UNFOLD PLANE recently completed an exhibition&installation design at Chengdu Biennale 2026 — Pulse of Life integrates both spatial and installation design for the artwork by Biin Shen, translating the work’s underlying premise—artificial intelligence as a system shaped through continuous feedback between human input and algorithmic prediction—into a coherent spatial and perceptual arrangement.

Three digital screens, each paired with a back-mounted lightbox emitting bright white light, are mounted on a modular aluminum extrusion frame, forming three vertical illuminated objects. Monochromatic blue light tubes are installed both along the top frame and at the corners at the end of the space, suspended and oriented in alignment with the installation structure. Together, structure, image, illumination, and sounds form a unified spatial apparatus that extends the artwork beyond the screen into the surrounding environment.

The exhibition space is organized along a straight circulation path in brushed stainless steel, establishing a clear axis of orientation and movement. Its symmetry and material precision introduce a subtle sense of ritual, framing the viewer’s approach toward the suspended screens. Walls and floor are fully clad in reflective acrylic panels, producing ripple-like distortions that prevent the formation of stable reflections. The image remains present but unresolved, visible yet not fully legible. The path contrasts with the surrounding reflective field, creating two parallel spatial conditions: ritualized progression along a defined axis and diffuse, indeterminate perception within the reflective enclosure.

Embedded within the reflective enclosure, millimeter-wave radar sensors in the ceiling detect the presence and movement of visitors, triggering a shift in ambient lighting from bright white to low-intensity monochromatic blue. This transformation synchronizes the spatial environment with the tonal register of the digital content, making the viewer’s presence measurable within the system. Reflections remain distorted throughout; as visitors advance along the axis, attention shifts from the deferred reflections toward the suspended screens, where the AI-generated video appears resolved and fully legible. Spatial progression culminates at the screens, where the unresolved gives way to the resolved, and perception stabilizes in the present moment.

Two small apertures punctuate the boundary between the exhibition and the public corridor, one positioned for adults and one for children. Light from the installation emits through these openings, drawing attention and inviting glimpses into the space. The surrounding reflective acrylic produces kaleidoscopic distortions that render the interior imagery unresolved from the outside. Their deliberately reduced scale intensifies curiosity, prompting visitors to peer in while creating opportunities for photography. The apertures extend the perceptual logic of the deferred image beyond the interior, mediating the boundary between corridor and exhibition.

The exhibition operates as a single responsive system in which image, structure, light, and viewer continuously interact, allowing authorship to emerge as a distributed and evolving condition rather than a fixed origin. The artwork’s core concept—which previously existed only within the digital image—is thus spatially experienced and materially amplified, unfolding through the viewer’s movement as a continuously evolving perceptual and spatial event.