During the 1960s and 70s, Abraham's interest in the typology of the house inspired masterful, visually compelling, imaginative architectural drawings, accompanied by evocative titles and texts, such as "Glacier City, from the Linear City Series Project, Sectional perspective" (1964) - an invisible city, between walls, on either side of a wide valley; "Universal City, project, Sectional perspective ("1966); "Earth-Cloud House, project" (1970); and "The House with Curtains Project, Perspective" (1972), about which Abraham notes, in the accompanying poem entitled "Elements of the House," the opposing sensations and feelings, natural elements and cycles, and spatial components characterizing his subject,"The House without Rooms, project, elevation and plan" (1974). Abraham's drawn architecture explores human dwellings, the ritual of habitation, and the subjectivity of spatial conditions, especially interiority. Abraham's shadowy visions, such as "Radar Cities," "Terza Mostra d' Architettura," (1985); "Jewish Museum Project, Judenplatz, Vienna, Austria Project," "Exterior perspective" (1997); and "Metropolitan Core" (2010) propose thoughtful architectural prototypes. The work is a prescient meditation on architectural scale, not only its relationship to the scale of the human body, but also the impact of scale upon multi-sensory perception and imagination.