场地 君山岛是洞庭湖中的一座小岛。每年枯水季，君山以北的滩涂都会被芦苇覆盖，一直延伸至数千米外的湖岸边，形成一块巨大的芦苇荡。当地的主办方在此处开辟出一片场地，并邀请艺术家们进行在地创作。 Junshan Island is a small island in Dongting Lake，China. Every year during the dry season, the tidal flat north of the island is covered with reeds, extending to the lake shore thousands of meters away, forming a huge reed swamp. The local organizer invited artists to create artworks in the fields.
君山岛是洞庭湖中的一座小岛。每年枯水季，君山以北的滩涂都会被芦苇覆盖，一直延伸至数千米外的湖岸边，形成一块巨大的芦苇荡。当地的主办方在此处开辟出一片场地，并邀请艺术家们进行在地创作。
Junshan Island is a small island in Dongting Lake，China. Every year during the dry season, the tidal flat north of the island is covered with reeds, extending to the lake shore thousands of meters away, forming a huge reed swamp. The local organizer invited artists to create artworks in the fields.
Looking towards Junshan Island from the reed marsh
当我第一次来到这里，晨雾还未散去，芦苇的影像在模糊和清晰间来回切换，阳光从湿润的树丛后渗出，不停变换着戏法，一如它在过去亿万年一直做的那样，给这片芦苇地覆上一层漂浮不定的气息。
When I first came here, the morning fog had not yet dissipated, and the profile
of the reeds switched back and forth between blurry and clear . The sunlight seeped out from behind the moist trees, constantly changing its tricks, just as it had been doing for hundreds of millions of years, to gave this reed field a layer of floating aura.
在芦苇荡中行走，像在起伏的海面下潜泳。两人多高的芦苇丛遮蔽了视线，细碎的滚烫的光线从四面八方穿透进来。随着气温升高，这样的行走变得异常艰难，我开始察觉我的渴望和身体需求。我在寻找什么呢？像是寻找一个锚点，或是一个可以停留的遮蔽物。于是，“山”的形象在我脑海中升起。我想在这里造一座山，一座巨大的可以凝视和仰望的实体，那种物质堆砌出的重量感能为栖息在这里的生灵提供某种恒定的依靠。
Walking among the reeds is like swimming under the undulating sea. The reeds as tall as two people blocked the view, and the sunlight penetrated from all directions. As the temperature increased and such walks became extremely difficult, I became aware of my cravings and physical needs. What am I looking for? May be an anchor point, or a shelter to stay on. Then, the image of "mountain" emerged in my mind. I want to build a mountain here, a huge entity that can be gazed and looked up at. Such mass can provide some kind of constant support for the creatures living here.
“山”作为一个空间概念与中国传统建筑的屋顶有着诗意的连接。因此我的创作也从屋顶“遮蔽”这一动作入手，找到了合适的几何原型。
"Mountain" as a spatial concept has a poetic connection with the roof of traditional Chinese architecture. My idea started from the action of "shading" and achieved the geometric prototype.
“山”由两片互为镜像的直棱曲面构成，其中单片曲面的边长为14m。
The "mountain" was composed of two straight edge surfaces that mirrored with each other,the side length of the single surface is 14m.
最初的构想，山的表面布满方形孔洞。山体内部悬浮着四片正方形平台，“方形”是测量、耕作、建造等人类行为衍生出的特有符号。在这里方形的人造物与自然界的生灵缠绕共生，在荒野中构建出一个宜人的中间地带。
In the original conception, the surface of the mountain was covered with square holes. Four square platforms were suspended inside the mountain. The "square" is a unique symbol derived from human behaviors such as measurement, farming, and construction. Here square shape artifacts intertwined with natural creatures to create a pleasant middle ground in the wilderness.
为实现极致的漂浮感，我们将单片曲面的支撑点减少至3个：曲面两端的斜柱和由5根方钢组成的“十字”柱。地面以下预埋了水平向的方钢并与支撑柱焊接在一起。增强结构稳定性的同时也能很好的防止结构下沉。
To achieve the ultimate sense of floating, we reduced the support points of the single surface to 3: diagonal columns at both ends of the surface and a "cross" column composed of 5 steel tubes. Horizontal steel tube was embedded below the ground and welded together with support columns. It enhanced the stability of the structure and prevented the subsidence of the structure.
第一次用芦苇席做为装置的主材，扑面而来的原始和野性盖住了内部钢构的工业感和精密性。芦苇席更像是植物标本，完全保留了芦苇本身的形态和结构，芦花芦苇叶被机器挤压成面状，让原本轻盈的植物转化为一种高密度高质量的物质存在。这种矛盾性和视觉张力超出了我的预期。没有完美的材料，创作中唯一确定的就是不确定性。
Reed mat was used for the first time as the main material of the installation. The raw and wild nature covered the industrial sense and precision of the internal steel structure.The reed mat was more like a botanical specimen, which completely retained the morphology and structure of the reed itself. The reed leaves and reed flowers were extruded into a surface shape by the machine, transforming the light plants into a high-density and high-quality substance. The contrast and visual tension exceeded my expectations. No material is perfect, and the only certainty in the process is uncertainty.
▽芦苇的收割、粗加工和返场：现场共使用了5000根芦苇
Reeds harvesting, roughing and returning: A total of 5,000 reeds were used on site
当地雕塑厂的团队负责钢结构的加工建造，芦苇地现场的工人负责芦苇的收割、编织及铺设。15天之后，空间装置“山”终于落成。
The team from the local sculpture factory was responsible for the construction of steel structures, while the workers in the reed field were responsible for the harvesting, weaving and laying of reeds. Fifteen days later,"Mountain" was finally completed.
巨大的曲面构筑物矗立在圆形场地中央。曲面之间的夹缝是风、雨水与光的入口，也是一切生物的入口。“山”的外部开阔明亮，可以供人坐、躺，环顾四周风景。“山”的内部幽静，有很好的遮蔽感，适合冥想、独处。山周围及内部的地面铺满芦苇，钢柱将整座“山”顶起，让它漂浮起来。这样的漂浮状态使得山体内部空间与外部自然交融在一起。
A large curved structure stood in the middle of the field.The gap between the curved surfaces were portals to wind, rain, light, and all living things. The exterior of the "mountain" was open and bright, allowing people to sit, lie down and look around the scenery. The interior was quiet, with a good sense of shelter, suitable for meditation and solitude. We covered the around with reeds, and steel columns hold the whole "mountain" up. This floating state allowed the inner space of the mountain to blend with the external nature.
