Image Description: Rendering of Field of Relation: The Shape of Rest installed in a gallery space, with people out hanging out on and around it.
Field of Relation: The Shape of Rest
2026 // CONCEPT
Field of Relations: The Shape of Rest is a sculpture and a large-scale, inhabitable seating installation that sparks conversations about who our cities are designed for and who they leave out.
Our public spaces are typically designed to reflect just one way of being; they don’t take into account the diversity of all our body-minds. Field of Relations: The Shape of Rest is a seating installation that invites you to explore your relation to the surrounding space, and find your comfort zone: protected areas for when you want to be alone amongst others, semi-private space that creates openings for intimate conversations within a communal space, and fully connected areas that allow for engagement with the space. It invites different ways of inhabiting the installation, never soley confined to a typical feet-on-ground-back-against-rest, but rather invites people to find comfort in their preferred ways, leaning back, lying down, sitting cross-legged, sitting low or up high with an overview. A multitude of spatial possibilities, but never predetermined. It is not only a bench; it’s a relational field, created from an interdisciplinary experimental approach.
Field of Relations: The Shape of Rest starts in disability, not as a limiting but a generative force. It recognizes that we all need rest, but the way we rest is not all the same; that we all interact with the public space, but our relation to it is different; sometimes rest is physical, sometimes it's visual, sometimes it's mental. Using disability theory, I learned during my ten years living in New York City, Field of Relations: The Shape of Rest imagines ways the city can support diversity. It’s an exploration of space-making benefiting not just disabled people, but everyone, by allowing you to play with your relationship to the surrounding space and your own body, you can learn your unique preferences.
A primary role of contemporary art museums is to challenge our preconceived notions, while providing space for reflection and conversation. Developing a more diverse approach to public space can’t be done in a vacuum; it must be an intersectional, co-created approach. Field of Relation: The Shape of Rest provides a place to meet and creates the opportunity for a broad discussion about who the city is designed to support and who it leaves out.
《關係場域：休息的形狀》 是一件雕塑作品，同時也是一座大型、可進入並可使用的座椅式裝置，藉此引發對「城市是為誰而設計，又將誰排除在外」的討論。
我們的公共空間多半僅反映單一的存在方式，並未充分考量各種不同的身心狀態與感知差異。《關係場域：休息的形狀》是一件座椅裝置，邀請觀眾探索自己與周遭空間的關係，並尋找屬於自己的舒適位置：包含在他人之中仍可獨處的保護性區域、在共享空間中為親密對話開啟可能的半私密空間，以及能與整體空間產生互動的高度連結區域。
作品鼓勵多樣化的使用與進入方式，而非侷限於傳統「雙腳著地、背部倚靠」的坐姿。觀眾可依自身偏好，選擇後仰、躺臥、盤坐、低坐，或登高取得視野。空間的可能性是多重的，但從不被預先設定。它不僅是一張長椅，而是一個由跨領域實驗方法所生成的「關係場域」。
《關係場域 ：休息的形狀》以障礙經驗為出發點——不是作為限制，而是作為一種生成性的力量。作品承認：我們都需要休息，但休息的方式並不相同；我們都與公共空間互動，但彼此的關係各異；有時休息是身體的，有時是視覺的，有時則是心理的。結合我在紐約生活十年間所學習的障礙理論，《關係場域 ：休息的形狀》試圖想像城市如何支持多樣性。這是一場關於空間生成的探索，其受益者不僅是障礙者，而是所有人——透過與周遭空間及自身身體關係的遊玩與調整，觀眾得以理解自身獨特的偏好與需求。
當代美術館的重要角色之一，是挑戰我們既有的預設與理解，同時提供反思與對話的場域。對公共空間更為多元的想像無法在真空中完成，而必須是一種交織式、共同生成的過程。《關係場域 ：休息的形狀》提供了一個相遇的場所，並創造機會，促成關於「城市支持了誰，又忽略了誰」的廣泛討論。
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Image Description: Rendering of Field of Relation: The Shape of Rest installed on a public square. People are using the installation for relaxing by themselves or in groups; also a dance groupe is doing a performance.
Image Description: Plan, showing various uses of the space the installation creates, and a diagram indicating more public and private areas.
The installation has spaces that are naturally more public and private; this relationship will also be determined by the site where it is to be installed. Therefore, the installation will be designed to fit the specific site, to enhance the natural benefits of the location. The installation draws from various architectural elements: the typical bench, auditorium seating, the nest, beach chair lounging, to name a few. But rather than being an object, these incorporated shapes speak to the body and invite inhabitation. When you encounter this installation, these formal references rest within your eye, you sense the connection to the body, and will intuitively start to explore it; there’s no need for instructions.
裝置內部包含自然形成的公共與私密空間，而這樣的關係亦會隨其設置場地而有所不同。因此，作品將依據特定場址進行調整與設計，以強化該地點本身所具備的空間特質與優勢。本裝置汲取多種建築與空間原型，例如傳統長椅、觀眾席、巢穴、海灘躺椅等。然而，這些形式並非作為單純的物件存在，而是作為與身體對話的語言，主動邀請人進入與使用。當觀眾遇見此裝置時，形式的線索自然停留於視覺之中，引發身體的感知連結，使人直覺地開始探索，無需任何使用說明。
Image Description: Diagram showing the different ways to rest, that the installation enables: sitting, sitting on a deep surface, leaning back, laying on a flat surface.
Image Description: Four elevations, in each of them, people are hanging out alone or in groups. Along the side, the diagram of the different rest possibilities are shown, reflected in some of the people on the rendering.
The installation doesn’t have a front or back; it’s a continuous spiral loop of seating options, in three different levels. However, the depth of seating and its exposure ot the surroundings varies, which gives a range of seating options and possibilities to be open to the environment or shelter from it. Installed in a public space, it will teach us which spaces for rest people need; do we have enough spots for people to rest out of the public eye? Do people like to sit higher with an overview? To sit with their feet on the ground? Or do bigger surfaces allow more ways to rest? All the questions and reactions will help us understand how to develop cities that support all the people living in them.
此裝置並無正面或背面，而是一個連續的螺旋式座椅結構，分為三個高度層次。然而，各座位的深度與其對周遭環境的暴露程度有所不同，使人得以選擇更開放或更受保護的休息方式。當作品設置於公共空間時，它將成為一種學習工具，讓我們理解人們實際需要哪些休息空間：是否需要更多遠離公共視線的角落？是否偏好較高的位置以取得視野？或雙腳著地的坐姿？抑或較大的表面能支持更多休息方式？這些回應與行為，將幫助我們思考如何發展真正支持所有居住者的城市。
Image Description: Section, showing the calm inner space, the semi-private leaned back outer space, and the auditorium seating as a public spot.
The section shows the difference between the more public outside of the installation and the more private inner nest-like space; where you can find time for yourself away from the public eye to rest or catch your breath before going to a meeting, or meditate on what you’ve experienced throughout your day.
剖面圖呈現裝置外部較為公共的區域，與內部如巢穴般更為私密的空間之間的差異。在內部空間中，人們得以暫時遠離公共視線，獲得片刻的休息與喘息——無論是在會議前整理自己，或靜心回顧一天中所經歷的事物。
Image Description: AXO Oo the installation from four corners, showing the various ways it can be used.
Image Description: Large-scale installation plan and section.
The large-scale installation can create multiple different spaces, enclosed, semi-open, expansive surfaces, incorporating cave and amphitheater-like spaces within the same structure.
此大型裝置可在同一結構中創造多種不同空間狀態——包含封閉、半開放與大尺度的開放表面，並融合如洞穴或露天劇場般的空間特質。
Image Description: A line drawing of disassembling the structure, next to a photograph, where the singular pieces of wood are placed in front of a residential unit, and a person is using them to build something for themselves.
After the exhibition, the installation can dissolve into the host city by either a) be donated to the city and placed in a public space or b) broken down into its individual parts for the public to freely pick up, and use the wood it in their own projects; this way, it will be a part of the city and live on alongside the public.
展覽結束後，裝置可進一步融入城市之中，方式包括：a) 捐贈予市府，並設置於公共空間；或 b) 將作品拆解為個別構件，放置於美術館外，供民眾自由取用木材，應用於自身的創作與計畫。 透過此方式，作品將成為城市的一部分，並在公共生活中持續存在。
Image Description: Rendering, large-scale installation on a public square, people hanging out in groups or alone, while a group is doing a dance performance.
Because the construction is based on a simple modular system, the installation can be made to fit a wide variety of spaces and be made in different scales. The design can be adopted for a wide range of different purposes. The curved nature of the construction ensures stability, and the individual frames standing on long skids allow it to adapt to most surfaces, whether natural grass, a paved plaza, or a gallery floor, without any additional attachments.
由於結構採用簡單的模組化系統，裝置可因應不同場地需求，調整為各種尺度，並適用於多元用途。彎曲的結構形式確保整體穩定性，而立於長型滑撬上的獨立框架，則使其能適應多數地表條件——無論是草地、鋪面廣場，或美術館室內地坪，皆無需額外固定裝置。