‘Structural steel cables are reflected from the society where technology is the very tool to enable us to realize a new paradigm for living. Exposed steel made modules are the representations of undressing functionalities other than possessing space. Furthermore, the concrete core provides thermal inertia by meeting the safety requirements, reflecting a bundle of Modern regulations. The future of living claims man’s aspiration of electively sorting out the oversaturated and over interconnected chaotic interaction of geography, economy, technique, demography and cul- ture in the heterogeneous future, making everything tangible and controllable in close proximity, and departing from here and the present’. Genki Ueyama

The gallery or Museum wall has traditionally functioned as the physical and visual frame of our engagements with artworks. Although this frame has been rejected and abandoned countless times by artists preferring to find contexts free from a reliance and the confinement of the white cube paradigm, In my practice this disputed and critical framework has been an important part of the complex medium we call installation and has functioned as a site and subject for experimentation, formal innovation and critical questioning. From the optical vertical axis of thewall to the horizontal axis of the art object parallel to the art space floor, the historical consideration of painting and sculpture as two distinct and separate disciplines is no longer fixed. The historic removal of the plinth aligned the sculpture's vertical axis to the height of the viewer's body positioned on the floor. Performance and time based mediums in installation created even more fluid states of movement between art mediums until in the post-medium they have become interchangeable with one another.

These formalist acts in the history of modernism which attempted to break the hierarchies of established mediums attempted to create more democratic (equal) relationships between the artist, the art object and the viewer. In the site of the installation artist must consider the artworks relationship to the physical structure of the art space and there negotiate with the structures that are fixed and immovable and those which can be altered. Features such as floors, walls, corridors and even ceilings and exterior spaces have all become valid materials to use and deconstruct in the artist's exhibition work. As discussed in the paper “Research Tables Work”, structures of display not only reference the history of Avant-garde transitions from modernism to post-modernism to the (post)-contemporary, but equally reflect the social and economic systems of structure and display.