Tales of memory held in a gaze

The exhibition then shifts into deeper territory through a chapter titled In the Blink of Time — Archaeology Through Imagery. Here, images are transferred directly onto traditional building materials — the cold, rough texture of fired bricks merges with the carved patterns of Western-style gates, while the reflection of a palace turret shimmers across pinewood grain.

"We wanted a 'tactile visual archive of ancient architecture'," Guan explains beside a set of drawers built into the wall, styled like camera lenses.

Visitors can pull them open to discover images printed on wood. "Innovation in materials turns the photograph itself into an 'archaeological exploration'," she adds.

The process was fraught with challenges. To find bricks dense enough to hold color, the team exhausted countless options.

"We tried applying white paint before printing, but that destroyed the authentic texture of the brick. In the end, we let the color sink directly into the surface, and that very mottled effect is the historical quality we wanted," Guan says.

Nearby, cyanotypes and wet plate collodion prints from the mid-19th century emanate a timeless aura. The deep blue of a palace wall echoes the peeling surfaces of timeworn plaster, creating a correspondence across mediums.

"These classical techniques are complex and unpredictable," Guan reflects.

"That very uncertainty mirrors the transformation and permanence of heritage sites over time. Here, the image is not only a record but also a witness to the process of change itself," she notes.

The final chapter, Humanity and Heritage — Ancient Grace Renewed, highlights contemporary life — people's activities, emotions, and memories — in historical spaces.

The aim was to document public participation, so people are not just bystanders to history but coauthors of cultural heritage's contemporary value.

A "cabinet of curiosities" inspired by the crabapple flower-shaped window lattices of the Prince Kung's Palace Museum draws viewers to peer through its patterned openings.

Inside, photographs capture the vivid moments of students resting on palace steps, children playing in the garden, and a cat darting into a frame.

"We wanted to create an engaging discovery," Guan says.

"While viewing the images from different angles, the visitors themselves become part of the living exhibition. This act of seeing and being seen is itself a form of public engagement with cultural heritage."