Jingyu Liu
As an interior designer, I am used to perceiving subtle scenes in life from the perspective of interior design.
The starting point of this project is based on my childhood memories of bazaars that have long been demolished due to urban planning. In today’s China, spaces such as bazaars are considered by the government as “informal” and “not advanced enough”, and spaces full of humanistic flavour are gradually disappearing from the city, and people’s memories of bazaars are losing their material support.
Therefore, the research goal of my project is to explore how to archive and re-collect the fragmented memories of the individual bazaar, which is rooted in life and the memory of the bazaar.
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Works
Nostalgic Fragment
每个人的记忆都是独立的，在我们每个人的记忆中，故事都用画面锁在我们的脑海里。从而创造了丰富的图像文件，每个人的图像文件都是自传体记忆。阿莱达·阿斯曼（Aleida Assmann）在其《记忆的历史与转变》一文中指出，“一旦自传体记忆以叙述的形式显现出来，或者以形象视觉符号的形式表现出来，个体的记忆就成为了”可以交流和分享的共享记忆。记忆中，同一个时代的个人形象档案往往包含着同时代的人们的共同意识观念，当这些记忆被分享时，它们在群体中激起可预测的思想和情感。
基于市场结构的临时性，该项目的成果可能是一个替代系统，可以嵌入城市大型空间集市空间中。这个空间被想象成一个劳动力，就像人类的记忆一样有机。的每一次访问和变化、成长和建造，表现了时间的周期，并收集了居住在其中人们的层层。它收集了各种事件和集市故事，创造了不断增长的集体记忆。作为存储介质，提供生命抽象的记忆证据，每个人都可以通过对空间的理解、想象和丰富来找到意义。居民都可以参与城市记忆的重建。
