A Line, Is A Line, Is A Line reinterprets the classic 1950s Acapulco chair through a contemporary exploration of geometry and line, expanding the original concept into a line of furniture. The project retains the defining elements of the original chair—the black metal frame and brightly colored cord—while replacing its curvilinear structure with an orthogonal composition of layered geometric forms derived from combinations of triangles, circles, and squares. Viewed in plan, the furniture is primarily understood as a series of concentric geometries nested within one another. This reading shifts when the object is experienced in three dimensions. Red cord stretched between the geometric layers generates curvilinear ruled surfaces that contrast with the underlying orthogonal framework. The resulting interplay between straight and curved geometries produces a more complex spatial reading than is apparent from a single viewpoint. The dense array of lines formed by the cord also creates moiré patterns that introduce subtle optical effects. As the viewer moves around the piece, these patterns continuously change, altering perceptions of depth, transparency, and form. Through the interaction of geometry, line, and movement, the project investigates how simple formal operations can generate unexpected visual and spatial experiences while maintaining a clear connection to the character and material language of the original Acapulco chair.