Composition is the most important conceptual factor of design, but it has somehow recently been assigned a new and different meaning. It now implies the need for a structure in order to understand the world, which, in its compositional transformation, becomes an observance of purely operational time. It only becomes visibly manifest in its differentiating traces of development. The notion of the reality of the city, in this sense, is not primarily conditional upon specifying a current situation’s determinable intrinsic nature. We are instead confronted with the question: “What are we dealing with when we examine the city in its produced form?” It could mean that the compositional form is the essence and that the initial questions should be “what is at stake?” and “what do we want to achieve?”: in other words, to in fact establish the context of the “what is at stake,” which allows the urban’s indeterminacy to become the basis of this determination.