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Yesterday, I visited The Cosmic House (TCH), a place I had been eager to visit since my first day in London. During my undergraduate studies in cultural studies, someone from Lund University guest-lectured on theology at the University of Gothenburg. At that time, there was a brief mention of the intersection between postmodernism and cosmology, which immediately made me lose interest in the discussion due to its abstract nature. Later, I saw a zine on the desk of a fine art student at Valand about postmodernism and the design of children's playgrounds. She had drawn Charles Jencks (the owner and designer of TCH) on a roulette table with threads and mysterious symbols in the background. In the drawing, a cartoonish Jencks was being chased by a fierce woman resembling Margaret Thatcher, which was quite amusing. It was unclear whether Thatcher's tenure in the UK (1979–90) spurred the development of postmodern architecture and other aesthetic movements under that guise or if postmodernism influenced Thatcher's "good design" movement. This chance encounter sparked my curiosity about TCH. After moving to London, my impatience with timed ticket bookings and TCH's stringent and limited annual opening hours left me without an opportunity to visit. This time, J helped us secure weekday tickets, for which I am very grateful! My first impression of TCH was that it resembled an interesting museum in Gothenburg, the Kortedala Museum, which also preserves a living environment representative of a specific era and culture. However, compared to TCH, the latter more groundedly reflects the life of the working class under Swedish social democracy in the 1960s, making the comparison somewhat tenuous. TCH, with its cosmological perspective challenging boundaries, makes the collision of design and space feel like a serious yet humorous joke. Warning for the cliché term "dream house," and in The Cosmic House, you can find everything in your dream, and it's such an interesting dream!