For instance, in the case of Dubai with its luxurious seven star hotel, Burj Al Arab, it is likely most residents of Dubai have never, nor will ever, enter it but somehow it has become a symbol for the city. Translated by Ken Knabb. It represents the expression of the unity – separation and as he pointed out further that the spectacle preserves the ideological features of both materialism and idealism through its realization in reality which conceives the world as representation and fulfilled the ideologies’ realization in the form of spectacle itself. The society that sees their life is merely a representation of fragmented images under the power of capitalism and states. Figure 4: Augustus’ projects in Rome (source: Galinsky, 2007). Society of the Spectacle. As the result, the trend to build ‘spectacular architecture’ with its shape and images is happening everywhere especially in Asia and Middle East’s cities. As noted by Karl Galinsky that “Augustus and his architects scripted narratives by siting buildings along select urban paths” (Galinsky 2007, 258). Spectacle is not only understood as decoration and beautification to the object but also it is both the result and the goal of the production system. : The MIT Press, 1960, MacDonald, William L. The Architecture of The Roman Empire: An Urban Appraisal. In the end, the conception of the spectacle contains the same idea though it transformed by the time according to the dominance of economics interest rather than dictatorial and political hegemony. As our example of the city of Rome which becomes an image itself. They proposed a concept, Unitary Urbanism, which acknowledges no boundaries; it aims to form a unitary environment in which separations such as work – leisure or public – private will finally be dissolved (Saddler 1998, 25). Figure 13: Rem Koolhaas in TV show ‘Simpsons’ Commodification and Spectacle in Architecture. Above all, spectacle must from and return to local society, community and culture, not only dictated by the politician and capitalist. By focusing on small-scale, place-specific, and locally grounded projects, these designers are creating a new identity for Chinese design, a truly contemporary architectural language that retains a degree of continuity with the existing urban fabric without falling into the traps of nostalgia and localism (Broudehoux 2010, 10). In examining his concept on the society of the spectacle, Debord’s focus is on the mass media, though he also extends this to the built environment. The impression of the city evokes the sense of alienation and disconnectivity from one function to others. As the result, the trend to build ‘spectacular architecture’ with its unique shapes and images is happening everywhere especially in Asia and Middle East’s cities. It is also important to ask about the importance of ‘spectacle’ for the city itself whether it is good or bad and how it affects the society, community and culture. In concluding this paper, there are several points can be inferred. In the case of modern cities especially since the world war, the reason is also dominated by economic interest. The spectacle has gained its influential in modern society through visual appearances with the help of the modern communication technology and it has been applied everywhere in the world in every levels and aspects of the society’s life. Buildings were built to reinforce different messages and purposes from repeated images, verbal signage, forms, and materials into cohesive narratives. Architects are designers of perception through image making. The dérive (French: [de.ʁiv], "drift") is a revolutionary strategy originally put forward in the "Theory of the Dérive" (1956) by Guy Debord, a member at the time of the Letterist International. Cambridge Mass. Debord betonte dabei stets die künstlerische Dimension der Revolution, die Notwendigkeit der Umwälzung auch des alltäglichen Lebens. Die Revolution wird jedoch nur triumphieren, wenn sie sich weltweit durchsetzt, ohne irgendeiner noch bestehenden Form der entfremdeten Gesellschaft auch nur den kleinsten Raum zu überlassen.“, Texte zu einer Ausstellung im ZKM Karlsruhe des bildnerischen Werkes Debords, https://de.wikipedia.org/w/index.php?title=Guy_Debord&oldid=202255126, „Creative Commons Attribution/Share Alike“. The separation classes also reflect and rooted from the specialization in professions and power. In the societies where people can get what they want; what they want and needed also depends on how the values are addressed by producers through products representation.

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