An in-depth analysis of the living environment of the protagonist Ulrich in "The Man Without Personality" reveals the interweaving of his residential style and socio-cultural structure, as well as Ulrich's ironic attitude towards modern life.

1、 The palace in the 'multiple exposure photos' serves as a witness to urban life

By describing an ancient palace located in the city center, the changes in urban life and the transformation of modern social structure are explored. The architectural style of the palace blends different elements from the 17th to 19th centuries, reflecting the transition of the Austro Hungarian Empire's major cities from aristocratic court society to bourgeois modern life. The changes in the location and functional use of palaces symbolize the expansion of urban scale and the disappearance of aristocratic privileges. At the same time, the mixed style of the palace is also a microcosm of the overall architectural style of Vienna from the late 19th century to the early 20th century, reflecting the social background of political turmoil and the transition from old to new. In addition, the shattered appearance of the palace also symbolizes the complexity and fragmentation of modern experience, reflecting the individual's perceptual experience when facing the acceleration and changes of modern life.

2、 Nine Personality Types in "Amorphous" Life

Explored the "amorphous nature" of individuals in modern life, that is, the loss of spiritual unity and independence of modern people due to fragmented experiences and environmental influences. Muzier proposed in his essays in the 1920s that human personality and form are shaped by external environment rather than internal spirituality. He opposes historians' progressivism, believing that there is no fundamental progress in humanity, and that different environments lead to different appearances of people in different times and regions. The modern concept of 'amorphous' stems from psychoanalytic recognition of subject instability, the complexity of modern experience, the complexity of social differentiation and division of labor, and the asymmetric relationship between modern culture and human cognitive patterns. Modern people adopt a classification system to summarize and grasp things when facing excess experience, but this classification system is an artificial order that cuts off the affinity between people and things, and between things. Muzier believed that modern people are regulated by different social roles and standards, losing their unity and becoming carriers of external rules. In the novel, Muzier listed nine personalities of citizens of the dual empire, each representing the attributes assigned to them under different classifications. The asymmetry between the classification system of the external world and the amorphous internalization of human beings constantly places them under different identity attributes, reshaping themselves through external demands. The multiple rules of modern life invade individuals' lives, even in the private sphere. Muzier depicted in his prose the private life dominated by publicness, pointing out that modern people no longer have true privacy, and private space has been occupied by publicness.

3、 The Madman in Restraint Clothes: Attempts and Failures in Repairing Houses

Through Ulrich's process of renovating the small palace, the complexity of modern life experience and the individual's position within it were explored. The dilemma of choosing a decoration style faced by Ulrich reflects the diversity and lack of centrality of modern life. His father's dissatisfaction with Ulrich living in a small palace reflects the conflict between bourgeois citizenship and aristocratic status. Residential decoration is not only the transformation of physical space, but also the embodiment of individual lifestyle and social role. Ulrich attempted to overcome the fear of being categorized by designing his own living room, but ultimately found that no matter what style he chose, it could not fully represent his inner self. He seeks freedom and expression of personality through his imagination of an "unattainable house," but this freedom is still limited by the order of reality. Ulrich's struggles and attempts reveal the contradictions and conflicts between tradition and modernity, personality and social norms of modern individuals.

4、 Breaking the 'amorphous' coat: irony as a posture

Through Ulrich's imagination of possible worlds and reflection on modern life, this paper explores the dilemma of individuals seeking self-expression in modern society. Ulrich attempted to create a possible world independent of the real order by renovating the house, but ultimately realized that this kind of architecture could not be achieved, and individuals could not escape the fate of being classified. Muzier criticized that modern people pursue fashion for the sake of public recognition rather than personal aesthetic needs, leading to the disappearance of individuality behind standardized symbols. Ulrich actively chooses a decoration style that does not conform to his own philosophy through ironic gestures, attempting to dissolve its form on an amorphous basis and resist standardized living. The narrator also avoids assigning fixed roles to the protagonist, emphasizing the amorphous and individualistic core of the external form. Ulrich's attempt at irony, as well as his positive understanding of individualism, demonstrates a profound reflection and critique of the standardization model in modern society.

5、 Conclusion

Muzier reveals the triple connotation of "amorphous" through the literary presentation of residential buildings: the fragmentation of modern life experience, the lack of modern human essence, and the dissolution of "amorphous" life. The conflict between public and private nature is reflected in "The Man Without Personality", where modern housing loses its protective nature and public order invades individual life. Individual life becomes a part of publicness, influenced by collective demands. The environment screens and domesticates individuals through fashion trends, while individuals showcase their identity through decoration. Under industrial capitalism and rational logic, the relationship between people and housing has become distant, and the display of private space is disconnected from life. Ulrich regards residences and the Austro Hungarian Empire as temporary places of residence, rather than stable living spaces. In modern life, building houses has become a game of self disguise, where private nature is expelled by public nature, and individual essence and personality disappear.