影像長久以來一直被用來再現自然、社會和文化，為被描摹的客體傳遞意義與抽象情感，而 Robin Evans 在〈Translation from Drawing to Building〉一文中談到建築圖說與其他繪畫藝術的差異在於，它生成在「主題/營造」之前。在建築傳統的生產架構中，營造似乎被指向為製圖的目的與建築完成的終點，然而在經濟秩序的改變及新媒材的加入下，建築圖面不僅止於追究營造的可行性，而在於生產新的影像文本，使影像的意義不只存在於建築內部，更在於其展演過程。
今年的交大建築展試圖透過重組再現建築的影像媒材與模型，以八種投放及模擬實境的組合展現媒體與空間之間的交織，並以動態影像呈現空間的歷時性的變化。藉由參觀者的身體與影像在真實時空下的嵌合，開始思考技術跟人的關係到底為何？影像的即時回饋對感知的影響？這些技術媒介是如何調整人們對空間的理解？

In conventional architectural production, the construction of buildings serves as the end result and the ultimate purpose of drawings. However, with the change of architectural practice and the rise of new media, the meaning of architectural representation has expanded beyond mere feasibility or functionality, and become itself a process of performance.
In visual communication, while the content provides information to the audience, it is often the media that construct the perception. The exhibition Project Project interweaves the viewers, the works and the gallery space with multiple means of visual media, turning architectural projects into various projections that transform our perceptions of space into conceptions of architecture.