This project aims to consider about the extensive use of images in our daily life, exploring the new spatial organization logic that may exist behind these images. In this era flooded with excessive images, people are accustomed to ‘seeing’ with the help of visual machines and technology, images have become an intermediary of social relations. With the rise of consumerism and the development of communication technology, the situation in which Guy Debord defines that ‘the transformation of life into spectacle’ has already occurred.

Luxury hotels can be regarded as a spatial paradigm of daily life spectacle - the commercial and symbolic characteristics make it frequently photographed and recorded. This kind of imaging is different from traditional photography, taking the Shanghai Bvlgari Hotel as an example, although a large number of photos can be searched, templated composition, fixed camera position and shooting angle, similar motion track in room tour videos – that kind of flat expression often has a high degree of consistency.

Behind these highly overlapping images, the lack of information directly leads to malfunctions and errors when compiling them into a 3D space. When I used the photo modelling software to restore the bedroom of the Hotel, the final result jumped out of the common spatial organisation logic and formed a set of particular, 2 dimensioned 3D expression rules. This set of rules for the most efficient ‘modelling’ using the principle of visual dislocation, and is located in an in-between state of the two-dimensional and three-dimensional world. The resulting objects can only be visualised at a specific angle (that is, the angle with the most overlapped information), and the way of establishment is more like a simple folding process of the images. Different corners of the room have their own perspective rules, which are difficult to form a coherent spatial presentation.

By extracting this set of rules, I used paper folding in reality to reconstruct a new version of the bedroom: during the folding process, the pasted and cut off parts are just like the key information that are lost (histories, feelings, memories). People’s non-objective recording methods together with the mutual influence and convergence of shooting ways has already disintegrated the materiality and objective signification of the hotel. The image is no longer just neutral waiting for the observer to watch or use, but begin to actively construct its own visual logic.