每次旅行結束之後，回到自己的長期居所，面對熟悉的地方卻產生強烈的陌生感，這種感受迫使我想研究，是否存在一個方法，能夠延長這個陌生感。在影像度量一書之中，作者布萊恩藉由佛洛伊德·梅里爾的感知連結索引系統來建立影像、空間與人的心理狀態的關係。佛洛伊德·梅里爾的感知連結索引系統描述了人在進入空間之中會有十個心理狀態。任意物件將藉由感知連結索引系統作為基礎，藉由調整人的心理狀態，來去除對城市空間的熟悉感，進而達到具有陌生感地觀察城市空間的心理狀態。

任意物件探索三種觀察城市環境的方法，第一是靜態地待在原地觀察與紀錄周遭的物質流變，第二是動態地與城市互動，藉由速寫作為社交方法，介入城市居民的作息，第三是繪製城市地圖，創造充滿副產物與陌生物的任意物件觀察與分類。而這三個方法皆是建立在細節的探索之上，第一個方法我們可以專注於觀察物與物之間的差異，並且體驗城市的流動，第二個方法我們將會習得如何在城市中創造事件，成為城市中的一分子，第三個方法我們得以在更大的涵構下反思慣常的城市空間，揭露城市的真實、時間與空間的層疊。這三個方法將會獲得更豐富的城市體驗。任意物件作為一個輔助觀點，結合約定俗成的建築設計知識，使得建築設計者可以在更廣的維度上進行建築設計。

Every time when I traveled back to my long-term residence ,I faced familiar places with strong sense of unfamiliarity. This kind of sense of unfamiliarity makes me want to research whether there is a method to extent the sense of unfamiliarity. In “Cinemetrics: Architectural drawing today”, Author Brian McGrath cited Floyd Merell’s diagram of Peirce’s semiosis to establish the relationship between images, spaces, and signs. According to Floyd Merell’s diagram, Ten signs are involved in ourselves when we undergo an experience in spaces. Any-object-whatever develop on Floyd Merell’s diagram, through adjusting transformative links between signs to interrupt the conventional indexical or iconic assemblages of experiencing urban spaces with sense of unfamiliarity.

Any-object-whatever explore three kinds of method to observe urban spaces. Firstly, stay still in place to observe and to record matter-flux. Secondly, interacting with citizens, sketching there living spaces. Thirdly, making a personal map of the observed site which full of by-products and unfamiliar matters. Recording, classifying, documenting any-objects or relationships. These three kinds of method are based on exploring details. Concentration will be needed in the first method, you have to keep differentiating objects in fixed location. You have to be actively engaging in the second method, creating social connection, and participating in the city. In a lager context, the third method could reveal more temporal and spatial layers of site closed to reality. These three methods of any-object-whatever shift our habitual points of view, implementing architectural design practice, and exploring new possibilities out of conventional design methodology.

1 Brian Mcgrath, 2007, Cinemetrics : Architectural drawing today
2 貝島桃代、黑田潤三、塚本由晴，2014， 東京製造
3 Ronald bogue, 2003, Deleuze on cinema
4 Peter Eisenman, 1971, From object to relationship, Perspecta, Vol. 13/14 , pp. 36-65
5 Molly Nesbit, 1986, Ready-made originals: A Duchamp model, October, Vol. 37, pp. 53-64
6 Harold Rosenberg, 1966, The art object and the esthetics of impermanence, The anxious object, p.73-p.79
7 杜昭賢，2012，海安街道美術館 - 尋求藝術介入都市空間的一種想像