The notion of SHEARING LAYERS is one of the centerpieces of Brand's How Buildings Learn [Brand 1994]. Brand, in turn synthesized his ideas from a variety of sources, including British designer Frank Duffy, and ecologist R. V. O'Neill. Brand, Page 13

Brand quotes Duffy as saying: "Our basic argument is that there isn't any such thing as a building. A building properly conceived is several layers of longevity of built components".

Brand distilled Duffy's proposed layers into these six: Site, Structure, Skin, Services, Space Plan, and Stuff. Site is geographical setting. Structure is the load bearing elements, such as the foundation and skeleton. Skin is the exterior surface, such as siding and windows. Services are the circulatory and nervous systems of a building, such as its heating plant, wiring, and plumbing. The Space Plan includes walls, flooring, and ceilings. Stuff includes lamps, chairs, appliances, bulletin boards, and paintings.

These layers change at different rates. Site,

The structure of the film is that of a heist movie, but if the film were to be slotted into a genre, that genre would have to be science fiction. Personally, I would say it’s cyberpunk. But it’s a strange kind of cyberpunk where the emphasis is less on technology and more on the film-noir mood and transcendental possibilities of the genre.

In fact, technology in Inception is notable by its absence. There is a piece of hardware to enable the central premise of the film, but it’s of no more importance than the hardware used in Eternal Sunshine Of The Spotless Mind—the last great science fiction film to cover similar territory.

Both films also avoid making any reference to specific dates. We assume that the narrative plays out in the very near future but we’re never explicitly told that. It strikes me that both films are attempting to place the action in a kind of continuous present.

Inception is particularly adept at avoiding anything that would date the film. Nothing dates a story qu