Many artists today are drawn to reinterpreting traditional Chinese symbols such as dragons and phoenixes. Yet, I often sense that these representations come from a cultural time-space disconnected from the present. This disconnect is not the fault of creators — but the result of historical rupture. China has endured war, colonization, and internal upheaval, all of which fractured its cultural continuity. Unlike the West, where fashion evolved in a linear path — from Napoleonic uniforms to modern suits and finally to the minimalist T-shirt — Chinese aesthetics were interrupted and frozen in time. "Chinese style" was left confined to the language of nostalgia and retro revival. So I began to ask: What would Chinese aesthetics look like today if history had never been disrupted? If the Industrial Revolution had taken place in China, what kind of cultural style might we have developed? These questions became the origin of my creative exploration. Instead of traditional dragons and phoenixes, I turned to I-beams, electric wires, and industrial materials to craft a new vocabulary for Chinese expression. To me, these modern structures are not merely functional elements — they are a hypothetical continuation of lost history. Through them, I attempt to reconstruct a vision of "Chinese futurism" — an aesthetic system that never was, but should have been: one that evolves organically into the present and walks in step with time. This is not a rejection of tradition, but a restoration and reimagination of what was interrupted. I believe that only by filling in these cultural gaps can Chinese aesthetics transcend the repetition of old motifs — and step fully into the future as a contemporary form of expression. 《架空世界》——重構屬於當代的中國風 許多人熱衷翻玩龍、鳳等傳統中國元素，但總讓我感覺那是來自一個與現代斷裂的時空。這並非創作者的錯，而是歷史造成的文化斷層。中國經歷過戰爭、殖民與內部動盪，導致許多文化沒有像西方那樣自然演進。從拿破崙的軍裝到現代西裝，再到極簡的 T-shirt，西方服飾是一條連續的演化脈絡；反觀中國風，在歷史的中斷與壓抑中，被迫定格在「復古」與「懷舊」的語彙中。 於是我開始思考：如果歷史沒有中斷，中國風會發展成什麼樣貌？如果工業革命發生在中國，我們會創造出怎樣的文化風格？這樣的提問，成為我創作的出發點。 我捨棄了傳統的龍與鳳，改以工字鋼、電線等工業元素為語彙，重新詮釋中國風。這些現代建築與工業象徵，對我來說不只是材料，更像是失落歷史的一段「假設性延續」，透過這些當代元素，我試圖拼貼出一種「從未存在過，卻理應存在」的中國風貌——一種有機地走進現代，與時代並行的美學系統。 這不是對傳統的背離，而是一種對失落文化的補寫與想像。我相信，只有在補全這段文化缺口後，中國風才能不再只是舊符號的翻炒，而是真正走入未來的當代表達。