"It may be that universal history is the history of a handful of metaphors.” This is the portal of Borges’ reflections on the mutation of the metaphor on the sphere in his essay The Fearful Sphere of Pascal which revolves around the formula: ”Nature is an infinite sphere, whose center is everywhere and whose circumference is nowhere.” Architecture as enkyklios paideia “goes round in circles”, it articulates the spheres for metaphors that carry further abstract ideas. The spatiousness of the sphere fosters the activity of orbitting and sojourning, avoiding abbreviations. Spherical models differ from mere image schemas since they provide the potential circumspheres in a model of gravitational fields, rather than creating restrictive formulas for a measurable screen. Within the sphere, gravity helps to remember miscellaneous moving stellar points. The meditation is inspried by the Armillary Sphere: arranged in eight rings, this ancient astronomical device is able to show the constellations of the celestial circumferences in relation to the stars. The armillaries do not touch each other, but coexist in a mutual dance. Cosmic dust is produced by Bachelard’s notion of the house serving as “the portal to metaphors of imagination”, as it is “the human being’s first world before he is ‘cast into the world’”. Turbolences emerge by Frances Yates’ remebrance of the use of Metaphor for Artificial Memory because of its power to “adhere the soul”. Gravitational mass increases by Arata Isozaki’s belief in the metaphorical potential of architecture, which resists the passage of time and considers each architectural creation as reproduction system of predefined signs. Centripetal forces are created by Pallasmaa’s emphasis on the task of architecture to create “embodied and lived existential metaphors that concretise and structure our being in the world” – thus to be positioned within the sphere instead of making us mere spectators. Centrifugal forces arise from Junya Ishigami’s attempt to overcome the metaphorical use of architecture and to think architecture itself in cosmic scales of clouds, rains and forests. As usual with metaphors, this meditation is not about representing an existing sphere, but articulating new armillaries of thinking, when thinking architecture through the sphere and the points. If translated into an ancient instrument, its mechanics can be learnt and played in possible constellations.