「住所其實才是存在的基本性格，有了它，凡人才真正存在。」德國哲學家馬丁·海德格描述了家作為人們住處被建構的方式，住所與其中的一切物質都顯示出居住者的存在狀態，並且，沒有建築物就不可能存在。藝術家蘇子涵藉由作品的形狀、媒材與各種視覺符號，例如，繪畫的物件、植物、牛奶盒，創造出視覺上封閉、規則統一的空間，並將象徵生命的符號（植物）穿插置入於帶有歷史感的物件（容器）之中，對應到的是在真實生活之內，人們在物件與自然之中達到平衡並共存的其他方式及可能性。
在所有以人工書寫空間的方式，跳開習以為常的空間思考方式時，其實我們也就是生活在一個追求自然的不自然空間。
The relation between model and city is the main topic for her most artistic works, such as the exhibition of『Model-Event, A Shifted Plan』at K's Contemporary Art Space in Tainan, 2012 or the exhibition of『Security Zone for Artists』 at Hong gah Museum in Taipei, 2012. The creations of above exhibitions are based on the observation for the phenomenon of city.
The recent topic is focusing on the relation between human and city. This city's rising is depended on the human's desire, so that the city maybe can be divided into two different worlds by the level of the sea, and the stratification (division) lets the city makes work. People who live in this city get used to follow some orders or behaviors. Therefore, she published a book,《The House of Page after Page》, by flipping each page to gradually show some little informations of the model to tell you about the story of the city. Besides, she wished that readers could re-read our city by another viewpoint.