Abstract In 1833, Sir John Soane, the British architect and antiquarian, bequeathed his house-museum, containing over 3,000 inventoried artifacts, to the British nation by a private act of Parliament. A century and a half later, in 1978, the American architect and industrial designer Alexander Girard gifted his global collection of 106,000 folk art objects to the state of New Mexico; a bequest of such magnitude that it expanded the provincial holdings of the Museum of International Folk Art fivefold. These men, as divergent as they were, in bearing and aesthetic disposition, amassed two of the most extensive and culturally significant collections in the world. What follows is an exploration of the experiences that seeded and positioned the role of collecting in the lives of these designers, and the revolutionary spatial effects that we have inherited as a result; how travel, longing, world-building, and forays into fiction shaped their impulse to collapse the world; and how the cultural and technological regimes of their eras shaped both the manner and matter of their collections.

中文翻译：

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镜子和托儿所：构建和折叠世界的技术

摘要 1833 年，英国建筑师和古物收藏家约翰·索恩爵士（Sir John Soane）通过议会的一项私人法案，将其收藏了 3,000 多件文物的住宅博物馆遗赠给了英国。一个半世纪后的 1978 年，美国建筑师和工业设计师 Alexander Girard 将他在全球范围内收藏的 106,000 件民间艺术品赠送给了新墨西哥州；如此巨额的遗产，将国际民间艺术博物馆的省级馆藏扩大了五倍。这些人尽管在举止和审美倾向上各不相同，却积累了世界上最广泛和最具文化意义的两个收藏品。接下来是对在这些设计师的生活中播种和定位收藏角色的体验的探索，以及由此继承的革命性空间效应；旅行、渴望、构建世界和涉足小说如何塑造了他们摧毁世界的冲动；以及他们那个时代的文化和技术体制如何塑造了他们收藏的方式和内容。