Two passages for each chapter, so ten passages from five chapters in total, were picked from the short story and converted to the concept models. This extraction and conversion were to create the architectural models that could forge a language of its own implying that it was more radical in its content than in its form, in which the ‘original’ architectural components were expected. Ten models were made first, and then other additional ten models that are opposite to the first ten models were produced.
The twenty concept models were used to portray an interior and exterior. Those models were either directly used or manipulated with each other to create a new. Even though ten of them were the reverse, all models were employed regardless. Also, the models did not follow programmes but were randomly located as this was not important at all. Eighteen interior and exterior scenes were captured as examples. As debated, these aimed to achieve the two goals. Since the extracted viruses were injected and so generated these spaces, in which people were involuntarily reminded and warned, people would encounter the pictures full of dystopian elements. Wherever they go, they will repeatedly come to similar spaces with a similar expression. Within the sheer scale of the building and canal, they would never know the dead-end but might only see those unwelcoming impressions. For those who evaded the dystopic reality and reached this place, these interior and exteriors presented another tiny dystopian world. But, fortunately, these spaces are tolerable. They have only a transient effect which these images will be forgotten quickly as the size has been reduced. The characteristic of an apartment-hotel that people do not live here forever and of tourist attraction enabled these spaces to function well. People will come and leave soon. While each of these spots tried to instil a tiny bit of dystopian elements, they would make people feel the space of the past, the space of full of memory, and it is poetic since it implied optimism as reviewed with Nietzsche’s Dionysian pessimism. People would feel nostalgic from seeing the components they passed, generating the memory of when they were in the dystopian city because the surroundings were not exotic but familiar. The architecture which conforms to our memory would conform to what was fundamental in the world. These spaces rejected a merely physical vision of the dystopia and encouraged a sense of belonging to their inescapable social and political conditions. When the time comes to go back, they are ‘prepared’ adequately. Through their patience and endurance built up, people would possibly overcome as they are immune now.