Within the history of the graphic plan, cell-based and wall-based plans comprise a dialectic of definition and openness. A new type of architectural project whose formal legibility operates predominantly in the plan has emerged and combines the logics of the cell and the wall. As a formal study, the abounding interior plan falls into this third category, leveraging the open-ended wall and the celebrated object-room. As a result, both implicit and literal forms define the abounding interior in which distinct formal configurations become legible depending on a perceptual bias. The design of the abounding interior posits that the plan drawing has value as a composition and as a generative, perceptual device. In fact, the graphic plan can exceed its two-dimensional capacity and create an architecture which upholds and elaborates that graphic character in a three-dimensional way.