At a time when the digital image is persistent in manipulating our lives, it is important to be critical of it, in all senses. What I have proposed is not a finished map but a refusal to map in conventional terms. Through countercartographies, embodied dérives, and a refusal to be visually efficient, this work asks what it means to feel space rather than simply see it. In privileging the visual, we risk erasing the sensory and political complexities of interiors.

1. In the current mode, space is increasingly consumed through representational systems such as photographic imagery, digitized maps, and algorithmically sorted information. These modes all prioritize speed, clarity, and marketability over lived perception and sensory embodiment. Within interior design, a discipline traditionally focused on the functional and aesthetic arrangement of built environments, there exists an opportunity to question how spatial experiences are designed, documented, and canonized. By framing my project through interior design, I challenge the field to reevaluate its complicity in the commodification of experience and to imagine new practices of design that prioritize human experience over visual consumption.

2. The map, like the photograph, ceases to be a tool for navigation and becomes a spectacle of knowledge itself. It offers not direction but a hollowed-out image of place, producing a passive spectator rather than an active participant in space. In a world ruled by the spectacle, representation no longer points back to reality. The spectacle acts not as a material collection of images, but as a relationship between people mediated by images. In interior design, the relationship between people has been superseded by the relationship between people and their spaces through the representation of these spaces.

3. Attempting to deify space through images has made it easier to experience space visually, yet we are more removed than ever from the physical experience space begs of us. Just as an image makes real a false reality, the map conjures a reality under the guise of objectivity and precision. Practicing a situationist dérive serves as a mode of escaping the intended use of space and its commodified experience. Space can be divorced from a prescribed function, and using space in this way is what the dérive intends. My project is a recounting of the dérive practice embodied at the site, and as a result, my psychogeographic experience informed the creation of a counter-map.

Sound as ornamentation integrates the idea of making the invisible visible. Streaming music through NTS radio is solely auditory, until music physically brings people together. Rectilinear geometry, color, and light create provocative settings for the experiement that is contemporary life. Through this space, music becomes visceral.