In this body of work, I explore the architecture of Mirror’s Edge—a meticulously constructed virtual city suspended between beauty and sterility. Wandering its rooftops and corridors, I became increasingly aware that this world, for all its openness, is fundamentally bounded. A seamless illusion, yes—but one built on hard limits, invisible walls, and unreachable depths.

What first appeared as freedom revealed itself to be a kind of clinical dream: a gridlocked utopia, pristine and precise, where every surface gleams but nothing truly lives. The city became a metaphor—a digital matrix not just of space, but of control. It invites exploration while enforcing confinement, rendering the player both empowered and contained.

Ultimately, this is not about Mirror’s Edge as a game, but about virtual architecture as a psychological and aesthetic experience. It asks: what does it mean to exist in a place that was never meant to be inhabited, only simulated? Where beauty is precise, but possibility is pre-written?