yingxiao&zhoutian
yingxiao&zhoutian is an interdisciplinary spatial practice working across architecture, exhibition, installation, film, publication and visual culture.
ongoing spatial and cinematic research archive
beijing / new york
yingxiao&zhoutian is an interdisciplinary spatial practice working across architecture, exhibition, installation, film, publication and visual culture.
ongoing spatial and cinematic research archive
beijing / new york
个人作品
摄影书
12x17.5cm, 104页
硬皮，线圈装订
2026年3月
Individual Work
Photobook
12x17.5cm, 104pp
hardcover, spiral bound
Mar. 2026
红花配绿叶
Red Flowers with Green Leaves
“红花配绿叶”是摄影项目母题“Colonized Greens（被殖民的绿地）”下的一个子主题。该母题关注植物在⼈类社会环境中的多重生存状态——它们被繁育、采集、管理、分配、改造、模拟与抽象，同时它们对人类的干预产生的可能回应与抵抗。
“Red Flowers with Green Leaves” is a sub-project within my ongoing research Colonized Greens, which examines the multiple conditions under which plants exist within human environments—subject to cultivation, collection, management, redistribution, modification, simulation, and abstraction, while also potentially responding to human intervention through subtle forms of resistance.
“红花配绿叶”是自然界中一种常见的视觉关系，人类社会通过对其符号化、客体化，逐渐将其变为一种经典文化叙事。作为一个植物的标志性形象，它被运用在各类功能性和装饰性景观中；作为一种视觉搭配规则，它被应用在各种人造物的设计中；作为一个不断被阐释的符号，它进一步进入人类的精神领域。在这一过程中，植物的自然属性不再重要，它可以被模仿、被篡改、被抽象，只要其形象保持可识别与可持续，它便成为“合格”的存在。
Originally a common visual relation in nature, “red flowers with green leaves” has been progressively symbolized and objectified, evolving into a canonical cultural narrative. As a representative image of plants, it is applied in functional and decorative landscapes; as a visual principle, it is embedded in the design of artificial objects; and as a continuously interpreted sign, it extends into the human spiritual domain. In this process, botanical specificity becomes secondary: plants can be imitated, altered, or abstracted, as long as their image remains legible and durable.
全书分为五个部分：第一部分从真实植物、仿真植物到抽象物件，呈现红绿搭配在不同语境中的多重定义；第二部分探讨“红花绿叶”被客体化的过程，即其被坍缩为符号并不断被赋予意义；第三部分呈现其在被客体化后的不同生存状态，以及可被解读为“反抗”的瞬间；第四部分关注红绿搭配在日常文本系统中的运作方式，从标识、告示到警示，再到承载祈愿功能的平面物料；第五部分则进入仪式与精神场景，植物在祈祷与纪念语境中被赋予神性而被摆上神坛，但仍是作为构建祭祀场景的工具性元素而存在。
The book is organized through a loose progression rather than a fixed narrative, bringing multiple conditions of use and interpretation into relation. Real plants, replicas, and abstractions are situated within a shared field of discussion, where the red–green relation appears as a recurring structure, at once stabilized and reassigned meaning. Its persistence includes moments that may be read as resistance, yet remain within the same order. It operates within textual systems and extends into ritual and spiritual contexts, where symbolic attribution does not suspend its instrumental role.
Text is displaced onto narrow red inserts placed between spreads, limiting authorial guidance while maintaining interpretive openness. The spiral binding supports a flexible reading rhythm. Red inserts, together with printed versos and spiral binding, extend the red–green relation as a continuous visual system throughout the book.
Through the interplay of image, text, and reading, the book reflects the gradual displacement of plants from their natural conditions into systems of organization. The structure of the book reproduces this operation.
Next
意识边界
The Thresholds of Consciousness
作品从行走出发，我们在行走中感知身体和精神与世界建立的亲密链接。
The work starts from walking, a process through which we perceive the intimate relationship between the body and the spirit and the world.
The body is seen as the boundary and medium between the spiritual realm and the objective world, establishing a connection with the universe through empathy and perception. The work serves as an "anatomy" of the corporeal experience, not focusing on its internal organs but exploring how the mysterious forces of spirit, perception, and consciousness, interconnected to the universe, operate within the body and try to escape from the boundary itself.
通常情况下，建筑是一个为人类创造封闭环境的学科，人类将自己与外部世界隔绝开来，让雨水可以被排除在外，让空调可以在内部循环。在建筑的图纸上，所有出现的线条都是闭合的曲线。进入一个建筑，即是一个从外部进入内部的时刻，一个内外坍塌的瞬间。在这一系列作品中，作品记录了身体穿梭于不同空间、跨入门槛、穿过边界的时刻，麻木的、虔诚的、痛苦的。
Typically, architecture is a discipline serves to create enclosures for human beings, who isolate themselves from the outside world so that rainwater can be excluded and air conditioning can circulate inside a building envelope. In the architectural drawings, all the lines are closed curves. To enter a building is to enter a moment when the outside collapses into the inside. The work visualizes the moment of crossing a threshold. The drawing is a transition of the experience of the moving body from space to space, the moving body is the numb body, the awaking body of resistance, the body crossover the threshold, and the enlightened body.
作品捕捉行走中身体穿越边界转瞬即逝的偶然状态，内部的身体经验叠加着感知和精神的颗粒，外部的身体边界被物质世界的表象亲密地包裹。身体像一个笔刷在不同空间中一遍又一遍地行走和涂抹，与外部世界不断发生着交换、形变和扭曲。
The work captures the momentary contingency of the body traveling through spaces, where the internal bodily experience is overlaid with particles of perception and spirituality, and the external bodily boundary is intimately wrapped in the appearance of the material world. The body is like a brush walking and painting over and over again in space, constantly exchanging, deforming and distorting with the external world.
我们看到身体和体验的内部，看到身体如何感受空间，看到意识的空间形态。
We see inside the experience, and witness how the body senses and perceives space and how our attention and consciousness negotiate with the transition from space to space, representing a spatial form to our awakening consciousness.
库伯联盟（The Cooper Union）研究生毕业作品
个人作品
指导教师：Nora Akawi, Anthony Vidler
导师：Lauren Kogod
2021年2月
Graduate Thesis The Cooper Union
Individual Work
Professor: Nora Akawi, Anthony Vidler
Advisor: Lauren Kogod
Feb. 2021
https://www.coopergt2020.com