Photography by Cambodian artist Lim Sokchanlina (b.1987) in his National Road Number 5 series and Indonesian artist Yoppy Pieter’s (b.1984) Saujana Sumpu series interpret the notion of placemaking. Sokchanlina and Pieter portray a fraught relationship between place and identity, integrating a sense of belonging integral to a residence and connecting the medium of photography with the appeal of a home. This article explores the conceptual and aesthetic strategies used by the artists to convey the personal and communal history of place in Cambodia and Indonesia. The artists explore a three-fold intent of place, as having a geographical presence, as an environment to conduct social relations, and as an entity encouraging inherent attachment, constantly shifting between the various connotations, creating intermediary nuances between the meanings. Their methodology of using placemaking to deconstruct the traditional model of a home using contemporary art with a community’s heritage creates a unique Southeast Asian identity. The interaction between people and spaces, the configuration of values and identities, and the manifestation of personal and collective memory consolidate the idea of placemaking with the aesthetics of home.

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主页：Lim Sokchanlina 和 Yoppy Pieter 的摄影作品

柬埔寨艺术家 Lim Sokchanlina（生于 1987 年）在他的 National Road Number 5 系列和印度尼西亚艺术家 Yoppy Pieter（生于 1984 年）的 Saujana Sumpu 系列中诠释了场所营造的概念。Sokchanlina 和 Pieter 描绘了地方和身份之间令人担忧的关系，将归属感融入住宅，并将摄影媒介与家庭的吸引力联系起来。本文探讨了艺术家用来传达柬埔寨和印度尼西亚地方的个人和社区历史的概念和美学策略。艺术家们探索了场所的三重意图，作为具有地理存在性的地方，作为进行社会关系的环境，作为鼓励内在依恋的实体，不断在各种内涵之间转换，在意义之间创造中间的细微差别。他们使用具有社区传统的当代艺术来使用场所营造来解构传统的家庭模式，从而创造出独特的东南亚身份。人与空间的互动、价值与身份的配置，以及个人与集体记忆的体现，将场所营造的理念与家居美学相结合。