書的空間性 / The Spatiality of the Book

書作為場域：從纖維到身體的閱讀_《書的空間性》

這次在宜蘭中興文化創意園區的創作，我並不是從「書是什麼」開始思考，而是從一個更前面的問題出發：閱讀是如何發生的？

這裡曾經是一座紙廠。紙不是抽象的媒介，而是一種由植物纖維經過水、時間、勞動與轉化所形成的物質。因此，當我面對「書」這個主題時，我試著回到它尚未成為書之前的狀態——回到纖維、回到水，也回到一切仍在流動、尚未被固定的生成過程。

《石與時》讓閱讀從文字離開，開始成為身體在空間中的行動。風、材料、行走與停留彼此交織，使閱讀不再只是觀看，而是在場所中逐漸展開的感知經驗。

《圓與方》則回到紙形成之前，重新觀看竹、纖維與水如何在轉化之中生成紙張。重要的不只是形體的改變，而是材料如何在轉化的過程中，形成另一種存在狀態。

接著，我開始思考：如果閱讀不是行走，而是停留呢？

《書的呼吸》將書從可被翻閱的物件，轉化為一個可以進入、停留與呼吸的空間。閱讀不再只是理解內容，而是一種透過身體在場所中呼吸、停駐與感知所展開的經驗。

當閱讀從空間中發生，它也開始向整個場域擴散。

《閱讀之外》將閱讀過程中的書籤轉化為雕塑，散置於紙廠的建築遺構之中。觀者穿行於場域，在行走與停留之中建立自己的閱讀經驗。蒸氣般流動、消散的形體，也使閱讀留下的痕跡持續滲透於整個場所。

這四件作品形成一個連續的過程。閱讀從材料開始，經過時間的流動，進入身體的行走與停留，最後擴散至整個場域。

在這個過程裡，書慢慢消失了。

它不再是一件物，而是一種存在於身體、空間與時間之中的狀態。

觀者不是來觀看作品，而是走進一本仍在生成的書。

The Book as Site: From Fiber to Embodied Reading_ The Spatiality of the Book

For this project at Chung Hsing Cultural and Creative Park in Yilan, I did not begin with the question, What is a book? Instead, I started with a more fundamental one: How does reading come into being?

The site was once a paper mill. Here, paper is not an abstract medium but a material shaped through plant fibers, water, time, labor, and transformation. Faced with the theme of the book, I wanted to return to the moment before it became a book—to fiber, to water, and to a state in which everything remained in motion before form was fixed.

Stone and Time moves reading away from the page and into the body. Wind, material, movement, and moments of stillness intertwine, allowing reading to unfold as an experience of perception within the site.

Circle and Square returns to the material process through which paper comes into being. More than a change of form, it considers how bamboo, fiber, and water continuously transform, allowing one material state to become another.

This led me to another question: What if reading is not an act of movement, but one of dwelling?

The Breath of the Book transforms the book from an object to be held into a space that can be entered, inhabited, and breathed. Reading is no longer centred on understanding content, but unfolds through breathing, pausing, and bodily presence within a place.

As reading emerges through space, it also begins to extend throughout the site.

Beyond Reading transforms the familiar bookmark into sculptural forms dispersed throughout the architectural remains of the former paper mill. As visitors move through the site, they gradually compose their own experience of reading. Inspired by the drifting movement of steam, the work suggests that the traces of reading continue to permeate an entire place.

Together, these four works form a continuous process. Reading begins with material, passes through the flow of time, enters the body through movement and dwelling, and finally expands into the site itself.

Throughout this process, the book gradually disappears.

It is no longer an object, but a condition that exists through body, space, and time.

Visitors are invited not simply to view the works, but to step into a book that is still in the process of becoming.

作品名稱｜石與時

藝術家｜李蕢至

媒材｜竹、木片

尺寸｜15m(L) × 10m(W) × 6m(H)

地點｜中興文化創意園區，宜蘭縣，臺灣

年代｜2026

展覽｜2026藝術自造祭：書的博物館

Title｜Stone and Time

Artist | Kuei-Chih Lee

Medium | Bamboo, wood

Dimensions | 15 m (L) × 10 m (W) × 6 m (H)

Location | Chung Hsing Cultural and Creative Park, Yilan County, Taiwan

Year | 2026

Exhibition | 2026 Art Maker Festival: The Eco-Museum of Books

《石與時》試著讓閱讀不再只是停留於平面的觀看，而是一種身體在空間中的行動。

作品透過「石」的沉澱與積累，以及「時」所帶來的流動與歲月感知，並結合風的介入，使閱讀在動與靜之間展開，回應紙廠作為材料、生產與時間場域的歷史。

作品以竹片與木片編構而成，這些材料同時也是造紙的重要纖維來源。我將手作的溫度放入編織之中，使柔軟的纖維逐漸形成一顆顆如石般的量體，並排列於草地之上，構成一彎月形。

月形回應著時間。它讓時間不只是抽象的概念，而是在空間中緩慢展開，使人得以感受它的循環與流動。當觀者走入作品，身體開始在空間中移動，風穿越竹片，行走與停留彼此交織，不同時間的書寫也在此相互重疊。

閱讀因此不再只是文字的閱讀，而是在身體、材料、風與環境之間持續生成，成為一種存在於場所中的感知經驗。

Stone and Time reconsiders reading as more than an act of looking at a page. It invites reading to unfold through the movement of the body in space.

The work brings together the accumulated presence of stone, the flow of time, and the movement of wind, responding to the history of the former paper mill as a place shaped by material, production, and time.

Constructed from woven bamboo and wood, the installation is made from materials that are themselves among the primary sources of papermaking fibers. Through weaving, the warmth of handcraft is embedded within the work as soft fibers gradually gather into stone-like forms arranged across the lawn in the shape of a crescent.

The crescent recalls the passage of time. Rather than remaining an abstract idea, time slowly unfolds through space, allowing its cycles and continual movement to be experienced through the body. As visitors enter the installation, the body begins to move through the work. Wind passes through the woven bamboo, while movement and stillness overlap with one another, allowing different layers of time to quietly converge.

Reading therefore extends beyond words. It is continuously generated through the relationships between body, material, wind, and environment, becoming a lived experience of perception within the site.

作品名稱｜圓與方

藝術家｜李蕢至

媒材｜竹

尺寸｜500cm(L) × 80cm(W) × 50cm(H)

地點｜中興文化創意園區，宜蘭縣，臺灣

年代｜2026

展覽｜2026藝術自造祭：書的博物館

Title｜Circle and Square

Artist | Kuei-Chih LeeMedium | Bamboo

Dimensions | 500 cm (L) × 80 cm (W) × 50 cm (H)

Location | Chung Hsing Cultural and Creative Park, Yilan, Taiwan

Year | 2026

Exhibition | 2026 Art Maker Festival: The Eco-Museum of Books

《圓與方》從造紙過程中材料的轉化開始思考，呈現竹從自然形態走向紙張的生成過程。

竹的管狀結構與節點形成自然的圓，而在造紙過程中，竹被分解、打散，釋放纖維，進入流動狀態。水成為材料轉化的重要媒介，竹纖維在水中漂浮、擴散、重新聚合，原有的形體逐漸消失，最後形成具有邊界的方形紙張。

《圓與方》並非呈現圓與方的對立，而是回應材料從自然進入文化、從立體進入平面的轉化過程。圓，是竹原本的存在狀態；方，則是纖維重新聚合後所形成的紙張。兩者不是彼此取代，而是在轉化之中共同存在。

作品設置於水池上方，使水成為作品的一部分。流動的水面映照著作品，也回應造紙過程中材料、纖維與水之間持續生成的關係。

Circle and Square begins with the transformation of material through the process of papermaking, tracing bamboo's passage from its natural form to the making of paper.

The tubular structure and nodes of bamboo give rise to its circular form. During papermaking, however, the bamboo is broken apart into fibers and released into a fluid state. Water becomes the essential medium of transformation, allowing the fibers to drift, disperse, and gather again. As the original form gradually disappears, a sheet of paper emerges with its own defined edges.

Rather than presenting circle and square as opposing forms, the work follows the transformation of material from nature into culture, and from a three-dimensional body into a two-dimensional surface. The circle belongs to bamboo's original condition, while the square arises as fibers come together to form paper. They are not separate states but successive moments within the same process of becoming.

Installed above a reflecting pool, the work incorporates water as part of the installation itself. Reflection and movement recall the continuous relationship between material, fiber, and water, allowing the process of transformation to remain present within the site.

作品名稱｜書的呼吸

藝術家｜李蕢至

媒材｜竹

尺寸｜4m(L) × 4m(W) × 2m(H)

地點｜中興文化創意園區，宜蘭縣，臺灣

年代｜2026

展覽｜2026藝術自造祭：書的博物館

Title｜The Breath of the Book

Artist | Kuei-Chih Lee

Medium | Bamboo

Dimensions | 4 m (L) × 4 m (W) × 2 m (H)

Location | Chung Hsing Cultural and Creative Park, Yilan, Taiwan

Year | 2026

Exhibition | 2026 Art Maker Festival: The Eco-Museum of Books

書不再是被閱讀的對象，而是一個可以進入、停留與呼吸的感知空間。

《書的呼吸》將書從可被手持與翻閱的物件，轉化為一個可被身體進入、停留與呼吸的空間。

作品以紙廠既有的歷史遺構作為場域，修復殘缺的牆體，使其重新成為一個具有內部性的空間。竹材沿著牆面延伸、生長，如同纖維自牆體深處緩慢冒出，回應紙的物質來源，也回應書寫與建構的生成基礎。

這些編織結構並非封閉的殼，而是一道介於開放與包覆之間、可以呼吸的界面。當觀者走入其中，步伐逐漸放慢，原本朝向外部移動的身體，也慢慢轉向停留、安住與感知。在這裡，閱讀不再只是理解內容，而是一種透過呼吸、停駐與身體在場所中展開的感知方式。

《書的呼吸》所提出的，不是一種建立於資訊與計算之上的知識模式，而是一個來自時間累積、有機而緩慢生成的感知空間。

書不再位於手中，而存在於空間之中；身體在閱讀中感知、呼吸，使閱讀成為一種棲居於場所的存在狀態。

The book is no longer an object to be read, but a space to enter, dwell, and breathe.

The Breath of the Book transforms the book from an object that can be held and turned into a space that can be entered, inhabited, and experienced through the body.

The installation is situated within the surviving architecture of the former paper mill, where damaged walls are restored to form an interior space once again. Bamboo extends and grows along the walls, as though fibers were slowly emerging from within the structure itself. In doing so, the work recalls the material origin of paper while responding to the generative process of writing and construction.

Rather than enclosing the space, the woven structure forms a breathable threshold between openness and enclosure. As visitors enter, their pace gradually slows. The body shifts from outward movement toward dwelling, stillness, and perception. Reading is no longer centred on understanding content, but unfolds through breathing, pausing, and bodily presence within the site.

The Breath of the Book proposes a way of knowing that grows through lived experience and the accumulation of time, rather than through information or calculation.

The book no longer exists in the reader's hands, but within space itself. Through breathing, perception, and presence, reading becomes a way of dwelling within the world.

作品名稱｜閱讀之外

藝術家｜李蕢至

媒材｜竹

尺寸｜100cm(L) × 80cm(W) × 180cm(H)；

140cm(L) × 100cm(W) × 250cm(H)；

100cm(L) × 80cm(W) × 230cm(H)

地點｜中興文化創意園區，宜蘭縣，臺灣

年代｜2026

展覽｜2026藝術自造祭：書的博物館

Title｜Beyond Reading

Artist | Kuei-Chih Lee

Medium | Bamboo

Dimensions | 100 cm (L) × 80 cm (W) × 180 cm (H);

140 cm (L) × 100 cm (W) × 250 cm (H);

100 cm (L) × 80 cm (W) × 230 cm (H)

Location | Chung Hsing Cultural and Creative Park, Yilan, Taiwan

Year | 2026

Exhibition | 2026 Art Maker Festival: The Eco-Museum of Books

《閱讀之外》關注的是閱讀在時間與空間中留下的痕跡。

作品將閱讀過程中常見的「書籤」轉化為三件雕塑，如同種子般散置於紙廠建築的遺構之中。片狀的牆體遺構，如同一本本被時間翻開的舊書，靜立於場域之中，而作品則嵌入其間，成為閱讀留下的痕跡。

這些雕塑標記著空間，也引導著感知。觀者穿行於如書頁般展開的牆體之間，在行走與停留之中逐漸建立自己的閱讀經驗，使建築本身轉化為一部可以被身體閱讀的文本。

作品的造形來自紙廠造紙過程中持續升起的水蒸氣。蒸氣介於可見與不可見之間，沒有固定的形體，卻始終瀰漫於空間之中。它在生成的瞬間升起，又在流動之中消散，如同閱讀留下的痕跡，短暫而細微，卻持續滲透於場所之中，也使那些原本容易被忽略的細節，再次被感知。

作品同時存在兩種不同的生成方向。種子向內凝聚，匯聚著生命的能量；蒸氣向外擴散，在空間中流動、延展與消散。凝聚與擴散、內與外，在場域中同時存在，也使閱讀不再只是痕跡的累積，而是一個持續生成與轉化的過程。

Beyond Reading considers the traces that reading leaves within time and space.

The familiar form of the bookmark is transformed into three sculptural works, dispersed throughout the architectural remains of the former paper mill like seeds. The standing walls resemble pages opened by time, while the sculptures are embedded within them as traces left behind through the act of reading.

These sculptural interventions mark the space while guiding perception. As visitors move among the wall fragments, which unfold like the pages of a book, they gradually compose their own experience of reading. The architecture itself becomes a text that is encountered through the body.

The forms are inspired by the steam that continuously rose during the papermaking process. Existing between visibility and invisibility, steam has no fixed shape, yet it permeates the entire site. It appears in the moment of becoming and disappears again through movement, much like the traces left by reading—subtle and ephemeral, yet quietly remaining within a place. In doing so, the work draws attention to details that might otherwise go unnoticed.

Two complementary movements unfold simultaneously within the installation. The seed gathers energy inward, while steam disperses outward, extending into the surrounding space. Concentration and diffusion, interior and exterior, coexist within the site, allowing reading to become not merely an accumulation of traces, but an ongoing process of emergence and transformation.