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YINART IN SPACE Vol.02 | 美国 UNFOLD PROJECTS：当住宅成为共同创作的现场

印际精心策划"YINART IN SPACE"系列

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YINART IN SPACE 是印际 YINART 艺术版块下持续推出的专题系列，关注艺术在不同空间中的呈现与创作。从展厅、画廊到艺术家的工作室与居所，走近作品及其背后的创作者，记录艺术与建筑、空间及日常生活之间的联系。
YINART IN SPACE is an ongoing editorial series within YINJISPACE’s YINART art section, exploring how art is created and presented across different spaces. From exhibition spaces and galleries to artists’ studios and homes, the series offers a closer look at artworks and the people behind them, tracing the connections between art, architecture, space, and everyday life.


艺术如何参与一座住宅的再创作？在美国南加州的海滨城市 Encinitas，UNFOLD PROJECTS 邀请了二十多位艺术家、设计师与工匠，围绕一座建于1970年代的住宅展开创作。他们从建筑原有的形态、材料与工艺中寻找灵感，也在与彼此的合作中获得启发。绘画、木作、金属与陶瓷逐渐融入家具与建筑细节，在修复过程中拆下的旧材料，经过艺术家的重新制作，又回到了房子里。
How can art contribute to the reimagining of a home? In Encinitas, a coastal city in Southern California, UNFOLD PROJECTS invited more than twenty artists, designers, and craftspeople to contribute to a residence dating back to the 1970s. Drawing inspiration from the home's original forms, materials, and craftsmanship, the collaborators also found new possibilities through one another's practices. Painting, woodwork, metalwork, and ceramics became part of the furniture and architectural details, while materials removed during the restoration were reworked and returned to the house in new forms.

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在与印际的采访交流中，UNFOLD PROJECTS 的艺术总监 Stacy Kelley 分享了艺术家如何参与这座住宅的修复，以及他们各自的工作如何融入其中。
In an interview with YINJISPACE, UNFOLD PROJECTS Director of Art Stacy Kelley shares how artists became involved in the project and how their individual works developed through dialogue and collaboration. 

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UNFOLD PROJECTS 由 Mel Meagher（左）于2023年创立，通过建筑修复、艺术创作与驻留计划，探索人与场所之间更为持久的关系。在 Encinitas，Meagher 与艺术总监 Stacy Kelley（右）共同组织了 名为"Guild"的创作者网络


从建筑中重新发现创作的可能

Rediscovering Creative Possibilities Through Architecture


住宅最初由 Shanna Kellogg 设计，她的父亲、建筑师 Kendrick Bangs Kellogg 参与屋顶工程设计。工匠 Pat McGriff 从1970年代中期开始建造这座房子，历时十余年。此后的多次改造遮盖了部分原有木作与建筑细节。
The residence was originally designed by Shanna Kellogg, with her father, architect Kendrick Bangs Kellogg, contributing to the engineering of its roof. Craftsman Pat McGriff began building the house in the mid-1970s, a process that spanned more than a decade. Subsequent renovations concealed some of its original woodwork and architectural details.

2022年，Mel Meagher 购入住宅后，邀请 Pat 重返现场，与 Ritual Architecture 等团队共同参与修复。随着后期增设的构造与涂层被逐步移除，原有的木作和建筑细节重新显露。Stacy Kelley 也在此时加入，负责组织艺术家为住宅创作家具与艺术作品。
After acquiring the property in 2022, Mel Meagher invited McGriff to return and participate in the restoration alongside Ritual Architecture and the wider design team. As later additions and layers of paint were gradually removed, the original woodwork and architectural details began to re-emerge. Stacy Kelley joined the project at this stage, bringing together artists to create furniture and artworks for the residence. 


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主起居空间保留着弧形木梁与木制筒形天花板，自然光透过大面积玻璃进入室内。Mel 希望在中央设置一张可旋转的沙发，让人们从不同角度欣赏壁炉、天空与艺术作品。Stacy 回忆道：“主起居空间的设计启发了我们将不同世代的艺术家联系起来，在尊重原有建筑的同时，以不同媒介延续工艺传统。”

The main living space retains its curved timber beams and barrel-vaulted wooden ceiling, with natural light entering through expansive glazing. Meagher envisioned a rotating sofa at its centre, allowing occupants to enjoy different views of the fireplace, sky, and artworks. As Stacy Kelley recalls, “The initial design process with the main living space inspired an approach for how we could weave together multiple generations of artists, to honor the original design, while supporting regional artists, designers, and craftspeople working in various mediums, to continue the thread of craftsmanship.”


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艺术家兼设计师 Jason Lane参与了沙发设计，同时还为起居空间制作了一组定制胡桃木柜体，将来自同一棵胡桃树的木材展开、拼接，使木纹沿着面板连续延伸，木材自身的形态也决定了作品的尺度。同时柜体中心的画作由艺术家 Aaron Glasson 创作，同时还设计了柜门拉手
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艺术家 Debbie Bean 以已停产的回收及库存玻璃创作室内彩色玻璃窗，并将制作余料用于相邻的墙面浮雕作品


不同的创作语言，共同的空间

Different Creative Languages, a Shared Space


为了组建 Encinitas Guild，Mel 与 Stacy 花了约六个月时间走访艺术家的工作室。他们希望了解的不仅是作品，也包括艺术家习惯使用的材料、工作方式，以及是否愿意与其他领域的创作者共同完成一件作品。“好奇心、合作精神，以及对更加相互依存的创作方式保持开放的态度，对每一位艺术家都很重要。”Stacy 说。她希望艺术家在项目早期就来到现场，了解住宅本身，也有机会熟悉其他人的工作。

To assemble the Encinitas Guild, Meagher and Kelley spent six months visiting artists' studios, learning about their creative processes, material practices, and willingness to collaborate across disciplines. “It's essential for each artist to bring curiosity and a collaborative spirit to the project, and openness to a more interdependent approach to creative production.” Kelley encouraged artists to visit the property early in the process, become familiar with the house, and understand the work of their fellow collaborators.


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家具与照明设计师 Nicholas Pourfard 使用回收的红杉木、桃花心木与铜材，制作柜体、餐桌、吧凳及灯具。这些材料经过重新加工，以新的用途继续留在住宅之中
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不少受邀艺术家此前就有使用回收材料的经验。Encinitas 的一些作品利用了住宅修复时保留下来的木材，以及新铜屋顶施工后的边角料。Stacy 希望将这些材料交给艺术家，让他们来决定如何使用，使材料以另一种形式重新回到住宅。

Many of the invited artists already had experience working with reclaimed materials. Some of the works at Encinitas incorporate wood salvaged during the restoration of the house, along with offcuts from the installation of its new copper roof. Stacy wanted to pass these materials on to the artists and let them decide how to use them, allowing the materials to return to the house in another form.


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植物设计师 Britton Neubacher 运用瓶树、榕属植物等植栽，与复古花器搭配。墙面上的 Earthcast 壁炉装饰构件由 Nicholas Pourfard 创作

但使用旧材料并不是想象中那么容易。“我们逐渐了解到使用回收木材的难处。它可能需要更多人工，也可能损坏工具。”木材原有的尺寸、状态与损耗都会影响加工方式，有时还需要重新考虑设计。Stacy 特别提到：“要充分利用手边已有的材料，需要非常丰富的经验与专业技艺。”
Working with salvaged materials, however, was not always straightforward. “We came to understand the inherent challenges of working with salvaged wood. It can require more labor to work with it and can damage tools.” The wood’s existing dimensions, condition and wear all influenced how it could be worked, sometimes requiring the design to be reconsidered. As Stacy notes, “It requires a very high level of experience and expertise to elevate materials already on hand.”

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艺术家 Vince Skelly 使用回收的整块老龄红杉木制作书桌。抽屉采用手工燕尾榫结构，木板保留了链锯切割的痕迹，拉手则由剩余木料雕刻而成。桌面、柜体与抽屉均取自同一棵树
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住宅中还有一些更小的细节。以原始建造者工匠 Pat McGriff 与 UNFOLD PROJECTS 创始人 Mel Meagher 的手部握型为原型制作的拉手，也让两位参与住宅建造与修复者的痕迹，微妙的留在了日常使用的物件中。
Smaller details can be found throughout the house. Handles modeled on the grip of original builder Pat McGriff and UNFOLD PROJECTS founder Mel Meagher subtly preserve traces of the two people involved in its construction and restoration within everyday objects.

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对于 Stacy 而言，这类合作需要为尝试和调整留下空间。更需要深入了解每位艺术家的实践与工作过程，支持新想法的研究与开发，并建立信任。在 Encinitas，“What if?” 是合作中经常出现的问题。一个新的想法有时需要经过多次试验，才能找到合适的材料和制作方法。团队需要理解艺术家的工作过程，也要接受结果未必完全符合最初的设想。
For Stacy, collaborations like these require room for experimentation and adjustment. They also call for a close understanding of each artist’s practice and process, support for the research and development of new ideas, and trust. At Encinitas, “What if?” was a recurring question. A new idea sometimes needed several rounds of testing before the right materials and fabrication methods could be found. The team had to understand how the artists worked and accept that the outcome might differ from what was initially imagined.

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再生设计（Regenerative Design）概念是 UNFOLD PROJECTS 所坚持的非常重要的部分。在 Encinitas，它体现在旧材料的重新使用、对原有建筑工艺的保留，以及修复过程中对自然环境的考虑之中。团队也看重与艺术家长期合作的可能。“我们与艺术家在创作过程中建立的关系，为未来的合作、学习与跨学科交流带来了长久的机会。”Stacy 说。

Regenerative design is an important part of UNFOLD PROJECTS’ practice. At Encinitas, it is reflected in the reuse of salvaged materials, the preservation of the building’s original craftsmanship, and consideration for the natural environment throughout the restoration. The team also values the possibility of lasting collaborations with the artists.“The relationships we built with artists throughout the creative process have opened up lasting opportunities for future collaboration, learning and exchange across disciplines,” Stacy says.


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艺术家 Daniella Algarate 创作的青铜镜 Below the Trees，以氧化金属表面的色彩与肌理，回应森林枝叶间不断变化的天空景象
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艺术家 Vince Skelly 将另一件雕塑性家具桌腿的剩余木料重新利用，制作成这张红杉木边桌。圆形镂空、手工雕刻的表面及蝴蝶榫细节，使两件作品在形式与工艺上彼此呼应


谈到这种合作方式，Stacy 想到了住宅周围的自然环境。本土植物依赖各自所处的生态条件生长，不同创作者也能在交流中相互学习，并在一个项目结束后继续合作。这一想法也延伸到了 UNFOLD Artist Residency。Pat McGriff 当年制作建筑构件的木工作坊，如今已被改造为 Artist Flat，为来自不同领域的艺术家提供居住、研究与工作的空间。

Reflecting on this way of working together, she draws a parallel with the natural environment around the house. Just as native plants grow in response to their particular ecological conditions, creators can learn from one another through exchange and continue collaborating beyond a single project.This thinking also extends to the UNFOLD Artist Residency. The woodworking shop where Pat McGriff once made components for the house has been converted into the Artist Flat, offering artists from different disciplines a place to live, research and work.


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谈及未来，Stacy 说“我们希望成为这座住宅原有建筑与精湛工艺的长期守护者，继续以它为平台，支持当地创意经济与当代艺术、工艺及设计的发展。”随着驻留计划逐步开展，Artist Flat 也将迎来不同的创作者。Stacy 希望新的作品能够陆续留在这里，为之后入住的艺术家提供灵感。这座房子的修复已经完成，而属于它的创作，还会继续。

Looking ahead, Stacy says“We hope to be long-term stewards of the house’s original architecture and fine craftsmanship, continuing to use it as a platform to support the local creative economy and the development of contemporary art, craft and design.”As the residency programme develops, the Artist Flat will welcome creators from different disciplines. Stacy hopes that new works will gradually find a place here, offering inspiration to the artists who follow. The restoration of the house is complete, but the creative work within it continues.


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