The work collects white porcelain waste from ceramic factories, such as broken slag and broken porcelain bodies after repairing. Grind it into powder again, and according to the internal angle of modern conventional space, use refractory materials to build the kiln layout, and then naturally stack the powder in the kiln structure. The difference in height and thickness of the powder creates a scenic effect. After being fired at 1280 degrees, their bottom surfaces are uniformly elevated above the ground and installed on the walls and corners of the space, forming a unified height plane that divides the space into two parts. The work explores the molding process of ceramics and their interactive relationship with modern architectural spatial structures. The symbolic significance of white porcelain materials and the cultural symbols behind landscape scenery, as well as their unique display methods, all point to the process of using humans as the experiential subject. Through artistic means, it re reflects on the possibilities of industry and nature, rationality and sensibility, eternity and moment.