plaster.

I began where I always do: at the seams. I chalked the risers, measured the run, noted the sag between beams and the micro-cracks like veins in an old leaf. I tapped plaster and listened for hollows. When something surprises me it speaks with its edges; a warped doorframe mutters tension. Doors stuck in certain positions, not wholly refusing passage but choosing to lean. One apartment door hinted at a corridor that had been nudged sideways enough to make the hinges weary. I logged numbers, drew arrows, and muttered calculations to myself like a mantra. My shorthand is hands and marks and measurements; it is a language I learned in the field, translating loads into arithmetic.

Halfway through the afternoon a spray of pigeon feathers drifted down an air shaft and landed on a windowsill like a sad, tiny flag. It was a small, absurd punctuation. Later, when I wrote the report, I would not mention the feathers. I might, privately, think of them as a sign of minor chaos, the building reminding me that not everything inside its bones was about load-bearing capacity.

By late light I had the stairwell mapped in my head in the way technicians map engines: discrete parts and how they confer motion. I tightened the straps on a temporary gauge, clamped a dial so I could watch for minute movement across the next twenty-four hours, and set a small camera in a corner to catch anything unusual. The residents were curious but polite; one of them—a man who jogged up the stairs with the careful speed of someone avoiding conversations—nodded at my tools.

“You with the council?” he asked.

“Not the council,” I said. “Just an engineer with a pencil.”

He grinned. “Pencil. The deadliest tool in the building.”

I smiled because politeness is useful and because he had, correctly, assessed the truth about paperwork. I left the site with a list of numbers, a folded plan, and the sense that I had everything I needed to write a decisive recommendation. Clear problems, clear remedies. A condemnation would be tidy. A retrofit would be neat. Both are comfortable conclusions. My van’s heater hummed as I drove away. The city lights had a gullied patience. I told myself I would be back in the morning to finalize the report.

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Frequently Asked Questions about The Geometry of Home

1

What is The Geometry of Home about and who is the central protagonist ?

The story follows Iris Vance, a structural engineer called to inspect an old tenement whose interior geometry shifts. She must balance technical fixes and human costs as the building rearranges thresholds and routes.

The uncanny is embedded in material behavior: the building’s joints and a hidden pivot allow interior spaces to reconfigure. It’s a tactile, engineering-centered supernatural premise rather than a ghost story.

Iris’s engineering expertise drives the plot: her measurements, retrofit designs and hands-on interventions during a storm determine the climax. The resolution depends on skillful, practical action rather than revelation.

Residents’ routines and informal mutual aid are central stakes. Condemning the building would disperse fragile social networks, so technical choices carry social consequences for neighbors’ daily survival.

The narrative gives concrete clues—a pivot node and historical design intent—without turning the plot into a mystery about origins. Focus remains on consequences, engineering choices, and human responses.

Expect a grounded, tactile tone with measured pacing: detailed procedural scenes, hands-on rescues, light local humor, and a storm-driven climax that tests both skills and communal trust.

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Erin Walsh
Negative
Jan 11, 2026

The idea of a tenement that physically rearranges itself to care for its residents is lovely on paper, but this excerpt reads like the preface to a story that’s content to admire its own set dressing. The opening paragraphs luxuriate in tactile detail—the toolkit, the staircase impressions, the concierge’s laugh—yet those nice touches mostly delay the plot and make the pacing feel uneven. I kept waiting for the moment when the building’s supernatural mechanics would be shown or interrogated; instead we get a lot of atmosphere and not enough answers. Two practical sticking points bug me. First, the throwaway line that the inspector is told “occupants to remain during inspection” feels like a contrived device to manufacture tension without explaining who enforces it or why people would comply. Second, the core technical dilemma—retrofit a “living hinge” in the foundation during a storm—sounds dramatic but is never grounded in plausibility. How does an engineer buy time against a sentient structure’s movements? What are the stakes for particular tenants? Those gaps make the moral choices feel undercut. Also, a few phrasings drift into cliché (“laugh like a brass bell,” “hands wanted to touch everything”), which undercuts the fresh high-concept. Trim the leisurely setup, tighten the timeline, and give us clearer rules for how the building works. Then the premise could actually carry the emotional weight it hints at. 🤔