In this series, I continue to explore how individuals creatively adapt within transitional living environments through temporary arrangements, collage-like assemblages, and the redistribution of materials. The pieces are designed to be easily dismantled and reconfigured. They incorporate found objects collected from rubbish disposal sites near my residence in west London, along with leftover materials from my own daily life. These assembled elements hover between structural frameworks and impromptu compositions.

在《关节练习》系列中，我持续关注个体如何在过渡性居住环境中，通过临时布置、拼贴组合和材料的再利用，适应并建立栖居秩序。这件作品被设计为可以灵活拆卸和重新拼装，使用的材料来自我在伦敦西部住所附近的垃圾投放点所拾取的废弃物，以及日常生活的边角料。它们在形式上游走于框架结构与即兴装配之间，装置中的“缠绕”、“穿孔”、“悬挂”、“搭靠”等连接方式，是我试图将这些“低技术含量”的空间策略转化为雕塑语言，从而回应城市边缘群体对于“居住”、“归属”与“秩序”的微观表达。

The use of found objects and industrial materials stems from my fieldworks in urban villages and informal settlements, where I came to understand that “resource scarcity” does not necessarily imply absence, but rather conditions of ownership and access. In such environments, the very notion of “waste” becomes contingent and culturally defined. In cities with segmented governance, wealthier districts tend to prioritise cleanliness, safety, and predictability. Street-level tidiness becomes a form of cultural and spatial control. By contrast, in communities under greater social and economic pressure, waste is not swiftly removed, but remains visible and available. People are more inclined to repair or repurpose objects using what is at hand — materials that are modular, reconfigurable, and ready for circulation. This is not only an act of necessity but also a cultural strategy. In this context, gleaning becomes a form of spatial agency. Waste is redefined as a potential resource, and the circulation of materials — through exchange, reuse, and improvisation — becomes part of an everyday spatial practice.

我之所以选择这些材料，是因为在对城中村和非正式住房的实地调研中，我逐渐意识到，“资源匮乏” 不一定意味着“没有”，而是“被谁所拥有、谁可以接近”。在这样的社区中，“废弃物”这一概念本身就带有文化属性，值得被重新审视。在治理结构高度分区的城市中，高收入地区往往更强调“干净、安全、可预期”，街道的整洁本身就成为一种文化与空间上的管控手段。相较之下，在承受更大社会与经济压力的社区中，废弃物并不会被迅速清除，反而以一种可见、可取的状态存在于环境之中。人们更倾向于就地取材、修复或重新利用那些可拆解、可重构、便于流通的材料。这不仅是出于生存需要，更是一种文化策略，而“拾取”成为一种空间能动性的体现。废弃物被重新定义为潜在资源，材料的交换、再用与即兴使用则构成了日常空间实践的一部分。

I am particularly interested in the practical ingenuity embedded in spatial adaptation: the subtle gestures of modification, repair, and reconfiguration that often go unnoticed. These traces may defy modern aesthetic conventions, appearing “unfinished” or “chaotic,” yet they offer an alternative way of conceiving space — not as something imposed through architectural intent, but as something that emerges from lived experience. 

我特别关注人们在适应空间时展现出的动手智慧：那些常被忽视的细微改装、修补和重构。这些手工痕迹或许不符现代化审美，甚至显得“未完成”“混乱”，但正是在这些日常实践中，我们得以重新理解空间的生产不是来自建筑图纸，而是来自生活本身的操演。