城市的新陈代谢与人口的大规模迁移使人们不得不抛弃了对某块特定土地的热爱，然而，分离成个体而热衷迁移的人们，却在作为人类共同母体的自然中，对不动的大地保留了强烈的爱。——川添登《建筑的灭亡》
The metabolism of the city and the large-scale migration of the population have forced people to abandon their love for a specific piece of land. However, people who are separated into individuals and keen to migrate retain their love for the immovable land in nature, which is the common matrix of mankind. strong love.——Noboru Kawazoe, “The Destruction of Architecture
▼全景，
【纸间】是【原点大地艺术节·2024西安当代设计周】的空间装置作品之一，并于7月参展【佛山市·美陶湾城市公共艺术季】。作品发想于设计师近年来的生活经历，辗转于台北、上海、北京多地，使其关注到“故乡”的命题，故乡并不特指乡村，而是一种现代人普遍存在的精神缺失。世界在过疏化的“故乡”与过密化的“城市”之中，逐渐走向彻底的崩溃，在小说《三体》的结尾，歌者文明在太阳系边缘释放了一片二向箔后，整个太阳系坍缩成了一张二维巨画。于是，就从结局开始，就从一张纸开始。
In 1993, I lived in an old house in the northwest countryside. There was a river in front of the door and mountains outside the window. The reed marshes were far more attractive than the small house. The children who broke out of the door owned the whole world…
▼概念拼贴，collage
设计以“纸”为载体，通过裁剪和折叠，使其从二维平面转换为立体空间。其抽象观感与场地所在的城市场景产生极大反差，意图为观众提供超越日常的空间体验。
In 2023, my country’s urbanization rate will reach 66.16%. More and more Vietnamese people live in residential buildings that are like pigeon cages. Doors, windows, beds, tables and chairs, and rental houses are standard equipment, making it almost the most secluded city in the city. Thousands of such residences have surrounded and compressed my hometown, leaving only a small reed swamp in my dream.
▼1:25手工模型，model
空间尺度缘自柯布西耶晚年居住的小木屋（Le Cabanon），3.66m*3.66*2.26m的空间，是讨论极限居住尺度的重要案例。
At the end of ” The Three – Body Problem ” , after the Singer civilization released a two-dimensional foil at the edge of the solar system, the entire solar system collapsed into a two – dimensional giant painting . So, start from the end, start from a piece of paper.
▼Le Cabanon轴测，axo
▼鸟瞰，Bird’s eye view
折叠过程中，内与外的意指被反复探讨，向内折叠所产生的空间，是城市居所的缩影，门、窗、桌椅、床铺，构成的城市里几乎最幽闭的居所。向外翻转后，幽居裂变复制，成为千千万万个城市居所的集合群像，而此时出现的被压缩的“室内”，则成为了一方小小的，持续熵增的故土。
Fold inward,It is a nostalgic hometown called “home” and a wandering hut in the fields. Fold outward,It is a fascinating city called “the city”, a place packed with people.
▼内向折叠与外向折叠，Inward and outward folding
内与外的界定主要通过场景塑造来实现，外翻的天花和地面围合出“室内”空间，外置的桌椅和床铺明确了“室内”尺度，门与窗的内外关系则通过窗台、挂衣钩等常见于室内的构件来强调。
The furniture and space that have not yet been completely folded are like a twisted dream. We linger in the urban residence like a steel forest, restless. Outside the window, the reis the imprisoned reed swamp, which is the gradually lost hometown. In front of the door, there are steps that cannot be taken, and today is a dilemma.
▼桌椅，Chair and table
▼床铺，Bed
▼门与挂衣钩，Door and coat hook
▼窗与窗台，Windows and windowsills
内置景观由芦苇与松树皮填充，区别于外部超现实的感官，真实展现着细腻的自然场景，进入其中，柔软的足迹与阳光、微风、鸟鸣，带来隔绝车水马龙的沉浸式体验。
“Cliffside Report – Record of the Fission of Rural China” said: “The most profound memory of a person’s life comes from his childhood. When he leaves the place where he grew up in his childhood, the most profound memory of his life is stationed in his hometown.
▼内置景观，Built-in landscape
▼椅子下的洞口，Hole under the chair
▼床头的洞口，Hole at the head of the bed
▼窗口，Window
▼撕开的一角，Torn corner
裁剪与折叠形成多个不同大小、高度与形式的洞口，展现出内景的多个视角，由下至上，大地、芦苇、树木、天空、形成一幅幅梦境般的框景。
Since entering the city, his hometown has always been the place where he grew up. It is a symbol of melancholy. People miss their hometown in the city and hope to return to their hometown.
▼梦境般的框景，Dreamlike frame
建造过程结合工厂预制与现场搭建，选用2mm厚钢板建造主体，薄钢板模糊了装置本身的结构性，并隐藏所有节点与构造做法，以实现如纸张般轻薄效果。虽然观感纤薄，但通过结构计算，外置的床铺与桌椅，可以承受最大150kg的重量，足以实现与观众的互动体验。
When they really return to their hometown, the poverty of their hometown will make people very disappointed. ” Folding means compression.
▼施工现场，construction
1990年至2023年，我国城镇化率从26.23%达到66.16%，大量背井离乡的年轻人进入城市成为“流亡者”，我们所理想的公共空间，实际上在为这些“流亡者”重新寻找归属。于此，公共空间应当脱离“权利之地”的属性而回归到社会大众的日常生活之中，应当以群体行为作为场所精神的发想，粘合起碎片化的自然、社区、街道等。那么，发生其中的公共生活与集体记忆，就是避免人们内心流亡的方法，这也使得“城市”终于变为“家园”。
In an over-complexed hometown and an over-densified city, we must think about where we belong and re-explore the essence of human settlement.
▼黄昏场景，Dusk scene
