# data[].attributes.body
Space can be understood as an archive of memory that acts as a vessel for a specific location and its cultural background. Rather than existing as a neutral or empty container, space accumulates traces of human activity, social practices, and historical transformations over time. Architectural forms, spatial arrangements, and material residues encode layers of lived experience, allowing memory to be embedded within the physical environment. When engaged through creative practice, space becomes a medium through which past and present intersect, enabling stories, identities, and cultural meanings to be activated through spatial encounter. In this sense, space functions as a living archive, preserving memory not through documentation alone, but through embodied experience and perception.

# data[].attributes.body
In creative practice, shape functions not only as a fundamental visual element but also as an expressive and organizational visual language. Through proportion, repetition, and spatial relationships, shape structures visual order and guides the viewer’s perception. At the same time, shapes carry symbolic potential, evoking psychological associations and emotional responses that extend beyond formal appearance. By means of transformation, layering, or fragmentation, shape enables the construction of implicit narratives within a static composition, translating abstract ideas into perceptible visual experiences. In this sense, shape operates as a crucial mediator between form, meaning, and perception.

# data[].attributes.headline
Display and Perform | The structure of narrative

# data[].attributes.subject
Display and Perform | The structure of narrative

# data[].attributes.body
Display establishes a spatial and visual framework, organizing objects, images, and materials into a readable order that guides the viewer’s interpretation. Perform, by contrast, activates this structure through time, gesture, and bodily presence, transforming static arrangements into lived experience. Together, they shape how stories unfold—whether through sequential viewing, repeated encounters, or participatory engagement. Rather than delivering a fixed narrative, display and perform construct an open structure in which meaning emerges through the viewer’s movement, attention, and interaction. In this way, storytelling becomes a process rather than a conclusion, embedded within the act of seeing and experiencing.

# data[].attributes.headline
Pathway Practice [ Narrative from shape]

# data[].attributes.subject
Pathway Practice [ Narrative from shape]

# data[].attributes.body
Pathway transformation in the Ceramic studio that I observed from my practices.

Understanding of narrative positioning in objects and design. Shape, Colour, Photography organized very special effect to objects and storytelling. By display a physical objected by audience looking in front.

As the most immediate and tactile visual element, shape defines the physical boundaries of an object and determines its presence within space. When an object is displayed in front of the audience, its shape mediates the relationship between viewer and object, influencing distance, orientation, and bodily response. Unlike colour or photographic imagery, which often operate on symbolic or representational levels, shape functions through direct perception, allowing meaning to emerge through scale, contour, and spatial tension.

# data[].attributes.body
The potential may come from social, cultural, political, environmental, historical context.

The first things coming to minds is my personal background.

Some keywords to high light: Cantonese, River, Bridge, Dim sum, worship respect, Festival events.

# data[].attributes.body
Today is talk about the ceramic workshop space have we can using technique to provide work.

The technical talk introduces how ceramic workshop practices, focusing on materials, tools, and fundamental techniques in hand-building, wheel-throwing, and glazing

Clay as a creative medium and its potential for artistic expression. Participants will gain practical insights into studio safety, firing processes, and surface finishing methods, supporting both experimental and functional ceramic work.

# data[].attributes.headline
Could cultural heritage become modern heirloom.

# data[].attributes.subject
Could cultural heritage become modern heirloom.

# data[].attributes.body
Cultural heritage can becomes a modern heirloom when it’s reactivated with intention carried forward not as nostalgia, but as living continuity.

# data[].attributes.headline
Artwork within a big cultural concept How to organize narrative storytelling by display and performing.  

# data[].attributes.subject
Artwork within a big cultural concept How to organize narrative storytelling by display and performing.  

# data[].attributes.body
When an artwork operates within a broader cultural concept, narrative storytelling is often organized through the combined strategies of display and perform. Display provides a structural framework by arranging objects, images, and spatial elements in a way that reflects cultural systems, hierarchies, or collective memory. It allows complex cultural narratives to be fragmented, layered, and presented without relying on linear explanation.

# data[].attributes.body
Exploring how cultural heritage can be embodied by a city and its people, turning them into living vessels of shared memory and identity.

Also, to shift heritage from static monument to living practice, where the city itself — its architecture, sounds, languages, and people becomes the artwork’s material.

# data[].attributes.body
Art-making as a way to reflect on their cultural belonging and transform inherited traditions into new, timeless expressions. By engaging with the symbols, materials, and stories of their own culture, they reconnect with collective memory while also questioning how these elements function in the present.

Cultural heritage becomes both a mirror of personal belonging and a vessel for shared, enduring meaning.

How to engaging this relationship between objects and reconnecting. At this stage is creating storytelling. Exploring cultural heritage, memory, and belonging. Then turning art making into a storyteller.

# data[].attributes.body
Looking back from the session today. Mostly I focus on a topic connect to my subject theme of my own personal interest. Regarding the continuity of culture and artifacts, we can find answers in these historically preserved artifacts. Many artifacts survive because they gradually became media for the dissemination of cultural heritage. Their existence imbued them with meaning. In the earliest days of writing, its form was more like an abstract concept, embellishing the development of various civilizations. Its use as a means of communication has given it valuable value in the continuation and development of culture.

# data[].attributes.body
The essence of narrative is always inseparable from the interpretation of words. When did words separate from images in the course of civilization's development? I believe this is a valuable method for understanding narrative creation. From this observation of the writing systems of different civilizations, even in languages ​​I don't understand, I can try to understand what they express through the shapes of the words.

# data[].attributes.body
This project investigates how local cultural memory embedded in Guangdong’s old urban districts can be transformed into a form of contemporary urban heirloom through sensory research and interactive art. In rapidly modernising cities across Southern China, historical neighbourhoods and everyday cultural practices are being erased or overshadowed by commercial redevelopment. The sights of weathered façades, the sounds of Cantonese street life, and the distinctive smells of markets and wet alleyways are more than background experiences — they are intimate archives of collective identity and emotional belonging.

By conducting field research that collects visual, auditory, and olfactory impressions from a specific old city community in Guangdong, the project aims to reconstruct these fleeting sensory memories into a tangible and participatory artwork. The final piece will function as an artifact of narrative, carrying the layered stories of a place and the people who inhabit it. Through interactive elements that allow residents and visitors to trigger and contribute memories such as sound activation, tactile surfaces, or scent references the work will grow continuously, evolving into a living heritage object.

The project challenges traditional concepts of heirlooms as privately inherited possessions, proposing instead a collectively shared heirloom that belongs to the city and is nurtured by its community. By enabling intergenerational participation and reactivation of forgotten or overlooked memories, the artwork will serve as a medium of dialogue between the past and the present, reinforcing a sense of cultural continuity. Ultimately, this project aspires to preserve and revitalise the everyday cultural identity of Guangdong’s old towns, not as museum relics, but as active narratives shaping the city’s future.

# data[].attributes.headline
Timelessness Value [Colour and representation]

# data[].attributes.subject
Timelessness Value [Colour and representation]

# data[].attributes.body
Timelessness in cultural context does not mean the suspension of time, but rather the continuity of meaning through transformation. It suggests that what endures is not the unchanging form of tradition, but its ability to adapt, reinterpret, and remain relevant within each new moment. In this sense, living heritage embodies the idea of timelessness — culture as a living process, sustained through participation, memory, and renewal. It is an inheritance that breathes, evolves, and redefines itself through everyday practice. Instead of freezing history into static monuments, living heritage keeps time in motion, proving that the essence of timelessness lies in the persistence of life within change.

# data[].attributes.body
Naturally made texture by time. Pattern and Craft making objects.

# data[].attributes.headline
Cantonese pattern square brick [Digital Art]

# data[].attributes.subject
Cantonese pattern square brick [Digital Art]

# data[].attributes.body
Do-Ho Suh

Akio Takamori

Icinoric

# data[].attributes.attachment_link.title
YU_HENG LO on Instagram: "Pattern Design廣東花磚
Digital art"

# data[].attributes.attachment_link.description
10 likes, 1 comments - yuheng_lo_artstation on October 29, 2025: "Pattern Design廣東花磚
Digital art". 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by YU_HENG LO (@yuheng_lo_artstation)

# data[].attributes.headline
Timelessness element : Roof decoration combine/ Story of wisdom

# data[].attributes.subject
Timelessness element : Roof decoration combine/ Story of wisdom

# data[].attributes.body
In Cantonese culture. Decoration from your house has many symbolic meanings. From structure and materials, and crafting.

I am targeting to focus on the roof from the building. This is the core of the showing part from the house. Traditional crafting making sculpture on the roof. They complex, unique, praying for good. The maker using those technique to make a story for people who living in this building.

Most of those decorations are showing a family story to making those creation having memory. The value to be memorize from the objects.

I really inspiring by those making. Also, those could be learnt from it too. In order to help me focus on base on object to create narrative.

# data[].attributes.headline
Shine in Darknight [ V&A Jewelry inspire]

# data[].attributes.subject
Shine in Darknight [ V&A Jewelry inspire]

# data[].attributes.headline
Shine in Darknight [ V&A Jewelry inspire]

# data[].attributes.subject
Shine in Darknight [ V&A Jewelry inspire]

# data[].attributes.body
For those objects which have been in hundred year past to still could be found and looks authentic. Because it represents a part of the most remarkable beauty that it has in its role. Like jewelry. Timeless, stable. A living heritage standing in the urban.

# data[].attributes.body
This experience mostly reflect from me. How to wake up your memory?

Our sensory experience help human receive informations from where we are living. Our Sight,Smell,Taste,Touch and Hear consist to our Sensory system. When I listen a song on my play list that always would remind me the memory when i first heard it and the vibe and where.

This also is a way we can be using in the storytelling. People can receive information in many ways, and we can also use more design to convey our information not only through visuals.

# data[].attributes.headline
Reference [Southern Chinese Building decoration] [宗祠 Ancestral Hall] 

# data[].attributes.subject
Reference [Southern Chinese Building decoration] [宗祠 Ancestral Hall] 

# data[].attributes.body
In southern China, ancestral halls function as living vessels of memory, identity, and belonging. Rooted in blood lineage yet open to public life, they are spaces where rituals, family histories, migration stories, and daily social interactions intersect. Especially in coastal regions shaped by maritime trade and diaspora, ancestral halls operate not only as sites of remembrance but also as emotional anchors for displaced communities. They embody a form of living heritage—constantly reshaped by time, people, and cultural transformation.

# data[].attributes.body
Ancestral halls in southern China are communal spaces that preserve family memory, ritual traditions, and collective identity. They transform architecture into a living archive of migration, belief, and kinship.

In Lingnan architecture, roof ridge decorations are not merely ornamental features but symbolic extensions of ancestral hall culture. Positioned at the highest point of the building, the ridge functions as a visual site of spiritual authority, where clan values, moral teachings, and collective identity are publicly displayed. Through ceramic figures, historical narratives, and auspicious symbols, ancestral halls transform their rooftops into visible codes of lineage ethics and social order. Particularly in the context of maritime trade and migration, these decorated ridges also reflect the economic power and cultural return of overseas communities, reinforcing the ancestral hall as a spiritual center of both origin and belonging.

# data[].attributes.body
Roof ridge decorations operate as a visual system of clan ethics。Core moral valuessuch as filial piety, loyalty, righteousness, and integrity—are translated into historical narratives and operatic figures, elevated onto the highest architectural surface. Through this spatial elevation, abstract virtues become publicly visible and emotionally internalized. The ridge thus functions as a moral interface, where ancestor worship, family discipline, and social values converge in architectural form.

# data[].attributes.body
Key Focus:

Decoration

Representation

Narrative

storytelling

Colour symbolization

# data[].attributes.attachment_caption
Do Ho Suh, Rubbing/Loving Project: Seoul Home 2013-2022

Installation view at Museum of Contemporary Art Australia, Sydney, Australia. Photography by Jessica Maurer. © Do Ho Suh

# data[].attributes.body
‘Walk the house’ is a Korean expression Suh heard as a young boy from the carpenters who constructed his childhood home in Seoul. The building was a traditional Korean house known as a hanok. These buildings could be disassembled and reassembled in a new location – a process of literally ‘walking the house’. For Suh, the phrase describes how we carry multiple places with us across space and time. The relationship between architecture, the body and memory is central to Suh’s interests. As he says, ‘memory amalgamates in these spaces and memories shape our perceptions of them. Yet, they’re not stagnant. They’re not foreclosed environments in my work. They’re transportable, breathable and mutable’. To the artist, ‘home’ is not a fixed place or a simple idea. Instead, it evolves over time, and is continually redefined as we move through the world.

# data[].attributes.headline
Do-Ho Suh [Core Themes and practices] Artists Research

# data[].attributes.subject
Do-Ho Suh [Core Themes and practices] Artists Research

# data[].attributes.body
Do-Ho Suh’s practice is rooted in his personal experience of migration. Moving from South Korea to the United States prompted ongoing reflections on where one belongs. Migration, for him, is not merely geographical but also emotional, cultural, and psychological.

Structure and Me

Space is not neutral; it is activated through bodily movement, daily use, and memory. Architectural elements such as corridors, doorways, and thresholds function as extensions of lived experience.

Material

Suh use of sheer fabric renders architecture ghost-like—present yet intangible. Transparency suggests the ephemerality of memory, the instability of identity, and space as a psychological projection.

In Suh’s work, “home” is not a fixed location but a portable and reconstructable condition. His translucent fabric replicas of former homes emphasize the fragility and mobility of belonging.

By reconstructing past living spaces, Suh transforms private memory into a shared experience. Rather than restoring the past, his works reactivate memory in the present, presenting time as non-linear.

# data[].attributes.body
Suh’s practice also questions how memories can be embedded in spaces during political upheaval and censorship.

By creating rubbings of the interior surfaces of buildings in Gwangju, Suh explores how they bear witness to violence and asks what memories they carry against the grain of official histories. Working with assistants, Suh’s collaborative process also becomes a moment of collective witnessing. He says: ‘It was not a performance, but there was a deeply moving sense of ritual, or commemoration, that came from doing things together.’

# data[].attributes.body
Colour can also act as a narrative agent, indicating shifts in time, memory, or perspective. Through deliberate selection, limitation, or saturation of colour, artists are able to manipulate perception and construct meaning that extends beyond representation. In this sense, colour is not merely decorative, but a critical element that mediates between visual experience and conceptual intention.

Beyond the my practice in the studio. I narrow down a specific colour to presenting my core themes of my subject. Base on the mehtod i learnt from the make glaze class, A glaze coukd be possible to showing different colour. Depends on in thicksness and material also the shape of the objects too.

# data[].attributes.headline
Localization of creative elements ｜ Root Ridge

# data[].attributes.subject
Localization of creative elements ｜ Root Ridge

# data[].attributes.headline
Incense burner Design | Combine with local On-site workers

# data[].attributes.subject
Incense burner Design | Combine with local On-site workers

# data[].attributes.headline
Root Ridge Decoration| Fish Pattern sketch

# data[].attributes.subject
Root Ridge Decoration| Fish Pattern sketch

# data[].attributes.body
In this period. I chose ceramic for may further practical making. Many decoration by collected in my colour board. Show a lot of this culture representing and symbol. Colour combination also could be archiving information from a specific culture belong. Recalling part of memory.

Glaze making could provide me a specific representing colour for my ceramic practice.

So during these two weeks in the workshop. I learnt glaze making theoretically. The glaze that i chose to progressing in a grossing indigo blue with texture of green. It is very usual to see i the old downtown of the city.

# data[].attributes.body
Akio Takamori was born and raised in Japan. He has been exhibiting in the United States, Europe and Asia since the mid 1980s.

# data[].attributes.headline
Spatially Constructed Narrative ｜Create narrative by Texture, Colour and Decoration

# data[].attributes.subject
Spatially Constructed Narrative ｜Create narrative by Texture, Colour and Decoration

# data[].attributes.body
Roof ridges, relief carvings, ceramic ornaments, and painted surfaces collectively articulate how architecture functions as a cultural carrier. These elements are not merely ornamental; they encode local beliefs, social values, and collective memory through material form. Decorative motifs embedded in architectural structures guide the viewer’s gaze vertically and horizontally, shaping how the space is read and experienced. Textures—such as weathered stone, glazed ceramic, and layered relief—register time and use, allowing the architecture to speak of continuity and transformation. Colour, often partially faded or fragmented, operates as a residue of symbolic meaning, suggesting ritual significance and cultural hierarchy rather than pure visual pleasure.

These elements within their architectural context, the audience experiences storytelling not as a linear account but as a spatial narrative. Meaning emerges through proximity, movement, and attention to detail. In this way, architecture becomes a vessel that preserves traditional craft while allowing cultural narratives to be activated through spatial perception and embodied experience.

# data[].attributes.body
Many decoration and craft making in the traditional architecture show a lot of meaning. Like drawing or showing the wisdom of design. Family story. Most of those coming to in one position is wish for good. I started to collect a lot of tradition pattern and the visual language from the decoration from the root, wall, window.

Architecture embeds cultural meaning through traditional craftsmanship.

Decoration, texture, and colour function as spatial narrative devices, enabling viewers to encounter history and cultural value through embodied spatial experience.

# data[].attributes.headline
Pattern connection and language of communication

# data[].attributes.subject
Pattern connection and language of communication

# data[].attributes.body
There is a belief that some things, even in silence, can still be heard.
Symbols exist in this way. Appearing as words, patterns, or colours, they carry memory and desire without speech. They do not narrate stories directly, yet they quietly place wishes for prosperity, longevity, harmony, and safety into the spaces of everyday life.

These symbols are situated within homes, streets, and communal environments, like traces left behind. They do not wait for rituals to begin; instead, they persist through time, encountered and re-encountered through daily movement. In this repetition, wishes are no longer momentary expressions, but beliefs preserved by space itself.

I often encounter these symbols unintentionally. They ask not to be interpreted, yet through looking, they awaken a sense of familiarity that resists clear explanation. This resonance does not belong solely to personal memory, but to a deeper cultural echo—as if these symbols have always been there, quietly waiting to be seen again.

Colour, shape, and gesture become the clues they leave behind. They point toward desires that remain unspoken, and they form my own way of offering blessings. Between seeing and presenting, I am not documenting symbols, but affirming the continued presence of hope.