The three distinct dimensions give the axonometric projection a far more substantial spatial aesthetic than the "floating field" technique but this is countered by the lack of depth distortion, which inhibits the naturalism of the scene.
An example of axonometric projection can be observed in Hiroshige's "Hall of Thirty-Three Bays" (Illustration 2).
Gibson describes parallel projection schemes, like the "floating field" and axonometric projection, as containing invariant information only about the objects in the scene, whereas linear perspective includes invariant information about the viewing position as well (Gibson 283-91).
In general, there is a tension between the "floating field" and axonometric projection which tend to produce a flat two-dimensional space and linear perspective that tends to produce a recessional three-dimensional space.
In the bottom right of the image, the veranda is illustrated in axonometric projection and consequently the lines do not converge.
It is somewhat regrettable that the medium of the axonometric projection, which forms the main communication instrument of the PiAAR exhibition, does not 'stick' to these two crucial aspects of the learning experience of Polish emigres in the Third World.
If one then looks at the axonometric projections of buildings in Poland, in particular the "Centrum E housing estate" in Nowa Huta (Stanek, 2012a, page 41), one can indeed discern a sensitivity to the urban context (as well as to aspects of scale, volume, style, proportion, and traditional imagery) that was inspired by the experience of Polish designers in Africa and the Middle East.
Finally, in terms of representations projected into objects, Constructivism again emerges as a precedent (Constructivism understood broadly, from El Lissitzky, say, to Theo van Doesburg), for it too used exploded perspectives and axonometric projections as the generators of design.
Boccioni also used axonometric projections in his sculptural practice.
See also: Projection drawing