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"Plastik adalah material yang banyak digunakan manusia dalam kehidupan sehari-hari. Proyek tugas akhir ini berfokus pada material plastik dan penggunaannya sebagai pemeran antagonis dalam proses kehancuran Mayestik yang membuat kondisi menjadi tidak stabil sehingga kestabilan mengalami kelangkaan. Dalam hal ini, penggunaan plastik yang berlebihan memicu (attract) terjadinya ketidakstabilan. Merespons kondisi tersebut, proyek ini bertujuan untuk mengenang proses ketidakstabilan Mayestik melalui dekonstruksi struktur dan modifikasi elemen spasial yang ada. Selain itu, proyek ini juga akan melihat dynamic flow penggunaan dan sampah plastik sebagai metode untuk mengungkap event dibalik kehancuran Mayestik sehingga memicu terjadinya perubahan perspektif dimana plastik yang semula berperan antagonis menjadi pemeran protagonis dan menghasilkan pengalaman ruang yang baru.

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Many people use plastic on a daily basis. This project focuses on plastic and its use as the antagonist of the collapse process of Mayestik causing it to become unstable and the stability becomes scarce. It is caused by the overconsumption of plastic and it plays bigger role as the attractor of instability. In response to the issue, this project aims to

recall the instability process of Mayestik by deconstructing the structures and modifying the existing spatial elements. This project also tries to observe the dynamic flow of plastic use and waste as the method to reveal the event behind the collapse process of Mayestik. It leads to the switching perspective of the actor in which plastic now becomes the protagonist and shapes new spatial experience."

"The main character of the film Pintu terlarang (The forbidden door), Gambir, attains success in the art world by making statues of pregnant women. Part of his creative process is to insert dead foetuses into the wombs of the statues. His troubled soul meets a written request for help by a child he encounters in various places. The journey to find the child leads him to a secret door, revealing a terrifying reality of a dehumanized world. The city, commonly characterized by a sense of vastness, is set in opposition to small, enclosed spaces where individuals converse with their utmost self. The questions explored are: What is the role of space in engendering urban dystopia? In what ways does the selection of different space settings help create a dehumanized world? I argue that urban dystopia is created when the inhabitants of a city return to enclosed spaces in an effort to find an existence. When individuals prefer enclosed spaces and fail to reconstruct existing meanings, tendencies toward dystopia will come forward and city life will degenerate."