The world we perceive is a complex composition of substance society and invisible information flow. How best to confront it? To a degree, modern industrialisation forced a fundamental rethinking of the spaces, forms, and practice of architecture, which were suddenly understood within newfound forms of production. After fast food and other paradigms of mass consumption, in the past decade, the information age has spread across computer screens everywhere in the world. Then, the ever-multiplying skyscrapers of China and elsewhere keep rising up, and which without culture, in the end, is often unnecessary. But still, only the architect’s “expertise in the “unbuilt” will be able to match the breakneck pace of urbanization and embrace the possibility of subtraction and decay, the ingenuity and chaos of the city. ECO System, Green System, Parametric Design, Bionics Design, Biomimicry: what is the solution that can be achieved without resorting to conformity, what other tools does the contemporary architect have at his/her disposal?

In my approach, the answer is sought by looking at the origins of our craft, to where architecture is a distillation of art in terms of facing reality. It is at once, a part of the art, just like humans are a part of nature. (Architecture and art are inseparable which is like the relationship between human and nature). The urban city as a LAB as is understood by Rem Koolhaas. However, the conditions of that lab are limited. After the artisan age, everyone tended to define ” architecture is…….”, or ”art is …….” but, for me, this is futile without first considering our own definition of nature. With a feeling for the order lying behind the appearance of something (a kind of intuition), where physical space is considered permanent compared to mental space, it now feels transitory – on its way from reality and becoming the illusion: sense and sensibility. And, most importantly, embraces the possibility that a physical building may not be the solution at all. In this way, the architect must consider the role of his own subjectivity in design, and the implication of transient states of mind in the face of architectural permanence, The compliment of nature could be regarded as an appreciation of art the observer might interpret the essence to the programmatic elements on art. In fact, subjective profile of nature is one of our only means of realizing nature, as an architect I ponder these questions, and strive to interpret the city’s forms always in relation to nature. Consequently, the underlying themes of my projects reflect long term schemes, taking the form of serial of drawings, fictions, philosophy, architecture, and conceptual simulations. This study began with an exploration of subconscious / conscious, rational /emotional, and signifier / signified, and responding to the reaction between the natural and the human as way of understanding form and its place in broader urban context.