Spatial Perception: How Paper Art Realizes the Expansion Design of Urban Spaces

Abstract

Aiming at the problems of insufficient function, cultural aphasia, and blunted perception faced by contemporary urban public space, this study explores the potential of paper-based materials in enhancing spatial quality and realizing spatial expansion effects, providing new solutions for urban renewal. Taking the sensory plasticity, visual aesthetics, cultural carrying, and ecological and environmental protection of paper materials as the entry point, we constructed a theoretical model of “paper art space expansion”. Through the design intervention strategy, we explored the application of paper art in the design of interface, space, art creation, and cultural empowerment from visual and tactile perspectives. Through course design, artist interviews, and questionnaire analysis, the study shows that (1) paper material can achieve a balance between function and aesthetics through multi-dimensional design strategies; (2) its environmental attributes and emotional healing value can effectively enhance the emotional connection between people and space; and (3) the contemporary translation of paper art provides an important path for cultural empowerment. This study forms a three-dimensional design framework of “Perception Layer-Technology Layer-Cultural Layer” and proposes a set of innovative models for the application of paper materials in contemporary art and space design, which can provide support for the expansion of space and the increase in content. Future research will focus on the transition of paper art from decoration to the design paradigm of the cultural narrative of intelligent space, deepening the value of paper material as an ecological, cultural, and technological medium, and open up a new direction for the theory and practice of spatial design. At the same time, more attention will be paid to the exploration of the possibility of sensory healing for the blind and other special populations.

1. Introduction

In the intersection of contemporary art and urban space design, paper material, as a traditional medium, has not yet been fully explored in terms of its plasticity and innovative potential. This not only limits the expressive power of paper material in art creation, but also weakens its application value in public space design. With the acceleration of urbanization, people have put forward higher requirements for the artistic perception and aesthetic experience of living spaces, and paper art has become one of the important medias used to improve the quality of urban spaces due to it being unique lightweight, its environmental friendliness, and its unique multi-dimensional shaping ability. Therefore, exploring the application scenarios of paper materials in public art and daily design with material thinking and realizing the spatial expansion (“Spatial expansion” in this paper refers to the strategy of increasing the amount of spatial content and resource utilization efficiency of the city through clever spatial product design, which produces the effect of a larger space or rich spatial content compared to the previous space in terms of vision and content and provides a rich spatial experience for residents. This includes the following: area increment, capacity increment, function increment, experience increment, and cultural increment) design of paper art is an important and interesting topic. Research has shown that the diversity and innovation of materials have a significant impact on the content increment and expansion effect of an urban space [1]. For example, Korean designer Lee Ji Hee handcrafted vintage film cameras using paper art, showcasing the balance between the functionality and aesthetics of paper materials; The work“Text for the Blind”by young Chinese artist Zhang Xiaotong realizes the concern and help for the blind community by using the concept of paper for structural design or 3D printing Braille paperback art; Chinese artist Xu Bing’s “Book of Heaven” expresses profound reflections on Chinese culture and contemporary society through his exquisite mastery of paper materials, printing techniques, and art forms, as well as through a comprehensive media installation. These cases not only demonstrate the unique advantages of paper materials in artistic expression, but also provide important insights for exploring their application in urban spaces.

In addition, spatial perception involves multi-sensory experience and multi-modal information integration such as hearing and touch [2]. It provides a new perspective for urban space design and paper art creation, emphasizes the importance of dynamic and immersive spatial experience [3], and promotes the development of interdisciplinary innovation and application. However, current research on paper-based art mostly focuses on planar applications or single-scene design and lacks systematic research in urban spaces. This limitation has led to the limited application of paper in public art and daily-life design, failing to provide full play to its potential as an “inclusive medium”. The works of Italian artist Pierre Pozzi further demonstrate the practicality and poetic expression of paper in the decoration of living space, such as paper cloud lamps, paper coffee tables, and other designs, which not only enhance the aesthetic value of the space, but also enhance the functionality [4]. This shows that paper artworks can not only improve the incremental content (“Spatial content increment” is a strategy to increase the value and benefits of an urban space by adding, optimizing, or improving the functional content, usage, or spatial experience of an existing space so that the urban space becomes more functional, adaptable, and attractive, in order to support the sustainable development of the city and the improvement of the quality of life of its residents. This includes the following: functional increment, experience increment, social increment, and cultural increment) of the space, but also realize the expansion effect of the space through its diverse forms and structural designs. In addition, Richard Sennett focuses on social and cultural increment in urban design and how to improve the quality of life of urban residents through inclusive design [5]. Therefore, this study aimed to explore how to utilize the plasticity and innovativeness of paper materials to expand its application scenarios in contemporary art and urban space design and to realize the content incremental and spatial expansion effect of space [6], which not only helps to improve the aesthetic quality of urban space, but also enhances the residents’ sense of spatial experience and social sense of belonging through the combination of art and function [7].

2. Literature Review

Papermaking, one of the four great inventions of China, has a long history [8]. Since Cai Lun in the Han Dynasty of China improved papermaking in the 2nd century BC, it has spread to the Middle East, Europe, and other parts of the world. Its technological spread and material innovation have profoundly influenced the evolutionary trajectory of human civilization [9]. From the primitive materials such as tree bark, linen, and waste fishing nets in the early days to the diversified paper products produced industrially after the 19th century, paper has fulfilled the basic function of a “writing medium” while continuously expanding its dimension of cultural expression [10]. Modern paper art has long since broken through the flat forms of traditional painting and calligraphy, with paper cutting and origami, and established a new dialog between material properties and spatial forms through three-dimensional construction methods such as paper sculpture and paper installation [11]. This evolution forms a potential theoretical fit with the design of spatial expansion in contemporary urban micro-renewal: both are committed to creating multi-dimensional values within a limited physical dimension, which provides a historical vein and allows the technical feasibility of paper art to intervene in the optimization of urban spaces. In addition, although the arrival of the digital age has weakened the traditional functions of paper, its importance in the fields of art, education, and creative design is still significant [12]. This background provides fundamental support for studying the application of paper art in the design of urban space expansion.

In the theoretical spectrum of spatial expansion design, Jane Jacobs put forward the theory of “street eye”, which emphasizes the catalytic effect of high-density social interactions on spatial vitality, and believes that the diversity of urban space and high-density pedestrian flow can help to improve the safety and vitality of urban space [13]. Edward Glaeser studies the relationship between spatial expansion design and urban density and urban economy from an economic perspective. He believes that increasing urban density can improve productivity and innovation [14,15]. Zhou Hongtao’s team took Shanghai as a sample and revealed the significant effect of micro-space functional compositing on the efficiency of use through empirical research. In particular, the team takes 3D printed cultural paper works on tactile perception research of blind groups to realize the effect of incremental expansion of the content of art space for the blind. While the theory of “smart city cell” proposed by Professor Wu Zhiqiang provided a technical framework for big data-driven space optimizations [16], emphasizing the micro-renewal of urban space from the perspectives of big data and smart cities to achieve the optimal use of spaces [17]. These research results provide important academic and theoretical support for exploring the field of constructing spatial expansion designs, but the research on its material dimension is still weak.

The diversity of paper art reflects its cultural and historical uniqueness and shows its great potential in artistic creation. The cultural backgrounds of different countries have given rise to diverse paper art forms. The practice of paper art in the cross-cultural perspective [18] provides rich research samples for this purpose [19]. Japanese origami and washi paper crafts are known for their exquisite techniques and natural beauty, which transform spatial interfaces through light transmission and plasticity; Korean Hanji crafts emphasize the organic combination of utility and aesthetic representation; and the paper curtains in Chinese shadow plays create dynamic spatial narratives. The Mexican Picador paper cutouts and Indian papier-mâché masks are proof of the strong adaptability of paper materials in cultural representations. These cross-cultural paper art forms not only expand the application scenarios of paper, but also extend from the two-dimensional plane to multi-dimensional space and even involve cross-media and cross-property art experiments. For example, contemporary Chinese artist Xu Bing’s “The Book of Heaven” and Japanese artists Tadao Ando and Kenya Hara’s experiments with paper installations have verified the technical feasibility of paper structures in the construction of specific spaces. Although these practices do not directly point to the expansion of urban space, their material characteristics and spatial strategies provide important insights for design transformation.

There are three limitations in the existing research: First, there is insufficient research on the correlation between the styling design of paper materials and the functional design of space. Second, there is a lack of systematic theories on the adaptability of the cultural lineage of paper art’s intervention in public space; and third, the sustainability advantages of paper works have not yet formed an effective docking with the dynamic needs of urban micro-renewal. This project constructs a multi-dimensional spatial-expansion design model and verifies the specific paths of paper art in urban space enhancement through workshops, interviews, and questionnaires, which is not only a contemporary translation of traditional crafts, but also an important supplement to the existing spatial expansion theory.

3. Theoretical Basis: Material Art, Spatial Perception, and Design Models

3.1. Paper Art and Space

Material art is an art form that takes the characteristics and expressiveness of the material itself as the core of creation. Designers and artists use materials combined with technological elements to create artworks with interactive functions, bringing audiences new artistic experiences, and directions for thinking. Designers use the texture, form, and other characteristics of paper to enrich the level and artistry of spatial design, creating different spatial atmospheres and styles, so that people can feel the expansion effect of paper art on spatial design with their vision and sense of touch. Paper material has the characteristics of being lightweight, having plasticity, and environmental protection, which is very suitable for decorative and spatial expansion design, and paper works have a unique performance effect and artistic style. Design intervention on the spatial perception of paper art can enrich the visual content of living space and improve the overall quality of spaces and the expansion effect.

3.2. Spatial Perception

Perception theory [20] focuses on the process of human perception and cognition and how humans actively acquire information from the environment and respond to it. It focuses on the study of human sensation, perception, cognition, and attention. James J. Gibson put forward the idea of “direct perception” or that perception is the process of extracting information directly from the environment rather than through internal representation and reasoning [21]. Richard L. Gregory, on the other hand, argues that perception is a constructive process, building a complete perceptual experience from incomplete sensory input [22]. Spatial art perception is the study of how art and architectural spaces are perceived and experienced [23], i.e., how individuals perceive and understand the artistic elements, composition, and expression of a space, with the blind community having an extraordinarily prominent manifestation of their perceptual abilities. In addition, spatial art perception includes the perception of the spatial environment, such as the atmosphere, smell, and music, which can influence people’s emotions and behaviors. Spatial perception is closely related to human senses, emotions, and cognition, and different people perceive space differently. Scholar Ge Ziyan proposed in his theory of spatial cognition that four spatial strategies, namely, light regulation, framing, reference system construction, and flow guidance, can realize the dynamic connection between the two-dimensional plane and three-dimensional space in the dimension of visual perception. The theory systematically explores the transformation mechanism of different dimensions of space in the human perceptual system from the perspective of the intersection of architecture and visual arts, revealing the constructive role of visual elements in the perception of spatial dimensions [24]. Edmund Husserl took spatial perception as a basic level of consciousness, emphasizing the subject’s experience and understanding of space [25]. Donald Norman, in “The Design of Everyday Things” (1988), emphasizes the relationship between availability and user experience in design, focusing on spatial perception in product design. Therefore, the theory of spatial perception can help us to better understand and utilize the space and create a more beautiful and comfortable art space with unique visual and tactile effects by using paper materials.

3.3. Design Model Analysis of Spatial Expansion

Based on previous research on the art form of the paper material and the space perception theory and the team’s years of research in Shanghai’s urban micro-space expansion design (Urban Space Expansion Design is a research project that has been carried out by the author’s team in Shanghai since 2021 and mainly focuses on researching the design strategy of micro-space expansion in high-density cities, and it includes, for example, the research project of urban, micro-space expansion design under the perspective of a product; the project of urban spaces and art seasons in the Yangpu and Huangpu districts of Shanghai from 2021 to 2024; and the experimental project of urban-community space expansion in the Fengxian district of Shanghai in 2023, a post-funded project of the 100-chair exhibition), we conducted theoretical research on paper art in spatial design and constructed a spatial-expansion design model for paper art (Figure 1).

Based on the operation logic of paper-art space expansion design, the model is divided into six corresponding layers from inside to outside: dimension layer, perspective layer, perception layer, method layer, design layer, and result layer. Through the research on paper art, space perception, and space expansion design, four spatial-experience dimensions of interface, scenario, art, and culture are formed. And those interface-based cultural, contextual, and artistic contents of spatial perception are analyzed from visual and tactile sensory perspectives. Then, we carried out the innovative design of interface artifacts, spatial scenarios, art experiments, and cultural empowerment to realize the design of paper art for spatial function expansion.

4. Model Interpretation: Spatial-Perception Representation of Paper Art

The lightweight and malleable nature of paper art influences it as an excellent form of art presentation for spatial expansion. The following section analyzes the artistic representation of paper art in space based on four dimensions of space perception: interface, context, art, and culture.

4.1. Interface-Based Spatial Perception

The interface perception of paper art refers to paper works as a space interface element and considers paper’s own material characteristics and the surrounding spatial environment’s ability to produce contrast and echo as part of the spatial interface allowing the viewers to visually perceive and understand the works in a different way.

Calligraphy and painting are presented in a two-dimensional plane, and the viewer perceives it through the spatial relationship between the work and the wall, the floor, and with other artworks. At the same time, the texture, color, texture, and other characteristics of the paper artwork itself affect the viewer’s perception, thus generating different visual and emotional experiences for it. Chinese traditional paper-cut art is mostly two-dimensional, auspicious patterns. Artists use the virtual space and color contrast of paper-cut works to create a sense of visual hierarchy and dynamics, thus conveying the beautiful blessings of paper-cut works and enhancing the interface perception experience of the works. In the fields of architecture and home decoration, semi-relief paper art usually uses raised and concave techniques on paper materials to create shallow-relief patterns and shapes, creating a stronger sense of interface perception experience. Therefore, from the perspective of interface perception, paper art is a carrier of the physical interface based on space, realized through the interaction between the viewer and the surrounding environment, and is a way of artistic existence with visual and spatial dimensions.

4.2. Scenario-Based Spatial Perception

The contextual perception of paper art is the emotional satisfaction and spatial experience felt by the viewer in the spatial scene dominated by the paper artwork [26]. It skillfully utilizes the material characteristics of paper and adjusts the space layout and lighting design to create a unique artistic atmosphere. The interaction between the artwork, space, and the viewer produces a joint creation of an art scene with contextual perception. For example, the size, shape, and layout of the exhibition space and the design and changes in the color, texture, and shape of the paper artworks will affect the audience’s emotional perception and cognitive experience of the artworks. In addition, the audience’s own emotion and knowledge reserve will also affect their understanding and feeling of the artwork. Another example is that a spacious and bright exhibition space allows the audience to appreciate and feel paper artworks more freely. A small, dim exhibition space may make the audience feel depressed and crowded, affecting their emotional experience of the artwork.

The contextual perception of paper art in space is a dynamic process; in addition to focusing on the aesthetic value of the artwork itself, it is also necessary to consider its coordination with the exhibition environment and the factors of situational perception. Only when the relationship between the space, the artwork, and the audience is harmonious can the viewer truly appreciate the artist’s emotions and realize the best effect of situational perception. For example, in a cozy home environment, the use of light paper with very good light transmittance allows the light to come through, creating a soft light, a delicate texture, and a warm atmosphere.

4.3. Art-Based Spatial Perception

The artistic perception of paper art is the viewer’s comprehension of the artwork in space and the perception and understanding of the theme, emotion, and ideological connotation expressed by the artist. This subjective artistic perception is mainly obtained by the viewer through observing the details of the artwork, material texture, and color changes and interactive participation and then resonating with the artist. The different forms of paper art are experimental explorations of the artist’s self-expression in the spatial field.

The artistic perception of paper art pays more attention to the active participation of the audience, in which, through multi-angle observation and touch and other ways to understand and perceive the paper artwork, the audience forms their own unique, artistic, aesthetic experience. The artistic perception of paper art in space is a process of interaction with the audience, the environment, and the artwork itself. Contemporary artists skillfully use the characteristics of paper to awaken the human emotional longing for paper materials with innovative techniques and skills [27].

4.4. Culture-Based Spatial Perception

Paper art from different countries is the art carrier of different cultural forms, and the themes, forms, and meanings it expresses are derived from the cultural background and historical experience of the creators. For example, Chinese painting and calligraphy art, as an important part of traditional Chinese culture and art forms, is a microcosm of the society, history, and culture at that time, as well as a presentation of the artist’s own aesthetic concepts [8]. Both traditional painting and calligraphy art and modern paper art have deep personal and emotional connotations. It expresses the pursuit and thinking of a beautiful life through artistic creation, thus presenting a unique cultural perception. In addition, paper-based art, as part of cultural heritage, has historical and cultural value, and is an important carrier of cultural heritage and development. Paper art forms such as murals and thangkas are precious heritages of Chinese culture, with rich historical and cultural connotations, providing a window for future generations to understand history and culture.

The cultural perception of paper art is a multi-level concept, including general culture, the ideas of artists, and cultural heritage. Reflecting the uniqueness and diversity of culture, paper art is of great significance to cultural heritage and the development of space art. Paper art originates from traditional culture and is widely used in modern space design.

In summary, the interrelationship between paper art and space can be analyzed in four dimensions: interface perception, contextual perception, artistic perception, and cultural perception. Together, these factors influence the way paper art exists in space and its artistic expression [28]. Traditional paper artwork with technical improvement and artistic innovation will certainly further promote and prosper the creation and development of paper art [27]. The innovative application of contemporary art in material, space, and behavior enriches our urban spatial experience and improves our quality of life.

5. Methodology and Discussion: Research on the Application of Paper Art in the Design of Spatial Expansion

In “Being and Time”, Martin Heidegger suggests that “‘usefulness’ is the primary meaning of the existence of things” [29]. This idea provides philosophical inspiration for the innovative design of paper art. By cutting and reorganizing paper materials and folding them, their layering and functionality can be enhanced, thus creating stunning artworks. These works not only have stronger visual appeal, but also give the space more interest, inclusiveness, and vividness [30]. Due to its lightness, softness, and plasticity, paper material becomes an ideal medium for designers to realize creative expression in a limited space.

Based on the theory of the spatial-expansion design model, we further explored the spatial perception characteristics of paper art in terms of interface, context, artistic expression, and cultural connotation and study how to realize the increment and expansion of spatial content through design methods. Combining course practice, in-depth interviews with artists, and user questionnaire analysis, this paper aims to systematically discuss the expansion strategy of paper art in spatial design and explore how to optimize the spatial experience through the medium of paper art to create a more attractive and functional art space.

5.1. Course I: Realizing Interface Creation with Materials

5.1.1. Course Design

The “Artistic Expression of Paper Materials in Space” design course enables students to master the physical properties, plasticity, and artistic expression of paper materials and to learn the principle of visual expansion in spatial interface design. Through group cooperation, students cultivate the ability to explore unlimited creativity in limited materials and complete the design of spatial interface artifacts from concept to object. A total of 30 students were divided into three groups, A, B, and C, and they were required to train and design in three aspects: plane vision, three-dimensional tactile sense, and interface scenography. They were also required to use the corresponding design methods to realize the purpose of the paper material on the spatial expansion design (

Table 1. Design methods for spatial expansion of paper materials: Experiment 1 (30 people in 3 groups).

	Planar Visual Expansion: Point Line Surface	Three-Dimensional Tactile Expansion: Relief	Interface Landscape Expansion: Multi-Dimensional
Group A (10 students)	Number: 2 students. Method: flat drawing, collage, considering the color, typography, and layout of the paper.	Number: 3 students. Methods: collage, superimposed reorganization, relief modeling, stretching and distortion, and light and shadow illumination.	Number: 5 students. Method: flat painting and relief modeling combinations and use of light angles and brightness.
Group B (10 students)	Number: 1 student. Method: graphic composition design, collage, paper materials, color, and plan layout.	Number: 4 students. Methods: relief modeling, structural reorganization, collage method, superimposed combination, stretching and deformation, and light and shadow illumination.	Number: 5 students. Method: flat painting and relief modeling combination, using the angle and brightness of light to create a scene.
Group C (10 students)	Number: 3 students. Methods: graphic composition design, collage, paper materials, color, and plan layout.	Number: 4 students. Methods: collage method, deconstructive superimposition, relief modeling, stretching and distortion, and light and shadow illumination.	Number: 3 students. Method: plane painting and relief modeling combination of aquascape approach.

). Table 1 shows the number of students who chose a design perspective and a specific design approach strategy.

5.1.2. Design Methods

The discussion about strengthening the design sense of space plane is as follows: A total of six people from the three groups chose to start the practical exploration from the graphic, visual expansion design. Based on the compositional principles of point, line, and surface, combined with the aesthetic concepts of primary and secondary relationships and white space treatment, the group carried out a systematic graphic compositional design of paper paintings and calligraphy on the wall, aiming to strengthen the decorative effect of paper works in two-dimensional space. Through the use of various forms of materials such as paper paintings and calligraphy, wallpaper, stickers, and collages, the group explores how to achieve the richness and layering of graphic visions in the spatial interface through the selection of materials, colors, and patterns, as well as design elements such as typographic layout and detailing (Figure 2). This is also a common decorative technique used by designers as well.

The discussion about enhancing the decorative relief of the wall interface is as follows: The number of students who chose to design from the perspective of three-dimensional tactile expansion increased to 11 in this session, which indicates that design methods with three-dimensional effects and tactile experiences are more favored by students. From the perspective of design thinking and methodology, students created relief paper works with a certain height and sense of spatial hierarchy according to their design needs by using diverse techniques such as collage, deconstructive superposition, relief modeling, stretching and deformation, and light and shadow lighting design on paper of different colors and textures [31]. These creative practices not only reflect the high plasticity of paper material, but also show its diversity and innovative potential in artistic expression.

This design method has been practically verified and expanded by many internationally renowned artists. For example, British artist Rebecca J. Coles has demonstrated the expressive power of paper in biomimetic art by creating realistic butterflies and insects using a variety of colors and textures of paper; American artist Matthew Shlian is known for his complex relief sculptures based on mathematical logic, which are designed to integrate geometric aesthetics and structural innovation; Japanese artist Sipho Mabona uses a complete giant sheet of paper to fold into a giant paper crane, demonstrating the groundbreaking possibilities of paper art in terms of scale and form; Chinese artist Zhang Xiaotong’s Braille paperback art utilizes a combination of layers of corrugated paper to create relief installations of Chinese characters and Braille art of varying heights; and Li Hongbo further explores the resilience and dynamic expressiveness of paper by layering and combining tiny pieces of paper to create unique paper artworks that can be stretched and deformed (Figure 3). These cases provide important references and inspirations for students’ creations.

The discussion about the interface scenography with paper arts is as follows: The design training of interface scenography’s expansion angle is aimed at examining the comprehensive design ability of students, and a total of 13 students participated in it. By combining flat painting and relief modeling, and by adjusting the brightness, angle, and projection direction of the light source for the scenography design, the visual richness, and sense of hierarchy of the paper works in the interface space were effectively enhanced. This design strategy not only trains students’ comprehensive design ability, but also creates a more immersive interactive experience for the audience. Among them, paper lighting fixtures can create a unique atmospheric effect by adjusting the angle, brightness, and projection direction of the light source, which significantly enhances the visual expression and perceptual experience of the spatial interface. In addition, paper art furniture, as an emerging case of spatial interface design [32], further expands the possibilities of paper materials in terms of function and artistic expression.

The summary discussion is as follows:

The course practice shows that paper material can significantly enhance the visual richness and perceptual experience of the space through the design of material superposition, light and shadow scenography, and structural modularization. Planar, visual expansion design can strengthen the two-dimensional decorative effect of space. Three-dimensionally tactile expansion design and interface, landscape expansion design are more popular among students because of the addition of relief shapes, tactile experience, and light and shadow landscape design. International artists’ examples also provide important inspiration for students to practice the innovative use of paper for the purpose of designing extensions to classroom spaces. However, these three aspects are still at the primary level of interface modification, which is not conducive to students’ exploration and experimentation of multi-dimensional spatial expansion. Therefore, in the second phase of the course, we will continue to explore the possibilities of multi-dimensional design and construction with paper materials.

5.2. Course II: Creating Spatial Scenes with Themes

5.2.1. Workshop Experiments

The objectives of this workshop are to build on the foundation of Course 1, to learn more about the design methods of the spatial expansion of paper materials, and to enhance students’ creativity, practical ability, and interdisciplinary collaboration. In order to beautify the classroom learning environment while enhancing its functionality and cultural connotation, the workshop takes the classroom learning space as the design theme. Students were asked to use the three dimensions of deconstruction and reorganization, thematic lighting design, and composite material application to expand the design and create a learning space scene with a theme connotation of paper culture. They were asked to explore how to create a learning space scene with a unique cultural theme centered on paper art. The specific implementation is listed in

Table 2. Design methods for spatial expansion of paper materials: Experiment 2 (30 people in 2 groups).

	Deconstruction and Reorganization Expansion	Theme Lighting Expansion	Composite Material Expansion
Group A (15 students)	Number: 3 students. Methods: graphic composition design, collage, paper materials, color, plan layout, model component combination, and modular structure design.	Number: 5 students. Methods: collage, deconstruction and superposition, relief modeling, stretching and deformation, and other techniques, combined with the use of light and shadow lighting and material texture and color morphology, with light, to achieve the design of spatial expansion.	Number: 7 students. Methods: graphic painting and relief modeling, using composite materials, and with metal, wood, and other materials, to realize the design of spatial expansion of the theme aquascape.
Group B (15 students)	Number: 5 students. Methods: plane composition, collage, paper materials, color, plan layout, model component assembly, and modular structural design.	Number: 4 students. Methods: collage, deconstruction and superposition, relief modeling, stretching and deformation, and other techniques, combined with the use of light and shadow lighting and material texture and color morphology, with light, to achieve the design of spatial expansion.	Number: 6 students. Methods: graphic painting and relief modeling, using composite materials, and with metal, wood, and other materials, to realize the design of spatial expansion of the theme aquascape.

, which divides all 30 students into two groups, A and B, for space-expansion design practice, which shows the number of students choosing the design perspective and specific design method strategy.

5.2.2. Design Methods

The discussion about using deconstructive reorganization to realize scene creation is as follows: Through the design of the expansion of the classroom space theme, students were not only able to deeply feel the diversity and plasticity of paper materials, but also to combine artistic expression with spatial function, giving the classroom space a deeper level of cultural meaning and emotional value. This process emphasizes the reinterpretation and innovative application of traditional paper craftsmanship, especially in the deconstruction and reorganization design approach, where students achieve breakthroughs in spatial hierarchy and structural design through innovative combinations of modeled components of paper works. For example, in practice, students can recombine the original paper material structure into a new modular style by breaking it up. This modularized structural design not only facilitates the rapid construction of scene space, but also enables the flexible adjustment of the layout, thus expanding the use of space functions (Figure 4). In addition, through the modular design, students can realize the functional partition and visual expansion of the space more efficiently and create a theme scene that meets the practical needs and is rich in artistic aesthetics.

The discussion about using lighting and other elements to create a thematic atmosphere is as follows: Lighting is an important design element for creating a spatial thematic atmosphere and enhancing artistic effects [33] and plays a key role in paper art. Through the combination of dynamic light and shadow with the texture, color, and morphological changes of paper, a unique spatial scene can be created, injecting a strong literary atmosphere into the classroom. By adjusting the angle, brightness, and color of the light source, students can both simulate natural light and shadow and design dynamic scenes for specific themes. For example, warm light creates a cozy learning environment, while cool light shapes an atmosphere of calm concentration. The combination of light and shadow with paper materials not only enhances the layering and immersion of the space, but also gives the classroom a unique cultural narrative and emotional expression.

Lighting design is also a common technique used by many artists in their paper art creations. For example, Chinese paper sculptor Wen Qiuwen created the “Leap on Paper” Chinese New Year Art Theme Exhibition at Century Gateway Plaza in Shanghai, which perfectly integrates paper sculpture, a traditional Chinese folk art, with the theme of the Chinese New Year Festival. Through the skillful use of lighting, the paper sculptures were brought to life in the interweaving of light and shadow, showing a strong festive atmosphere and cultural connotations. For example, in the stage background design of the 2014 “Qiu Yuwen & Zhang Zhaoda International Fashion Show”, Taiwanese artist Qiu Yuwen utilized the combination of paper art and light and shadow space to make the paper pieces as lively as cells, showing a strong artistic infectious force (Figure 5). These cases not only provide valuable references for students’ creation, but also further prove the importance of lighting design in paper art.

The discussion about how to explore the application of composite materials in space is as follows: The application of paper composite materials in spatial design is also an important attempt to realize the creation of spatial themes. By combining paper with other materials in sustainable design, it can enrich the contrast and layering of materials, thus significantly enhancing the visual impact and interactive experience of the space. This kind of spatial scene design with paper culture as the core not only optimizes the aesthetic atmosphere of the spatial environment, but also provides users with a more immersive and inspiring experience, which in turn stimulates their interest and creativity in art design.

In practice, students explore diversified spatial expressions through cutting, collage and spatial composition design of paper materials, and combining them with different materials. For example, paper installations are combined with plastic and linen to increase the richness of the content, or metal frames can be used to enhance the stability of the paper structure or paired with wood to create a natural and harmonious atmosphere. In addition, paper art is highly flexible and malleable, enabling private customized design services according to different clients’ needs and themes. In the case of a coffee shop, for example, the production of art installations related to coffee culture through paper art not only attracts customers’ attention, but also shows the brand’s personality and taste and injects a unique artistic charm into the space. This cross-material design practice provides more innovative possibilities for future space design.

The summary discussion is as follows:

The practice of the course shows that the scene creation training with the theme of classroom space effectively enhances students’ creativity, practical ability, and interdisciplinary collaboration ability. While beautifying the learning environment, it enhances the functionality and cultural connotation of the space. Compared with the interface limitations of the first course, the second course not only improves the utilization rate and visual effect of the space, but also creates a unique cultural theme of the learning space scene, through the deconstruction and reorganization to create the scene, lighting design to accentuate the theme’s atmosphere, and the application of composite materials to achieve the spatial expansion of the multi-dimensional, scenography design method. Therefore, the teaching purpose of this phase of the workshop, which is based on the theme of classroom learning space, has been well realized. Through the two phases of the course, we explored the balance between the function and aesthetics of the multi-dimensional design of paper-based materials, opening up new possibilities for art and design education and exploration through space expansion practice.

5.3. Artist Interviews: Expressing Emotions Through Artistic Creation

5.3.1. Artist Interviews

The topic was as follows: expressing emotions through artistic creation–innovative experiments in paper art and spatial expansion designs.

Designers and artists boldly experiment with paper art, utilizing the plasticity of paper to explore new ways of emotional expression, drawing on thematic analysis [34] to explore the plasticity, emotional expression, and potential of paper in spatial expansion design.

The interview procedure was as follows: Through recommendations from industry experts and comparisons of interviewee information, the author team conducted face-to-face interviews with three representative individuals, namely professors, artists, and designers, to enhance the credibility of the interviews. Interview questions were related to material innovation, emotional expression, experimental forms of creation, spatial landscape expansion design, etc.

Interviewee 1 was the following person: Prof. Z.

Prof. Z is an artist and educator focusing on interdisciplinary design and material innovation, specializing in combining traditional craftsmanship with modern design concepts and exploring the application of paper art in spatial design.

The time format was as follows: 40 min, face-to-face, art education interview.

The theme visit was as follows: Professor Z’s emotional expression of paper materials in the fields of artistic creation and spatial expansion design in art creation and educational practice. Then, by conducting multiple observations and studies on Professor Z’s creative and teaching activities, the reliability of the interview content can be increased.

Interviewee 2 was the following person: Dr. Y.

Dr. Y is a researcher and practitioner focusing on sustainable design and cultural heritage, dedicated to integrating environmental-protection concepts into paper-art creation and exploring its application value in contemporary life.

The time format was as follows: 60 min, face-to-face art interview.

The theme visit was as follows: Dr. Y’s artistic expression of innovative experiments and spatial expansion design using paper art. Then, by observing and researching Dr. Y’s creative activities multiple times, the reliability of the content of this art interview can be increased.

Interviewee 3 was the following person: Dr. M.

Dr. M is a designer who specializes in paper exploring the interaction between human and space, and her works are often based on exploring the intrinsic relationship between work–space–human.

The time format was as follows: 60 min, face-to-face designer interview.

The topic visit was as follows: Dr. M’s innovative application of paper materials in spatial expansion design. Then, combined with the observation and research of Dr. M’s design practice, the reliability of the content of this art interview can be increased.

By designing semi-structured interview questions (

Table 3. Design of semi-structured interview questions.

	Material Innovation/Expansion Design	Emotional Expression/Expansion Design	Innovative Experiment/Expansion Design	Spatial Landscape/Expansion Design
Interview question design	What are the most important characteristics of paper materials? What are the most important characteristics of paper? What are the unique physical or cultural qualities of paper compared to other medias for emotional expression? How does paper become a “carrier” for your emotions?	How does paper art help you convey your personal emotions or cultural connotations? Are there any of your works that have succeeded in provoking an emotional response from the viewer?	When exploring the possibilities of paper art, how do you break through the formal limitations of traditional paper art? Have you encountered any technical or material challenges during your experiments? How did you overcome these difficulties?	Paper art is often regarded as “fragile” or “temporary”, so how do you use structural design or spatial layout to create a “sense of visual expansion” or “sense of emotional immersion” in a particular scene? How do you make paper “visually expansive” or “emotionally immersive” in a particular scene through structural design or spatial layout? How do you see the role of paper art in the design of spatial expansion?

), three representative experts were interviewed in the form of audio transcripts (Figure 6), and the interview data were collected, organized, and discussed.

5.3.2. Response and Discussion

Based on research needs, the team has compiled the key interview content of three interviewees for response and discussion.

In regards to the emotional expression and artistic expressiveness of paper material, Prof. Z responds to the relevant interview questions through the creative concept and experimental exploration of his installation artwork “Paper Cloud Dragon” (Figure 7):

As an ideal creative material rich in Chinese cultural attributes, paper is highly compatible with the Chinese qualities of kindness, tolerance and resilience. My installation “Paper Cloud Dragon” is made by breaking paper into pulp and shaping it into a sinuous and majestic oriental dragon with the help of an internal support structure. Suspended high in the space and combined with light and shadow effects, the work not only skillfully demonstrates the unique cultural characteristics of the paper material, but also profoundly interprets the spiritual core of the Chinese people’s perseverance and firm confidence in the future of the motherland. This creation is not only an innovative expression of the traditional material, but also an artistic presentation of the spirit of Chinese culture.

The work “Text-scape” is another warm art creation by Prof. Z's team, which uses 3D paperback elements to tell the blind people's stories about culture and art. As a unique tactile cognitive art, the team tries to explore the deeper connotation of traditional cultural expression and use the new tactile art form as a carrier of traditional culture. Among them, “Hundred Surnames” shows the cultural inheritance of surnames in Braille; “Text Architecture” expresses the fusion of architectural space and textual art by splitting and deforming Chinese characters or English characters; and the Chinese characters of “Five Valleys and a Bountiful Harvest” use the idyllic landscape of mountain ranges and hills to express the people's beautiful symbolism of good weather and a bountiful harvest (Figure 8). The transformation of paper-based art through 3D printing and molding technology has become an important way for the blind community to inherit and develop traditional Chinese culture. 3D printing and molding technology is of practical significance to the blind's way of cognition, the improvement of art cognition level, and the expansion of the blind's art space.

We hope to create not only for healthy people, but for all people, especially those who are marginalized by the public, such as the blind, the disabled and other special people. Caring for them is what makes art more attractive. By retaining the understanding of paper in the traditional sense of the public and using corrugated cardboard materials or using 3D printing materials for our creations, we are both passing down and paying homage to the paper-based culture, and tapping into the artistic sensibility of the blind community (Figure 9).

In this interview, Professor Z stated that he focuses on an interdisciplinary practical creation of architectural space and art design and is committed to the dialogue between tradition and modernity. He integrates a large number of traditional paper materials into modern spatial installation designs, skillfully balancing “cultural symbols” and “contemporary aesthetics”. Especially in the theory of the spatial landscape expansion design of paper material, he proposes “paper material optimized flexible interface design and emotional boundary healing design”. He emphasizes the use of paper’s lightweight and plasticity properties to reconstruct the “soft boundary” between space and people, creating a more emotionally resonant and healing spatial experience [35]. This innovative application not only expands the expressive power of paper materials, but also injects deep cultural connotation and humanistic care into modern spatial design. Prof. Z’s focus on the blind and disabled is a new exploration of paper-text culture in spatial expression.

As a sensitive and delicate material for artistic creation, paper material, with its unique texture and characteristics, has become an important medium for artists to express their true emotions. For example, Japanese model designer Terada Mokei’s “Paper Model Life” brings the art of paper modeling into full play. He sculpted ordinary colored cardboard into a variety of exquisite and shocking life scenes, showing the ultimate expressive power of paper model art. Similarly, in the 2017 Shanghai International Crafts Exhibition, Chinese artist Qiu Yuwen’s “Water Girl Reproduction Program” was presented in the form of paper cuttings. The work has both the meaning of totem and the ritual sense of cultural beliefs. The artist utilizes the lightness and flexibility of paper to express the strength of a woman who is weak on the outside but strong on the inside, allowing the viewer to feel the healing effect of the soul in a strong visual experience. This work is not only characterized by a high degree of innovation and experimentation, but also reflects the infinite possibilities of paper material in artistic expression (Figure 10).

The sustainability and cultural innovation of paper materials is explained as follows: Dr. Y responds to the related interview issues from the concept of the environmentally sustainable design of paper material and the concept of cultural heritage creation:

In the practice of spatial expansion design, paper material has become a highly promising and expansive material due to its green and environmentally friendly characteristics. Designers and artists actively explore the diversified application value of paper in contemporary life through the creation of paper art. At the same time, paper art also plays an important role in cultural and educational inheritance. Through the study of paper culture and the history of the development of modern industrial paper, we can further deepen the historical significance and contemporary innovation potential of paper materials.

Dr. Y focuses on sustainable design and cultural applications, the daily penetration of paper art, and advocates “letting paper return to the scene of life”. In the practice of spatial expansion design, paper has become an important design medium with the potential for expansion due to its green and environmentally friendly properties. By combining paper art with modern design concepts, Dr. Y has explored its multiple applications in contemporary life, including functional spatial decoration, cultural narrative expression, and emotional design.

The use of paper in the design of the space reflects the organic combination of the concept of sustainable development and cultural heritage. Through paper design, designers realize the coexistence of “cultural memory” and “contemporary function” and convey the concept of environmental protection in an implicit way. German artist Helene Tschacher’s “RC 03 04” uses paper as a medium to reflect on the problems of pollution and noise in modern cities and expresses her deep concern for the ecological environment; Chinese artist Hu Yabu’s “Convex Landscape” explores a new ink-and-wash weather experiment by using the ink-and-wash technique of kneading paper, giving a modern interpretation to a traditional art form; Dutch artist Ingrid Siliakus demonstrates the structural aesthetics and expressive power of paper materials in three-dimensional space with her exquisite architectural paper model works. These works are not only the artists’ deep excavation of the potential of paper materials, but also bring the audience a rich visual and sensory experience.

The role of paper as an emotional link between people and space: Dr. M is a pragmatic designer who focuses on exploring the interaction between paper and people and space. She believes the following:

As a unique design medium, paper is not only material in nature, but also an important link with warmth and emotional expression potential, and has shown its unique ability to increase capacity and convey emotion. We need to use other technical aids to realize the purpose of spatial landscape expansion design.

Dr. M believes that paper, because of its lightness, flexibility, and plasticity, can effectively construct a “soft boundary” between people and space, and on this basis, form a warm emotional communication. This characteristic makes paper material have a value beyond functionality in space design as it becomes an important medium to convey cultural connotation and emotional experience.

In her practice, Dr. M actively explores the emotional value that the use of paper material in space brings to people, further exploring its potential in the field of interaction design. She designed a paper-door pendant based on the concept of interaction, “Please bring home a smile” (Figure 11). The work skillfully utilizes the principle of gravity structure; when the user hangs the key on it, the originally static paper device will then unfold and present a smiling expression. The simple design not only enhances the interactive experience between the user and the work, but also injects dynamic vitality and a unique sense of narrative into the space, adding an extra warmth and fun to daily life. In summary, Dr. M’s research not only explores the potential of paper materials in physical applications, but also digs deeper into its unique value in emotional expression and human–computer interaction.

5.4. Questionnaire Discussion Study: Using Paper Art for Cultural Empowerment in Daily Life

As a material carrier of cultural inheritance, paper art’s high pursuit of material details and formal aesthetics is a breakthrough for traditional paper materials and design empowerment for daily life.

5.4.1. Questionnaire Design

User Portrait Analysis is a study of spatial paper art needs based on occupational groups.

Table 4. Decorative demand collection for space paper materials.

User Information	Students	Community Residents	Design Educators	Urban White-Collar Workers	Elderly Group
Age range	12–25	25–60	30–50	25–50	Over 60
Demand Portrait	To learn paper-art design skills and improve practical ability and creative thinking. Wish to design solutions that are artistic, interesting, interactive, and integrated into real-life scenarios.	Decorate home space or community public areas with paper art to create a warm and harmonious atmosphere and enhance neighborhood interaction. Convenient, safe, and sustainable.	Sustainable and safe teaching cases and design inspirations optimize the spatial expression and innovative design potential of paper art. Combines pedagogical value and artistic creativity.	Optimize the office or living space through paper art to relieve stress and improve the quality of life. We hope that the works are both artistic and practical and can effectively enhance the atmosphere of the space.	Decorate your home space or participate in community cultural activities through paper art to experience the charm of traditional and modern art. The works are simple, safe, environmentally friendly, beautiful, and sustainable and at the same time can evoke emotional memories.
Life Scene	Campus studios, dormitories, and exhibition halls.	Community public area and family living room.	Classrooms, design laboratories, and exhibition halls.	Home study and office.	Family living room and community activity center.
Preferred Style	Beautiful form, unique shape, dynamic light and shadow effects, and technological interactive devices.	Cultural elements, natural colors, minimalist style, and green environmental protection.	Cross-border design, sustainable design, and works that combine cultural heritage and modernity.	Beautiful shape, color unity, minimalism, and artistic quality.	Environmentally friendly use, nostalgic style, traditional cultural elements, and soft colors.

shows the basic information of user portraits for different occupational groups, and a sample size of 50 people was selected for each group, aiming to clarify the age range, basic needs, living scenarios, and preferred styles of users. By analyzing the user profiles of student groups, ordinary community residents, design educators, urban white-collar workers, and elderly groups, the needs and preferences of different target audiences can be more accurately grasped, providing a scientific basis for the decorative design of space paper materials.

In Table 4, the results of the questionnaire show that the decorative demand for spatial paper materials from different occupational groups shows significant stratification characteristics due to the differences in the use scenarios and aesthetic preferences. The student group takes learning as the main life scene, and they pay more attention to the formal aesthetics of paper art design, expect to realize the unity of artistry, fun, and interactivity through design works, and can be integrated into the actual life scene, which reflects the young generation’s dual pursuit of innovation and practicability; the elderly group focuses on the quality of life and emotional accompaniment after retirement and hopes to realize the purpose of social interaction and emotional communication through participation in cultural community activities. Therefore, they pay more attention to the safety, environmental protection, and sustainability of the works, and at the same time, they hope that the works can evoke emotional memories and embody cultural inheritance and temperature [36]; design educators, as practitioners in the professional field, tend to realize the win-win situation of the teaching value and artistic creation through paper-based art design cases; urban white-collar workers generally pursue a high-quality life and pay attention to the functionality and aesthetic expression of space decoration. They tend to choose simple, fashionable, and design-rich works to optimize the atmosphere of an office or living space, relieve stress, and improve their quality of life; community residents prefer convenient, safe, and sustainable paper works to decorate their family space or community public areas, create a warm and harmonious atmosphere, and enhance the interactions between neighbors.

5.4.2. Case Discussion

The team adopted the Delphi Method to organize and summarize the user profiles and extracted seven key indicators for space expansion design: cultural heritage, formal aesthetics, material sustainability, styling innovation, healing composite function, interactive experience, and color affinity. Based on this, a weighted scoring questionnaire was designed for five typical user groups (Software: IBM SPSS Statistics 30). Finally, the radar chart’s visualization revealed the tendency of users’ needs, which provides a scientific basis for the formulation of design strategies.

The data collection process was as follows: fifty students rated the seven design requirements on a weighted scale (

Table 5. Scoring data for the seven major design requirement indicators of student groups.

Students	Cultural Heritage	Formal Aesthetics	Material Sustainability	Modeling Innovation	Healing Complex Functions	Interactive Experience	Color Affinity
1	5	9	3	2	2	9	7
2	7	10	6	1	0	8	4
...	...	...	...	...	...	...	...
50	3	10	5	4	1	10	5

) with a total score of 10, and then the data were organized to calculate the mean.

To calculate the mean score for each indicator, the Formula (1) was used as follows:

$${\mathrm{F}\mathrm{i}\mathrm{n}\mathrm{a}\mathrm{l} \mathrm{S}\mathrm{c}\mathrm{o}\mathrm{r}\mathrm{e}}_{\mathrm{i}}={\displaystyle \frac{1}{50}}\sum _{\mathrm{j}=1}^{50}{\mathrm{S}\mathrm{c}\mathrm{o}\mathrm{r}\mathrm{e}}_{\mathrm{j}\mathrm{i}}$$

(1)

where i = 1, 2, ...., 7 denotes 7 indicators.

Next, the same data collection process was followed. The data of 50 samples from each of the community residents, design educators, working white-collar workers, and the elderly group were collated to derive the average scores, and the average scores of the seven indicators were rounded up and processed for visualization purposes. The final score’s breakdown data (

Table 6. Final scores for the seven design-need indicators for the five groups (rounded).

	Students	Community Residents	Design Educators	White Collar	Older Adults
Cultural Heritage	6	6	8	4	6
Formal Aesthetics	9	4	7	9	6
Material Sustainability	4	4	6	3	4
Modeling Innovation	3	6	5	7	3
Healing Complex Functions	2	5	4	7	9
Interactive Experience	9	8	9	5	5
Color Affinity	5	9	4	2	8

) and the score data’s visualization results (Figure 12) were obtained. The radar chart visualizes the degree of concern of different user groups about the degree of each influencing factor in the design of paper-based art space expansion.

The study showed that there were significant differences in the needs of the student population, general community residents, design educators, working white-collar workers, and older adults for paper in the design of spatial extensions.

1.

Student Group: aesthetic practice-oriented

Formal aesthetics (9) and interactive experience (9) are the core demands of the student group, while material sustainability (4), modeling innovation (3), and healing function (2) receive significantly less attention. A total of 80% of the surveyed students hope that the paper works can reflect artistry and be integrated into real-life scenarios and at the same time pay attention to the form of the work’s aesthetics and technological interactive experience.

One design suggestion is as follows: it is recommended to use a modularized innovative design of paper materials or an intelligent–interactive design combination to adapt to the needs of dynamic scenarios and satisfy students’ dual pursuit of innovation and practicality. Book binding “The Most Beautiful Book” design, Gu Han-yun’s work “Bad Design” embodies the concept of “bad” through a seemingly random but logical layout and at the same time has a strong sense of life, making it easy to read. Pan Yanrong’s “Notes on Repenting of Qinju” has the overall form of a piece of rice paper. Raw edges and calligraphic strokes enhance the cultural attributes, breaking the traditional reading style and providing novelty [37].

2.

Ordinary Residents: sensory friendly

Color affinity (9) and interactive experience (8) are the main concerns of ordinary residents, while the appeal of indicators such as formal aesthetics (4) and material sustainability (4) is relatively low. This suggests that ordinary community residents are more inclined to choose brightly colored and simple-to-install paper decorations to enhance the sense of atmosphere and interactivity of their home or community space. Therefore, paper decorations with bright colors and simple operation can be better integrated into daily life and promote social exchanges and emotional connections between neighbors.

One design suggestion is as follows: organize paper craft workshops for residents to encourage them to participate in design and creation so that the atmosphere and tone of the urban space can be changed and promote social communication and emotional connection between neighbors.

3.

Design educators: implementers of win-win concepts

Design educators show high concern for cultural heritage (8), formal aesthetics (7), material sustainability (6), and interactive experience (9), while the appeal of color affinity (4) and healing composite function (4) is significantly weakened. The focus is on the cultural connotation and aesthetic expression of paper works. They hope to realize a win-win situation between teaching value and artistic creation through paper art design and provide students with teaching materials with both theoretical guidance and practical reference.

One design suggestion is as follows: promote paper art design with cultural attributes, emphasize the cultural connotation and aesthetic expression of the works, stimulate students’ sense of cultural identity and creativity, and strengthen the cultivation of environmental-protection concepts and social responsibility. The book binding design “The Most Beautiful Book” is a typical design case of cultural attributes [38]. “Tofu” is Zhu Winchun’s illustrated book with the theme of “tofu”, which shows the unique charm of China’s tofu culture through both interesting and creative design. The low-carbon, environmentally friendly and sustainable characteristics of paper are favored by design educators, reducing carbon emissions and energy consumption [39]. Artist Sheila Nakitende’s innovative experiments with recycled Ugandan bark paper and Brazilian artist Otávio Roth’s sustainability explorations focusing on the integration of culture and ecology. Their work transcends creative self-expression and reminds us how creativity can be utilized in ecologically and socially beneficial ways [40].

4.

Urban white-collar workers: characteristics of stress compensation

Formal aesthetics (9), modeling innovation (7), and healing function (7) form a synergistic network, mapping out the aesthetic needs and emotional compensation demands of the office population. The white-collar group pursues a high-quality life, focusing on the functionality and aesthetic expression of space decoration. Paper artworks with unique shapes and healing functions can effectively optimize the atmosphere of the office or living space, relieve pressure, and improve the quality of life. Secondly, paper art installations can promote the interactivity of urban spaces [41].

One design suggestion is as follows: develop paper artworks with unique shapes and healing functions to optimize the atmosphere of office or living spaces, relieve stress, and enhance the quality of life. For example, French studio Zim&Zou designed a series of paper-art display windows for Hermes, using bright and colorful cardboard to enhance the social function of the works. Dutch artist Peter Gentenaar utilizes the natural curling gesture of paper in the drying process to recreate and give paper sculpture a new form of art. The series of works “Paper Aesthetics” demonstrates the unique, urban, cultural and artistic phenomenon of paper sculpture and urban architectural space.

5.

Elderly group: focus on aging-friendly features

Elderly users show high concern for color affinity (8) and healing function (9), while the demand for styling innovation (3) and material sustainability (4) is weakened. Older people want to participate in cultural community activities to realize the purpose of social interaction and emotional communication, while focusing on the safety and sustainability of the works. In addition, design solutions with healing functions can evoke the emotional memory of the elderly and create a warmer and more caring spatial atmosphere.

One suggestion is as follows: focus on the development of healing design solutions, such as soft light and shadow effects or warm thematic decorations, to evoke the emotional memory of the elderly and on safety and environmental protection to create a warm and caring space for the elderly.

The analysis and conclusion is as follows:

The study shows that the demand for the space-expanding design of paper materials by different occupational groups presents obvious stratified characteristics due to differences in use scenarios and aesthetic preferences. This differentiated user profile analysis provides designers with an important reference basis, which helps to target the development of paper-art design solutions that meet the needs of various types of users. For example, for the student population, the focus can be on highlighting the formal aesthetics and interactive experience; for ordinary community residents, the focus should be on color affinity and interactivity; and for design educators and working white-collar workers, it is necessary to take into account the multiple needs of cultural heritage, formal aesthetics, and healing functions [7].

In summary, through in-depth analysis of the demand characteristics of different user groups, we can provide a more accurate design direction and implementation strategy for the spatial expansion design of paper materials, so as to realize the unity of functionality and aesthetic value and inject new vitality and possibilities into the field of spatial decoration.

5.5. Results and Discussion

5.5.1. Research Results

Through the research of course practice, artist interviews, and a questionnaire survey, it was found that paper-based materials show unique innovative potential for spatial expansion and for application value in spatial design. First of all, educational practice shows that paper material significantly enhances the visual richness and perceptual experience of space through material superposition, light and shadow scenography, and structural modular design, realizing the synergistic upgrading of spatial functionality and aesthetic perception; deconstructive restructuring, lighting design, and composite material application not only enhances the spatial functionality and cultural connotation, but also effectively cultivates the students’ innovation and interdisciplinary collaboration ability. Secondly, the artists’ practice further expands the expressive power of paper materials, such as using the lightweight property and plasticity of paper to reconstruct the “soft boundary” between people and space, giving space–emotional resonance and healing properties; it also emphasizes the green and environmental-protection characteristics of paper materials, advocating for their integration into daily-life scenes and exploring their multiple values in functional decoration, cultural narratives, and emotional designs. The questionnaire study shows that different occupations have different values in the design of the space. In addition, the questionnaire study shows that the demand of different occupational groups for the spatial expansion design of paper materials presents stratified characteristics, and different groups have differentiated demands for paper space devices in terms of formal aesthetics, interactive experience, and healing functions, which confirms the in-depth coupling of material expressiveness and humanistic care. This provides designers with accurate user profiles and differentiated design directions. Various research results also prove the feasibility of the spatial expansion of paper materials.

5.5.2. Potential Limitations and Future Work

Although this study demonstrates the usefulness of paper-based materials in enhancing space quality and space expansion design, there are still some potential limitations. First, the lack of durability and water resistance of paper-based materials may limit their application in high humidity or high abrasion environments, and composite materials or surface-treatment technologies need to be further explored to enhance their performance. Second, although the stratified analysis of user needs provides an important reference for designers, there are still limitations in sample size and diversity. In future research, we will further expand the sample size and scope to improve the reliability of the research data. In addition, the emotional healing effect of paper-based materials currently relies more on subjective experience and lacks quantitative assessment tools; the healing value will be further verified in the future through psychological experiments and physiological index measurements. Our work will focus on optimizing the physical properties of paper-based materials and exploring research on quantitative perceptual design for cultural adaptation and emotional healing.

6. Conclusions

This study reveals the multifunctionality and cultural-empowerment potential of paper materials in urban space design, providing important insights for art design education and space-expansion design practice. By analyzing the interface perception, contextual perception, artistic perception, and cultural perception of paper art, the design concept of “paper material-space expansion-emotional interaction” was formed. From the visual and tactile perspectives, the designers created a variety of forms and spatial hierarchies through folding, splicing, structuring, and compositing, thus realizing spatial content augmentation and enhancing the user’s spatial experience.

Paper material not only balances function and aesthetics through multi-dimensional design strategies, but also becomes an important medium for conveying cultural connotations due to its environmental attributes and emotional healing value, and at the same time enhances the emotional connection between people and space. Through teaching practice and artist interviews, combined with the cross-validation of design cases, three major value dimensions of paper art as a design medium for spatial expansion have been established: realizing the dynamic balance between ecological materials and spatial functions at the physical level, completing the contemporary translation of traditional skills at the cultural level, and constructing an emotional interactive interface with healing properties at the psychological level.

In addition, based on the hierarchical analysis of user needs, designers can design paper art designs that better meet the actual needs and promote the innovation and development of the spatial decoration field, especially in the expansion design and transformation of complex urban environments. However, paper-based materials still require further research in terms of durability, performance optimization, and quantification of healing effects. Future work will focus on the optimization of the physical properties of paper-based materials and further explore the quantitative and perceptual design research of their cultural adaptability and emotional healing through diverse measurement tools such as psychological experiments and physiological index measurements. In addition, due to the limitations of the authors’ own knowledge base, the research on the artistic creation and daily application of paper-based materials still needs further in-depth study, and the authors will continue to explore the influence of materials on the design of spatial expansion in the future. In order to explore the possibility of material innovation for special people, the author will pay more attention to the exploration of the possibility of material innovation for the expansion design of blind people's space, to realize the artistic needs of the blind group and thus the material innovation and tactile artistic expression of blind people's space. The application of paper material in sustainable design, emotional expression and cultural inheritance will have a broad prospect in the practice of blind space design, injecting more vitality and possibilities into the living space, and at the same time opening up a new direction for space design theory and practice.