中国美术学院2026 PLAYSHOP 小学期 「跨界设计」课程——四学院导师及课程阵容详案

第七季 PLAYSHOP / YOUNG to young 小学期课程《跨界设计》 将于 2026年6月22日至7月10日在中国美术学院良渚校区举办。课程面向设计学科视觉传播学院、时尚设计学院、工业设计学院与创新设计学院本科三年级学生开放。PLAYSHOP 是中国美术学院设计学科持续推进的重要教学品牌项目，旨在通过跨专业协作与国际联合教学机制，探索面向未来设计教育的人才培养路径。本期课程由中国美术学院教务处与设计学科办公室统筹组织，四学院共同实施。

自2019年至2024年前六季项目开展以来，“PLAYSHOP”逐渐形成以跨学科协同、国际联合授课与实践导向为核心特征的教学格局，汇聚了丰富的课程成果与国际合作资源。2026年，第七季《跨界设计》课程将在既有基础上深化教学组织方式，由中外教师组成课程研发小组，围绕主题开展联合备课与协同授课，在多元文化与复合知识背景中展开教学实践，持续探索突破传统课程边界、面向未来设计教育的开放型机制。

课程将设计理解为一种认识现实、组织经验并生成意义的方式。通过开放的学习结构，引导学生以多维视角观察世界，在跨领域与跨文化的情境中逐渐形成具有主体意识的方法体系与设计立场。同时关注国际艺术与设计教育的发展动向，鼓励在理论思考、材料实验、媒介拓展与视觉表达之间建立新的关联结构，拓展研究视野，激发多样化的创作路径。

PLAYSHOP跨界设计课程试图将课堂转化为一个持续生成的设计实验场。在三周的学习周期中，不同学科、专业、经验与思想在此交汇，通过游戏、讨论与协作形成充满创造力的环境。设计不再只是解决问题的技术，更成为理解世界、重组经验与提出问题的行动。在此高能教学现场中，触及未来设计教育的可能形态。

The 7th Season  PLAYSHOP/YOUNG to young Summer Program, also known as the “PLAYSHOP Trans-boundary Curriculum in Design” course, will be held from June 22 to July 10, 2026, at the Liangzhu Campus of China Academy of Art. The course is open to third-year undergraduate students from the School of Communication & Design, the School of Fashion Design, the School of Industrial Design, and the School of Design & Innovation. PLAYSHOP is an important long-term teaching brand project continuously promoted by the design disciplines of the China Academy of Art. It aims to explore future-oriented pathways for design education and talent cultivation through cross-disciplinary collaboration and an international co-teaching mechanism. This edition of the course is jointly organized by the Academic Affairs Office and the Design Discipline Office of the China Academy of Art, and implemented collaboratively by the four schools.

Building upon the spirit and methodology developed through the first six seasons of PLAYSHOP from 2019 to 2024, the program has gradually established a distinctive pedagogical framework characterized by interdisciplinary collaboration, international collaborative teaching, and practice-oriented learning, while accumulating a rich body of course outcomes and international collaborative resources. In 2026, the seventh season of the Trans-boundary Curriculum in Design will further build on this foundation by refining its pedagogical organization. A course development team composed of Chinese and international faculty members will engage in joint lesson planning and collaborative teaching around the annual theme, carrying out pedagogical experimentation within a context shaped by multicultural perspectives and hybrid forms of knowledge, while continuing to explore an open framework that breaks through the conventional boundaries of the classroom and looks toward the future of design education.

The course understands design as a way of perceiving reality, organizing experience, and generating meaning.Through an open learning structure, students are guided to observe the world from multiple perspectives and gradually develop a methodology and design position with a strong sense of subjectivity in cross-disciplinary and cross-cultural contexts. At the same time, the course pays attention to current developments in international art and design education, encouraging students to build new relational structures among theoretical reflection, material experimentation, media extension，and visual expression, thereby expanding their research horizons and stimulating diverse creative pathways.

The PLAYSHOP Trans-boundary Curriculum in Design course attempts to transform the classroom into a continuously evolving experimental field for design. Over a three-week learning period, different disciplines, specializations, experiences, and ideas converge here, creating a dynamic environment of invention through play, discussion, and collaboration. Design is no longer merely a technique for solving problems, rather, it becomes an action for understanding the world, reorganizing experience, and raising questions. In this high-intensity teaching environment, the course seeks to touch upon possible future forms of design education.

在当代知识生产与设计实践的语境中，世界越来越以“提示词”的方式被激活。在当代生成式技术迅速发展的语境中，世界似乎越来越依赖“提示词”被唤起：输入一句话，图像随之出现；给出一段指令，叙事即刻生成。然而，当生成变得自动而顺滑，真正的问题开始转向。

2026 年 PLAYSHOP 小学期以 “PROMPT｜提示词” 为主题，一个词、一句话、一次指令，便可能触发一场生成、一段叙事或一种新的结构。Prompt 不仅是技术语境中的输入接口，更是一种思想装置：它指向问题的提出方式，也决定了创作如何开始。

人的创造力恰恰来自于停顿、偏离与不确定。在这里，提示词不用于加速生成，而用于延迟答案。它不是命令机器生产图像，而是邀请我们重新进入经验、材料与现实。学生将从一个词出发，在文本、造物与影像之间展开探索，让语言成为行动的开端，让设计重新回到身体、观察与实践之中Prompt 既是问题，也是方法；既是命令，也是邀请。它让创作在不确定性中展开，在开放的结构中不断被重新定义。

从一个词开始，向未知的世界展开。

不是为了生成更多图像，而是为了重新夺回创造的时间。

In the context of contemporary knowledge production and design practice, the world is increasingly activated through “prompts.” With the rapid development of generative technologies today, it seems that the world is more and more summoned by prompts: enter a sentence, and an image appears; provide an instruction, and a narrative is instantly generated. Yet as generation becomes automated and frictionless, the real questions begin to shift.

The 2026 PLAYSHOP Trans-boundary Curriculum in Design takes “PROMPT” as its theme. A single word, a sentence, or an instruction may trigger a generation, a narrative, or a new structure. Prompt is not only an input interface in technological contexts, but also a device of thought: it points to the way a question is posed, and determines how creation begins.

Human creativity, however, comes precisely from pause, deviation, and uncertainty. Here, the prompt is not used to accelerate generation, but to delay the answer. It is not a command for machines to produce images, but an invitation for us to re-enter experience, material, and reality. Starting from a word, students will explore across text, object-making, and moving image, allowing language to become the beginning of action, and returning design to the body, observation, and practice. Prompt is both question and method; both command and invitation. It allows creation to unfold within uncertainty and to be continuously redefined within an open structure.

Beginning with a word, opening toward an unknown world.

Not to generate more images, but to reclaim the time of creation.

视觉传播学院缘起于1928年国立艺术院建院之初的图案科，近百年间，历经实用艺术部、实用美术系、工艺美术装潢专业、视觉传达设计等阶段，2023年从中国美术学院象山校区迁入良渚校区并建立视觉传播学院，目前拥有设计学一级学科硕博点，覆盖视觉传达设计与艺术设计学两个国一流本科专业，初步建成贯通本硕博的多层次教学体系和国际领先的学术梯队。

视觉传播学院以视觉与文化研究所和社会与策略研究所作为传播设计的“一体两面”，内涵东方视觉、品牌形象、全媒传播、内容谱系、社会叙事、城乡策略等课程与课题团，以东方视觉和内容谱系作为形式与内容间的“表里如一”，以品牌形象和社会叙事作为形象与本体间的“名实相符”，以全媒传播和城乡策略作为媒介与现实间的“虚实混合”，因而将“视觉文化”和“社会策略”展开为以“投影溯源”为目标的“设计叙事”和以“真实溯源”为诉求的“内容生产”，进而面向以“社会关系再生产”为诉求的人文经纬，以共同构建设计人文交叉学科的战略方向。

The School of Communication & Design originated from the Pictorial Department of the National Academy of Fine Arts (NAFA) at the beginning of the school’s establishment in 1928. Over the past hundred years, it has gone through the stages of the Department of Applied Art, the Department of Applied Fine Art, the Department of Arts and Crafts with a subject focus on decoration, and the Department of Visual Communication Design. These earlier stages took place on the Xiangshan Campus and since 2023 a relocation on the Liangzhu Campus led to the establishment of the SCD. Currently, the SCD offers first-level graduate programs for master’s and Ph.D. students in design, each including two national first-class undergraduate majors: one is Visual Communication Design, and the other is Art and Design. It has initially built a multi-level teaching and research system incorporating undergraduate and graduate education and an internationally leading academic team.

The School of Communication & Design takes the Institute of Visual and Cultural Studies and the Institute of Social and Strategic Studies as the “two sides of the same coin” of communication design. The subjects cover eastern vision, brand image, omnimedia communication, content genealogy, social narrative, urban and rural str-ategy, etc. The eastern vision and the content genealogy serve as the “con-sistency” between the form and the content. Brand image and social narrative correspond to the name and reality between image and ontology. Omnimedia com-munication and urban-rural strategy are the “mixing of reality and reality” between media and reality. The “visual culture” and “social strategy” are thus developed into a “design narrative” aiming at “projection and origin.” Their approach towards “content prouction” appeals to “authentic origin,” thus creating a “longitude and latitude of humanities” oriented to the “reproduction of social relations.” The common goal is to jointly construct a strategic direction for design in the cross-disciplinary humanities.

活跃于交互设计与平面设计的交叉领域，秉持高度协作与跨学科的工作理念。这一在其学术生涯早期便已形成的思维方式，持续贯穿于他参与的各种创意合作与复杂项目之中。作为奥芬巴赫设计学院旗下「新传播学院」的联合创始人（与克劳斯·海斯教授共同创办），并担任该机构的协理兼设计总监，尼古拉斯在学术研究与商业实践之间扮演着重要纽带角色，主导应对多元化的设计挑战。

他毕业于视觉传达专业，获硕士学位，同时也在奥芬巴赫设计学院担任讲师，讲授平面、概念与交互设计课程，分享自己的专业经验。其作品曾在汉堡工艺美术博物馆展出，并荣获多项国际大奖，包括纽约字体艺术指导俱乐部奖、四项艺术指导俱乐部奖以及三项红点奖。

他的客户与合作方涵盖众多国际品牌，如亚瑟士、宝洁、西门子股份公司、德国铁路股份公司、德国电信股份公司、汉莎航空股份公司以及哈佛商业出版。在公共与文化领域，他曾与德国设计委员会、黑森州科学与艺术部、奥芬巴赫工商会合作，服务过的知名机构还包括法兰克福大学、德国建筑博物馆、希尔恩美术馆、森肯贝格自然博物馆以及法兰克福市政府等。

Nikolas Brückmann operates at the intersection of interaction and graphic design, guided by a deeply collaborative and interdisciplinary mindset. This approach, shaped early in his academic career, continues to define his work across various creative partnerships and complex projects. As Associate and Design Director at the Institut für Neue Kommunikation (HfG Offenbach)—an institution he co-founded alongside Prof. Klaus Hesse—Nikolas acts as a vital link between academic research and commercial practice, leading diverse design challenges.

A graduate with a Master's degree (Diplom-Designer) in Visual Communication, he also shares his expertise as a lecturer at HfG Offen-bach, specializing in Graphic, Conceptual, and In-teraction Design.

His work has been exhibited at the Museum für Kunst und Gewerbe Hamburg and has earned numerous international accolades, including the Type Directors Club Award, four Art Directors Club Awards, and three Red Dot Awards.His extensive portfolio of clients and partners includes global brands such as ASICS, Procter & Gamble, Sie-mens AG, Deutsche Bahn AG, Deutsche Telekom AG, Lufthansa AG, and Harvard Business Publishing. In the public and cultural sectors, he hascollaborated with the German Design Council, the Hessen State Ministry for Higher Education, Research and the Arts, and the Chamber of Commerce (IHK) Offenbach am Main, as well as renowned institutions like Goethe University Frankfurt, the Deutsches Architekturmuseum, Schirn Kunsthalle, the Senckenberg Natural History Museum, and the City of Frankfurt am Main.

生于上海。现居上海、杭州。深圳市平面设计协会（SGDA）会员，合合堂设计事务所one design office创始人&设计总监。在德国留学和生活十年，毕业于奥芬巴赫设计学院，获视觉传达硕士，并获得德国政府下属的DAAD德意志学术交流中心授予的“德国高校外国留学生杰出成绩奖”及奖金。在德期间师从德国平面设计大师 Klaus Hesse，入选德国艺术指导俱乐部旗下著名设计杂志《sushi》的编辑和设计团队。作品获iF设计奖、Rudo-Spemann字体设计奖特别奖，作品获藏于奥芬巴赫柯林斯珀字体博物馆、德国海德堡大学建校625周年海报征集大赛优胜奖、世博会博物馆LOGO全球征集大赛优胜大奖等奖项。并参与策划第一届德中平面设计双年展、Klingspor Museum吕敬人书籍设计展、“Show me your love”中德设计课程对话展等活动。自2013年回国后持续受聘于上海视觉艺术学院、东华大学、同济大学、中国美术学院等院校担任客座讲师，教授视觉传达相关课程。在开展设计工作及教学的同时，于2021年出版个人首套原创绘本系列《中国房子》，获“2022百佳童书奖”、“陶风图书奖”、“第31届书博会百种优秀童书”等奖项。

Born in Shanghai. Currently lives in Shanghai and Hangzhou. Member of the Shenzhen Graphic Design Association (SGDA), founder and design director of one design office. Studied and lived in Germany for ten years, graduated with a Master’s degree in Visual Communication from the HfG Offenbach, and received the DAAD Prize for Outstanding Achievements by Foreign Students at German Higher Education Institutions (DAAD-Preis für hervorragende Leistungen ausländischer Studierender an den deutschen Hochschulen), awarded by the German Academic Exchange Service (DAAD), a government-affiliated organization. During his time in Germany, he studied under German graphic design master Klaus Hesse and was selected to join the editorial and design team of sushi, a renowned design magazine under the ADC Germany. His works have received the iF Design Award and the Special Prize of the Rudo-Spemann Award for Typography. His works are held in the Klingspor Museum Offenbach, won the prize in the poster competition "Plakatwettbewerb – 625 Jahre Universität Heidelberg" (625th Anniversary of Heidelberg University), and received the Grand Prize in the global logo competition for the World Expo Museum (WORLD EXPO MUSEUM). He also co-curated events such as the 1st German-Chinese Biennale of Graphic Design, the Lü Jingren Book Design Exhibition at the Klingspor Museum, and the Sino-German Design Course Dialogue Exhibition "Show Me Your Love." Since returning to China in 2013, he has served as a guest lecturer in visual communication at institutions including Shanghai Institute of Visual Arts, Donghua University, Tongji University, and China Academy of Art. Alongside his design work and teaching, he published his first original picture book series, Chinese Houses, in 2021, which has received awards such as the "2022 Best 100 Children's Books Award," the "Taofeng Book Award," and the "31st National Book Fair Top 100 Outstanding Children’s Books Award."

苏菲·鲁宾与塞德里克·罗塞尔是瑞士创意设计工作室 WePlayDesign 的联合创始人。该工作室以其作品的原创性与品质获得国际认可。自2015年创立以来，他们发展出一套根植于“玩”的独特创作方法——不仅将“玩”视为灵感来源，更将其作为实验、叙事和视觉表达的真实工具。在好奇心与独立精神的驱动下，苏菲与塞德里克探索游戏机制如何塑造新的视觉叙事与创意系统。通过规则、限制、互动以及游戏性的结构，他们将每一个项目转化为一个场域——在这里，创意自由与精准、功能相遇。曾经看似非传统的方法，如今已成为工作室最显著的优势之一。他们的实践涵盖艺术指导、视觉识别、字体设计、动态设计、交互体验与生成设计。在所有媒介中，他们始终追求创作出富有活力、情感共鸣且兼具概念深度的作品。WePlayDesign 的作品定期在欧洲、亚洲及美洲各地展出、获奖及出版。如今，苏菲·鲁宾与塞德里克·罗塞尔继续推进项目、研究与工作坊，探索游戏、设计与当代视觉文化之间的关系。

Sophie Rubin and Cédric Rossel are the founders of WePlayDesign, a Swiss creative design studio internationally recognized for the originality and quality of its work. Since founding the studio in 2015, they have developed a unique creative approach rooted in play, not only as a source of inspiration, but also as a genuine tool for experimentation, storytelling, and visual expression.

Driven by curiosity and an independent spirit, Sophie and Cédric explore how the mechanics of games can shape new visual narratives and creative systems. Through rules, constraints, interactions, and playful structures, they transform each project into a space where creative freedom meets precision and functionality. What once appeared as an unconventional methodology has become one of the studio’s defining strengths.

Their practice spans art direction, visual identities, type design, motion design, interactive experiences, and generative design. Across all mediums, they seek to create work that is vibrant, emotional, and conceptually engaging.

The work of WePlayDesign has been regularly exhibited, awarded, and published internationally across Europe, Asia, and the Americas. Today, Sophie Rubin and Cédric Rossel continue to develop projects, research, and workshops that explore the relationship between play, design, and contemporary visual culture.

设计学博士，双硕士，中国美术学院视觉传播学院教师。毕业于美国弗吉尼亚联邦大学、中国美术学院。中国国际海报双年展秘书长、浙江省美术家协会平面艺委会副秘书长、西湖美术讲坛主讲人。曾获AVADA、Hiiibrand Awards、CGDA、KTK、GDA等奖项，入选全国平面设计作品展、全国书籍装帧艺术展、浙江省青年艺术家作品展等展项。主要作品：肖峰艺术馆标志、中国美术学院图书馆标志及良渚馆区导视系统，“为新中国设计”“大学望境”“国美十二乐律”“百尺游丝山水相依”等特展与品牌主视觉。她的研究关注跨文化语境中的视觉符号与传播体系，致力于以设计之力弥合情感鸿沟、跨越文明边界。

Ph.D. in Design, Double Master's Degrees. Lecturer at the School of Communication and Design, China Academy of Art. Graduated from Virginia Commonwealth University (USA) and China Academy of Art. Secretary-General of the China International Poster Biennial, and keynote speaker at the West Lake Art Forum. Her works have received awards including AVADA, Hiiibrand Awards, CGDA, KTK, and GDA, and have been selected for the National Graphic Design Exhibition, National Book Design Art Exhibition, and Zhejiang Young Artists Exhibition. She has led the design of the logo for Xiao Feng Art Museum, the logo for the China Academy of Art Library, the wayfinding system for the Liangzhu Campus of CAA Library, as well as key visuals for "Design for New China" "University Horizon" and "Twelve Tones of Harmony". Her research focuses on visual symbols and communication systems in cross-cultural contexts, striving through design to bridge emotional divides and transcend civilizational boundaries.

Tomáš Hlava 是一位平面设计师，工作领域涵盖字体设计、视觉识别系统、书籍设计与编辑系统，并特别关注字体背后的历史与文化语境。

他获得了美国耶鲁大学艺术学院（Yale School of Art）平面设计硕士学位，同时拥有阿姆斯特丹 Gerrit Rietveld Academie 学士学位，以及布拉格 VOŠ Scholastika 学士学位。

他的实践游走于研究导向的方法与设计应用之间，将字体视为一种能够通过限制、形式、编排与语境生成的系统。相比将字形视为固定结构，他更关注字体语言如何在特定条件中被提取、生成与重新组织。通过对这些原则的不断质疑与重构，他的实践也持续发展出新的字母系统与视觉语言。

除了设计实践之外，Tomáš 还曾在纽约（美国）、哥本哈根（丹麦）与利兹（英国）等城市参与讲座与公开分享。他的作品曾获得包括耶鲁艺术学院院长奖（Dean’s Prize）以及多个国际海报竞赛奖项，并参与相关展览。

目前，Tomáš 常驻纽约，以自由设计师身份工作，持续参与不同项目委托，并与多个设计机构及工作室保持长期合作。

Tomáš Hlava is a graphic designer working across typography, visual identities, book design, and editorial systems, with a particular interest in the histories and contexts surrounding typefaces. He rece-ived his MFA in Graphic Design from Yale School of Art, a BA from Gerrit Rietveld Academie in Amsterdam, and a BA from VOŠ Scholastika in Prague.

His work moves between researchdriven investigations and design application, approaching typography as a system that can emerge through limitations, form, arrangement, and context. Rather than treating letterforms as fixed structures, his practice explores the conditions through which typographic language can be extracted, generated, and reconfigured. By questioning those principles, new alphabets and systems are often designed.

Alongside his design practice, Tomáš has participated in lectures and public presentations in New York City (USA), Copenhagen (DK) or Leeds (UK). His work has been recognized through awards and exhibitions, including the Dean’s Prize from the Yale School of Art and international poster competitions. Tomáš is currently based in New York City, he works as a freelance designer on project-based commissions and ongoing collaborations with agencies or studios.

毕业于巴塞尔艺术与设计学院数字通信环境硕士，现任教于中国美术学院， aptdotapt联合创始人，专注品牌与平面设计。曾获东京TDC、纽约TDC、GDC、Design360、白金创意等奖项，工作室获 Wallpaper 等主流媒体独家报道。

其关注二维图形与三维空间之间的暧昧关系，强调图像是时空序列的基本单元，并持续探索设计如何超越瞬时视觉经验而产生长期影响。

Graduated from the Master’s program in Digital Communication Environments at Basel HGK FHNW, he currently teaches at China Academy of Art and is the cofounder of aptdotapt, focusing on branding and graphic design. His work has received awards including Tokyo TDC, New York TDC, GDC, Design360, while the studio has been featured by and other international media outlets.

His research explores the relationship between two-dimensional graphics and threedimensional space, viewing images as fundamental units within spatiotemporal sequences, while continuously investigating how design can generate lasting impact beyond momentary vis-ual experience.

托马斯·加尼尔（1991年生于巴黎），法国艺术家与建筑师，其创作实践探索于技术、建筑与当代艺术的交汇。2016年硕士毕业于巴黎瓦勒德塞纳国立建筑学院后，他进入法国弗雷诺国家当代艺术工作室（Le Fresnoy）深造，逐步形成融合自动化程序、编程、3D建模、结构设计与雕塑的跨学科创作方法。其代表作《纪念碑》（Cénotaphe）凭借对数字技术与艺术语言的创新结合，荣获法国艺术家协会（ADAGP）“数字艺术新星奖”。

近年来，加尼尔持续探索人工智能生成图像、机器人编程、多材料3D打印、摄影测量及光雕版印刷等新兴技术，并将其融入对空间与感知的研究。作品曾展出于WRO数字艺术双年展（ 弗朗茨瓦夫 ）、Némo电子双年展（ 巴黎 ）、Chroniques电子双年展（ 南法 ）、白夜艺术节（ 布鲁塞尔 ），以及复星艺术基金会（ 上海 ）、Fiminco艺术基金会（ 巴黎 ）等国际机构。受福柯“异托邦”理论启发，加尼尔通过自动化系统、混凝土结构与数字制造构建不断生成、演变与瓦解的空间景观，探讨技术与人类、建筑与意识之间不断变化的关系，引导观者游走于现实与想象、秩序与崩解交织的边界之中。

Thomas Garnier (b. 1991, Paris) is a French artist and architect whose practice explores the intersections of technology, architecture, and contemporary art. After graduating from the École Nationale Supérieure d’Architecture de Paris-Val de Seine in 2016, he joined Le Fresnoy – Studio national des arts contemporains, where he developed an interdisciplinary approach combining automation, programming, 3D modelling, structural design, and sculpture. His acclaimed project Cénotaphe received the ADAGP Digital Arts Revelation Award for its innovative integration of digital technologies and artistic research.

In recent years, Garnier has expanded his practice through AI-generated imagery, robotic programming, multi-material 3D printing, photogrammetry, and lithophanic printing, incorporating these emerging technologies into an ongoing investigation of space and perception. His work has been presented internationally at exhibitions, media art festivals, and biennials, including the WRO Media Art Biennale, Némo Biennale, Chroniques Biennale, and Nuit Blanche Brussels, as well as institutions such as the Fosun Foundation in Shanghai and the Fiminco Foundation in Paris.

Inspired by Michel Foucault’s concept of heterotopia, Garnier constructs evolving spatial environments through automated systems, concrete structures, and digital fabrication. His installations and sculptures examine the shifting relationships between technology and humanity, architecture and consciousness, inviting viewers to navigate liminal territories where reality and imagination, order and collapse, continuously intersect.

张寓深，中国美术院教师，导演，毕业于中国美术学院、德国汉堡美院；2019年起任教于中国美术学院，作品曾展映于北京民生现代美术馆、法兰克福国际书展、北京国际摄影周，以及ZEBRA诗电影节、伦敦独立电影节、 图林根国际诗电影节等。参与执行了“2020天问：世界观的对话”，“Playshop / 玩吧国际设计联合课程”（ 2021 ）、“浙江省首届青年科学家节”（ 2022 ），“2023天问:电影行动”等。

Zhang Yu-Shen, director and teacher of China Academy of Art (CAA), MFA in CAA and MFA in HFBK Hamburg, has been teaching at CAA since 2019. Her works have been screened at Beijing Minsheng Art Museum, the Frankfurt International Book Fair, PhotoBeijing 2019, as well as at the ZEBRA Festival of Poetry and Cinema, the London Indie Film Festival, and the Inter-national Festival of Poetry and Cinema in Thuringia, among others. She has participated in the filmmaking of “2020 inter–World–Views”, “the Playshop International Collaborative Design Curriculum” (2021), “The First Young Scientist Festival in Zhejiang Province” (2022), “IWV2023: Mutual Learning of Civilizations—Film Action: Report from the World ” and so on.

中国美术学院创新设计学院于2018年6月成立，2021年9月起在“中华文明源发地”和“数字经济最前线”的良渚办学，是中国美术学院面向未来社会发展而建立的创新设计教学实验区。作为中国美术学院学科专业拓展的全新增长点和“双一流”建设的重要组成部分，学院秉持“着眼科艺融合、推动跨界教学、打造创新社区、重建设计人文”的教学目标，以“艺术、科技、商业”高度融合的创新设计学科为主体，以“生活即教育，学院即社区，教育即传播，学习即生产“为办学理念。以“院所制、学分制、学社制、三学期”为特色，围绕长三角的文化资源以及产业特色和优势，同步探索人才、教学、管理、育人的新机制。学院积极整合全球设计教育资源，创新教学、管理机制，打造前沿性、综合型的创新设计学科，推动以互联网为基础的智能制造和设计集成创新，着力打造大数据、智媒体时代的“新”包豪斯和呼捷玛斯。

The School of Design and Innovation of China Academy of Art (CAA) was established in June 2018 and bases itself in Liangzhu, the “origin of Chinese civilization” and the “forefront of the digital economy”, since September 2021, as a teaching experiment zone for innovative design established by CAA for the future development of society. As a new growth point for the expansion of disciplines and specialties of CAA and an important part of the construction of the “Double FirstClass” initiative, the School adheres to the teaching objectives of “focusing on the integration of art and science, promoting cross-border teaching, creating an innovative community, and reconstructing the design culture”, mainly develops an innovative design subject with a high degree of integration of “art, technology, and business” and embraces “life is education, school is a community, education is dissemination, and learning is production” as the philosophy of running the School. The School features “institute system, credit system, school community system, and trimester” and explores a new mechanism of talent, teaching, management, and education centered on the cultural resources and industrial characteristics and advantages of the Yangtze River Delta. The School actively integrates global design education resources, innovates teaching and management mechanisms, creates cuttingedge and comprehensive innovative design disciplines, promotes Internetbased intelligent manufacturing and design integration innovation, and strives to create “new” Staatliches Bauhaus and Vkhutemas in the era of big data and AI media.

Kowalska 博士是一位英国跨学科艺术家、研究员，现任中国传媒大学动画与数字艺术学院设计学助理教授。她的创作与教学立足于批判性与思辨性设计思维（CSDT）和消费文化的交叉点，重点关注物品间的关系，以及物设计的物品如何对话、塑造并影响文化。

Kowalska 博士的授课领域横跨电影、视频游戏、漫画、新媒体艺术、数字艺术和智能产品设计，她指导学生开展“设计未来”项目、进行产品批判分析，并讲授西方艺术与设计史哲学。在课堂之外，她担任曼彻斯特城市大学一项关于“设计未来”游戏化研究项目的研发负责人，并于近期在北京清华大学美术学院举办的“设计未来共享愿景”国际暑期项目中担任主旨演讲嘉宾与评委。

她积极参与国际学术社区，是欧洲艺术院校联盟（ELIA）“代际性工作组”的成员。目前，她也正在为中国各地的博物馆和商业空间的数字艺术项目进行创作。

Dr. Kowalska is a British interdisciplinary artist, researcher, and Assistant Professor in design at the School of Animation and Digital Arts, Communication University of China, Beijing. Her work and teaching sit at the intersection of critical and speculative design thinking (CSDT) and consumer culture, with a focus on object-to-object relationships; how designed objects speak to, shape, and inform culture.

Dr. Kowalska lectures across film, video games, comics, new media arts, digital arts, and intelligent product design, guiding students through design futures projects, product critique, and the philosophy of Western art and design history. Beyond the classroom, she serves as R&D lead on a design futures gamification research project for Manchester Metropolitan University and recently acted as keynote and judge for the ＆Design Futures Shared Vision “International Summer Program at Tsinghua University’s Academy of Arts & Design in Beijing.

She is actively engaged within the international community and sits on the ELIA ＆Generationality Working Group”, as well as currently creating work for digital art projects across Chinese museums and commercial spaces.

中国美术学院副教授、工业设计师，中国美术学院设计艺术学硕士。获相关发明及实用新型、外观专利11项，出版专著《传统造物文化基因中的形态语义》（1/1），发表相关论文十余篇；主持及参与浙江省高等教育学会研究课题《新文科背景下设计材料教学的多学科交叉课程体系研究》（1/5）、浙江省社科联研究课题《中国造物文化基因与形态语义演进》（1/1）、浙江省教育厅十四五教改项目《数智赋能视域下交叉学科设计人才培养模式研究》（2/5）等13项纵向课题及教改，并参与6项校企合作横向课题；参与编著教材《中国美术学院创新设计学院教材——材料工艺与构造》（2/5）；获多项红点工业设计奖等国际奖项，指导学生作品在国内外设计赛事中多次获奖。

Associate Professor at the China Academy of Art and Industrial Designer. He holds a Master’s degree in Design Arts from the China Academy of Art. He holds 11 patents for inventions, utility models, and industrial designs. He has authored the monograph Morphological Semantics in Traditional Craft Cultural Genes and published over ten related academic papers. He has led and participated in 13 government-funded research and educational reform projects. Additionally, he has participated in 6 university-industry collaboration projects. He also co-authored two textbooks. He is the recipient of multiple international design awards, including the Red Dot Design Award, and has guided students to win numerous prizes in domestic and international design competitions.

帕维尔是一位交互设计师、研究者与教师，现任教于海牙皇家艺术学院（KABK）与荷兰埃因霍温设计学院，他也是替代学习中心（ALT）的核心成员。ALT 是一个流动性的学校与艺术组织，致力于围绕进步性与激进性知识领域开展研究、创作与教学项目实践。帕维尔近期研究主要聚焦于新媒体理论与政治、社会、文化及环境研究之间的关联，通过互动媒体的概念开发与原型设计展开跨学科探索。他提出并践行一种基于“黑箱理论”的设计方法论，该理论源于他在 2012 年 TEDx 演讲中个人阐释与延展。目前，他正开展“面向全球南部的人本技术：（后）殖民语境下交互设计伦理”的跨学科研究。帕维尔长期在欧洲、拉丁美洲、非洲与亚洲的多个国家进行讲学与主持工作坊。2022 至 2023 年间，他因基于新型数字技术实验开展青年气候变化教育项目，获得由 ITAC 颁发的“Impact: Climate Award”。此外，他曾担任荷兰创意产业基金 “数字文化”委员会委员，以及欧洲艺术学院联盟（ELIA）代表委员会成员。

Pawel Pokutycki (PL/NL) is an interaction designer, researcher and lecturer at the Royal Academy of Art (KABK) in The Hague and Design Academy Eindhoven, The Netherlands. He is a core member of the Alternative Learning Tank (ALT), a nomadic school and artistic organisation that focuses on research, creation and implementation of didactical programs on progressive and radical fields of knowledge. His recent projects focus on exploring relationships between new media theory, political, social, cultural and environmental studies by concept development and prototyping for interactive media. He believes in a methodology of design based on his own, peculiar interpretation of the Black Box Theory presented at a TEDx event in 2012. Currently, he is conducting multidisciplinary research on “Humane Technology for the Global South: Ethics of Interaction Design in the (post) Colonial Context”, besides Europe frequently lecturing and giving master classes in many countries of Latin America, Africa and Asia. In 2022-2023 he received the Impact: Climate Award from ITAC (International Teaching Artists Collaborative) for educational work with youth on climate change problematics based on experimental use of new digital technologies. He has also been a committee member for  “Digital Culture” in Creative Industries Fund NL and a member of the Representative Board of ELIA, a globally-connected European network organisation of almost 300 art academies and universities.

设计学博士，数字艺术专业硕士。中国美术学院创新设计学院教师，数智创意设计工具研发与服务文化和旅游部技术创新中心专家委员会委员。主要研究交互设计、互动装置动态美学、艺术与科技、国家形象设计等领域。作为核心设计师参与国家勋章设计、中华人民共和国成立70周年标识设计等十余项国家重要设计项目。关注自然、文化与人类生活的设计需求和社会议题。

Ph.D. in Design and Master of Digital Arts. Faculty member at the School of Design and Innovation, China Academy of Art. Member of the Expert Committee of the Technology Innovation Center of Intelligent Creative Design Tools and Services, Ministry of Culture and Tourism. Her research focuses on Interaction Design, the Dynamic Aesthetics of Interactive Installations, Art and Technology, and National Image Design. As a core designer, she has participated in more than ten major national design projects, including the design of national medals and the emblem commemorating the 70th anniversary of the founding of the People’s Republic of China. Her work is concerned with design practices and social is-sues related to nature, culture, and human life.

Flavia Luck是一位阿根廷平面设计师，现为上海大学美术学院设计学博士候选人，主要研究方向为潮玩、游戏理论和非遗文化传承。她的研究聚焦于创意系统如何跨越文化边界激发感知与意义建构，特别关注国潮美学、卡哇伊设计，以及当代物质文化的情感基础设施。

Luck往来于布宜诺斯艾利斯和上海之间，现任拉普拉塔天主教大学（UCALP）游戏理论与AI赋能创意创新教师，同时担任布宜诺斯艾利斯大学社会科学学院阿根廷-中国研究中心（CEACH）的研究员。此外，她还是中国美术学院国际合作项目PLAYSHOP的特聘教师，负责开发游戏理论课程体系。

Flavia Luck is an Argentine graphic designer and doctoral researcher in Design Sciences at Shanghai University Academy of Arts, specializing in art toys, game theory, and intangible cultural heritage. Her research investigates how creative systems activate cultural perception across borders, with particular focus on Guócháo aesthetics, kawaii design, and the emotional infrastructure of contemporary material culture.

Based between Buenos Aires and Shanghai, Luck teaches game theory and AI-mediated creative innovation at Universidad Católica de La Plata (UCALP), and serves as a researcher with the Centro de Estudios Argentina–China (CEACH), Faculty of Social Sciences, Universidad de Buenos Aires. She is also an invited professor for China Academy of Art’s international PLAYSHOP program, where she develops curricula on game theory.

博士、副教授、德国柏林自由大学访问学者，现任教于中国美术学院创新设计学院。毕业于中国美术学院，先后学习艺术设计、考古与博物馆学、中国思想史与书画研究专业。主持国家社会科学基金项目；参与国家社科基金艺术学重大项目；主持浙江省哲学社会科学重点课题、浙江省协同育人项目等课题；参与“国美字库计划”“国美进道体”主创设计师；作品入选“吸收现代性—2014威尼斯建筑双年展”等多项展览；发表多篇论文，并收入相关研究文集。

PhD, Associate Professor, Visiting Scholar at Freie Universität Berlin, Germany. He currently teaches at the School of Innovative Design, China Academy of Art. He received his education at China Academy of Art, majoring successively in Art and Design, Archaeology and Museology, as well as Chinese Intellectual History and Painting & Calligraphy Studies.

He has presided over projects funded by the National Social Science Fund of China and participated in key national art projects of the National Social Science Fund. Additionally, he has led key research projects of Zhejiang Provincial Philosophy and Social Sciences and provincial collaborative education programs. As a core designer, he participated in the China Academy of Art Font Project and the Gome Jindao Typeface development. His works have been exhibited in numerous influential exhibitions, including the Absorbing Modernity – 2014 Venice Architecture Biennale. He has also published a number of academic papers, which have been included in relevant research anthologies.

叶戈尔·克拉夫特（Egór Kraft）是一位游走于多地的艺术家与思想者，在东京和维也纳设有工作室，并与伦敦和柏林保持着深厚的渊源。他的作品曾在全球各地的博物馆、画廊及艺术节上展出。他不仅在欧亚多所高校担任讲师、发表学术出版物，还经常受邀在国际会议上发表演讲。

Kraft 的创作直面了“现代性断裂”这一现状，将其视为激进的、全球范围内的社会技术重构所带来的必然结果。他以研究为导向的艺术实践，经常探讨这样一种观念：这些正在发生的过程是强烈的、循环往复的“信息唯物主义（infomaterialist）”动态，它们将历史与未来交汇融合。这些作品促使我们重新审视自身在自主性、相互依存以及价值模式中的角色与能动性，并去表达那些潜在的观念——而这些观念正呼唤着全新的词汇体系与社会文化想象。

叶戈尔·克拉夫特是 2023 年流明奖 [英国]、2023 年 S+T+ARTS 荣誉奖 [欧盟]、2022 年新技术艺术奖 [比利时]、2022 年奥地利区块链奖 [奥地利] 的获得者，也是康定斯基、创新及其他奖项的提名者与国际驻留和奖学金的参与者。他参加了私人和公共机构的展览，双年展和国际艺术节，包括 Ars Electronica [AT] & Impakt Festival，[NL]，ZKM [DE]，MAXXI [IT]，Onassis 基金会[GR]，Hermitage Museum [RU]，WRO Biennial [PL]，Espacio Fundación Telefónica [ES]，iMAL [BE]等。他是林茨艺术大学的讲师，也是论文的作者和国际会议的演讲者。他是研究工作室 wwww.work 的创始人。

Egor Geo. Kraft is an artist and thinker living a mobile life, with studios in Tokyo and Vienna, as well as deep ties to London and Berlin.His multiaward winning work has exhibited in museums, galleries and festivals worldwide. He is a lecturer at European and Asian universities, author of publications and speaker at international conferences.

Kraft’s work acknowledges the disrupted modern condition as a consequence of radical, planetaryscale sociotechnical reconfigurations. His research informed practice often examines the idea that these ongoing processes are intense, recursive, infomaterialist dynamics that converge history and future. They urge us to reassess our roles and agency in relation to autonomy, interdependence and models of value, and to articulate latent notions that demand new vocabulary and sociocultural imaginaries.

Kraft is a laureate of Lumen Prize 2023 [UK], S+T+ARTS prize honorary mention 2023 [EU], New Technological Art Award 2022 [BE], Austrian Blockchain Award 2022 [AT] and a nominee for Kandinsky, Innovation & other prizes and participant of international residencies & fellowships. He participated in exhibitions in private & public institutions, biennials & festivals internationally, including Ars Electronica [AT] & Impakt Festival, [NL], ZKM [DE], MAXXI [IT], Onassis Foundation [GR], Hermitage Museum [RU], WRO Biennial [PL], Espacio Fundación Telefónica [ES], iMAL [BE] & many others. He is a lecturer at Kunstuniversität Linz [AT], author of essays & speaker at international conferences. He is a founder of research studio wwww.work.

艺术家、设计师，中国美术学院副教授，美国加州大学长滩分校访问学者。长期活跃于数字艺术与视觉叙事的交叉领域，致力于“将艺术融入生活，用设计改善生活”的多元实践。他的创作与研究聚焦于数字媒体艺术的实验性表现，尤其擅长通过XR媒介与数字影像探索跨文化传播的新探境。从实验电影《island 孤岛》到各类数字艺术设计，他不断打破传统媒介边界，探索虚拟现实与元宇宙阶段的视觉表现及交互体验。其作品兼具国际视野与本土文化根性，参加第十四届全国美术作品展进京作品展、中国国际海报双年展、索非亚国际戏剧海报三年展、德黑兰国际海报双年展等多项国内外重要展览，并被多家博物馆收藏，电影作品入选德国汉诺威国际青年电影节。目前，他正深入致力于数字媒体艺术与跨文化传播设计的前沿研究。

Xu Zhenting is an artist and designer, currently serving as an Associate Professor at the China Academy of Art and a Visiting Scholar at California State University, Long Beach. Active at the intersec-tion of digital art and visual storytelling, his multidisciplinary practice is driven by the philosophy of “integrating art into daily life and enhancing it through design.”

His creative and academic pursuits center on the experimental expressions of digital media art. He specializes in utilizing XR (Extended Reality) and digital imagery to explore new frontiers in cross-cultural communication. From his experimental film Island to various digital art designs, Xu continuously pushes the boundaries of traditional media, investigating visual expression and interactive experiences within the realms of Virtual Reality and the Metaverse.

Grounded in local cultural heritage while maintaining a global perspective, his work has been featured in numerous prestigious exhibitions both domestically and internationally. These include the National Fine Arts Exhibition of China (Beijing Invitational Exhibition), China International Poster Biennial, Sofia International Theatre Poster Triennial, and the Tehran International Poster Biennale. His works are held in multiple museum collections, and his films have been officially selected for the International Youth Film Festival in Hanover, Germany. Currently, he is deeply engaged in pioneering research at the forefront of digital media art and crosscultural communication design.

威尔拥有耶鲁大学雕塑艺术硕士学位以及瓦萨学院哲学学士学位。他的作品通过传感器、混合现实和机器人技术，为身体与世界互动创造了新的方式——通常充满趣味，将观众转化为作品中的合作伙伴。

他的作品曾在国际上展出，包括2025年首尔ISEA、B3动态影像双年展、埃塞克斯花艺展、Tiger Strikes Asteroid、Marinaro、Motel等。Will的参与包括UCCA和迪里亚双年展等的策展工作。他是亨利·卢斯基金会奖学金的获得者，目前在西交利物浦大学电影与创意技术学院担任助理教授。他曾在阿尔弗雷德大学、科科伦艺术与设计学院及乔治梅森大学担任学术职务，并在包括上海视觉艺术学院、杭州中国美术学院、菲利普斯美术馆以及华盛顿D.C.国家画廊在内的机构主持工作坊。

Will holds an MFA in Sculpture from Yale University and a BFA in Philosophy from Vassar College. His work invents new ways for the body to engage with the world through sensors, mixed reality, and robotics — often playfully, transfor-ming audiences into collaborators within the work.

His work has been exhibited internationally, including at ISEA 2025 in Seoul, B3 Biennial of the Moving Image, Essex Flowers, Tiger Strikes Asteroid, Marinaro, Motel, and others. Will’s curatorial work includes UCCA and the Diriyah Biennale among others. A recipient of the Henry Luce Foundation Fellowship, Will is currently Assistant Professor at the Academy of Film and Creative Technology at XJTLU. He has previously held academic appointments at Alfred University, Corcoran School of the Arts & Design, and George Mason University, and has led work-shops at institutions including the Shanghai Institute of Visual Arts, China Academy of Art in Hangzhou, the Phillips Collection, and the National Gallery of Art in Washington D.C.

陈炜博，中国美术学院创新设计学院教师。获美国罗德岛设计学院艺术学士学位、纽约大学综合电子媒体系理科硕士学位。她的创作与研究关注日常物、身体行为与技术媒介之间的关系，尝试从“错误”“限制”和偶发性中提取新的感知经验，并将其转化为具有评论性或幽默感的艺术行为。近年来，她进一步围绕算法艺术、动态装置、具身交互展开实践，探索身体、数据、声音、影像与物之间的关系。作品形式包括计算机程序、影像与互动装置。

Weibo holds a BFA from the Rhode Island School of Design and a MA from New York University. She is currently a faculty member at the School of Innovation and Design, China Academy of Art.

Her creative practice and research focus on the relationships among everyday objects, bodily behavior, and technological media. She explores new perceptual experiences through “errors,” “limitations,” and contingency, transforming them into critical or humorous actions. Her recent practice engages with algorithmic art, kinetic installations, and embodied interaction, exploring the relationships among the body, data, sound, image, and objects. Her works include computer-based programs, video, and interactive installations.

罗马尼亚克卢日-纳波卡技术大学建筑学学士、硕士及博士学位、西班牙巴塞罗那加泰罗尼亚理工大学建筑学硕士学位。安卡现任香港科技大学广州分校计算媒体与艺术系的终身教职助理教授，并领导@A:Art, Technology Architecture研究团队。她曾于丹麦奥尔堡大学艺术与技术研究实验室担任博士后研究员及助理教授，目前仍以客座研究员身份保持合作。安卡的研究关注新兴技术与创意实践之间的关系，重点包括计算设计与数字制造、人工智能和生物技术在建筑和设计领域的应用。曾获 2024 年CAADRIA最佳论文奖，作品曾于欧洲多国展出。

Anca serves as tenuretrack assistant pro-fessor in Computational Media and Arts and leads the @A: Art, Technology Archi-tecture group.Her work investigates the relationships between emerging technologies and creative practices, together with their place in broader cultural contexts. Her focus is on computational design and fabrication, AI and bio-technologies applied to architecture and design.Anca’s outputs sit at the intersection of architecture, media art and human-computer interaction and her research Anca’s research received the best paper award at CAADRIA in 2024 and her design / artworks have been exhibited internationally in Italy, Denmark, Romania and Spain. Before joining HKUST-GZ, Anca served as a post-doc-toral researcher and later assistant professor at Aalborg University in Denmark as part of the Research Laboratory for Art and Technology where she maintains an affiliation as guest researcher. Anca has a PhD, Msc and Bsc in architecture from the Technical University of Cluj-Napoca, Romania, and a Msc in architecture from the Institute for Advanced Architecture (IAAC) at the Polytechnica de Catalunya in Barcelona, Spain. Her work experience spans academia and practice/industry asshe worked as an architect and computational designer in Romania and Denmark for a total of 5 years.

本科毕业于清华大学美术学院信息艺术设计系，研究生毕业于纽约视觉艺术学院的计算机艺术专业。后于北京、上海、深圳等地的科技公司工作，担任设计和产品相关职务。现任教于中国美术学院创新设计学院媒介交互研究所。作品曾获得Adobe、红点、红星奖、IF 多个奖项，并在纽约、埃森、北京、厦门、成都等地展览。

Received a bachelor’s degree from the Department of Information Art and Design at the Tsinghua University Academy of Arts & Design Academy of Arts & Design, Tsinghua University, and a master’s degree in Computer Art from the School of Visual Arts School of Visual Arts in New York. Subsequently worked at technology companies in Beijing, Shanghai, and Shenzhen in design- and product-related roles. Currently teaches at the Institute of Media Interaction, School of Innovation Design, China Academy of Art . Her works have received multiple awards, including from Adobe, Red Dot, Red Star, and iF, and have been exhibited in New York, Essen, Beijing, Xiamen, and Chengdu.

Anna成长于俄国，毕业于英国UCL获硕士学位，现工作生活于中国，被誉为新一代艺术家中具想象力的声音和代表。致力于构建混合虚拟现实的梦境世界，融合建筑设计、虚拟场景与AI技术，用想象力挑战时空界限，表达多维世界和新人类文明进化的可能。她从2016年创绘的“数字文艺复兴”系列开始，发挥艺术家宏大而多维的空间想象力，是对走向一个全新的、以人的精神为核心的新文明时代宣言。作品充满无限想象的线条诠释着当代世界情绪的复杂意义，就像细致入微且蓬勃脉动的城市神经，搭建起通往未来世界的桥梁。

近年，Anna致力于通过科技引领设计变革，曾带领团队完成了数个元宇宙虚拟场景的设计与开发。凭借扎实的专业背景及对项目细节高标准的把控能力，她带领团队将本源造境的设计理念贯彻执行，确保设计意图得以完整地实现，符合既有的高标准。

Anna grew up in Russia and obtained a master’s degree from UCL in the UK. She currently works and lives in China and is hailed as an imaginative voice and representative of the new generation of artists. Committed to building a dream world of mixed virtual reality, integrating architectural design, virtual scenes, and AI technology, challenging the boundaries of time and space with imagination, and expressing the possibilities of multidimensional worlds and the evolution of new hu-man civilization. Starting from the “Digital Renaissance” series created in 2016, she has unleashed the artist’s grand and multidimensional spatial imagination, and is a declaration of moving towards a new era of civilization centered on human spirit. The lines of the work, full of infinite imagination, interpret the complex meaning of contemporary world emotions, just like the intricate and pulsating urban nerves, building bridges to the future world.

In recent years, Anna has been committed to leading design change through technology and has led a team to complete the design and development of several virtual scenes in the metaverse. With a solid professional background and high standards of control over project details, she leads the team to implement the design concept of the original environment, ensuring that the design intent is fully realized and meets existing high standards.

2011年中国美术学院硕士毕业留校任教，2024年获“中国近现代设计源流上海学”博士学位。

曾获2014年度浙江省视觉艺术青年人才培养“新峰计划”，2017年中国美术学院“优秀青年学者”培养。参与2022年国家社科基金艺术学重点项目《新文化运动时期中国出版设计文化研究》;2017年第十三届全国学生运动会导视设计;2010年上海世博会城市最佳实践区杭州馆设计。

In 2011, Fan Jiamin received his master’s degree from the China Academy of Art (CAA) he remained at the institution as a faculty member. In 2024, he received his Ph.D. with research on  “Modern Chinese Design History in Shanghai”.

He was selected for the New Peak Talent Program for Young Visual Artists of Zhejiang Province in 2014 and the Outstanding Young Scholars Program of the China Academy of Art in 2017.

His academic and professional activities inclu-de participation in the Philosophy and Social Sciences Fund of China Key Project for Art Stu-dies, “Research on the Culture of Chinese Publi-cation Design during the New Culture Movement” (2022). He was also involved in the wayfinding, system design for the 13th National Student Sports Games of the People’s Republic of China (2017) and the design of the Hangzhou Pavilion in the Urban Best Practices Area (UBPA) of Expo 2010 Shanghai China(2010).

中国美术学院工业设计学院在1928年国立艺术院设立图案系后，于1994招收第一批工业设计专业学生，共经历了从南山、张江、滨江、象山、良渚多个校区近30年的发展，于2023年良渚正式起航。学院立足长三角产业集群协同创新，以艺术学的产品设计和交叉学科的工业设计为专业双驱，以智慧生活美学与智能制造装备为设计双核，以生活美学、数智交互、智慧出行、智能制造四大研究所为教研组织，整合国际化与产业化的专业特征及优势，培养具有作者性的独立设计师、具有领导力的首席设计官的复合型创新人才，打造新时代中国设计智造创新理论与实践高地。

School of Industrial Design of CAA, having its origins in the Pattern Department established in 1928 at the National Academy of Art, admitted its first cohort of industrial design students in 1994. Over nearly three decades, the school has evolved across multiple campuses including Nanshan, Zhangjiang, Binjiang, Xiangshan, and Liangzhu, officially commencing its Liangzhu campus in 2023. The school is positioned to leverage the collaborative innovation within the Yangtze River Delta industrial cluster, driven by the dual disciplines of product design within art studies and interdisciplinary industrial design. It focuses on the dual cores of smart life aesthetics and intelligent manufacturing equipment design. Organized into four major research institutes—Aesthetic Life, Digital In-teraction, Smart Mobility, and Intelligent Manufacturing—the school integrates internationalization and industrialization characteristics and advantages. It aims to cultivate compound innovative talents, including independent designers with a dis-tinctive authorial identity and chief design officers with leadership capabilities. The goal is to establish a highland of innovative theory and practice for Chinese design and manufacturing in the new era.

Jaime DE VIZCAYA是一位专业设计师与研究者，拥有30余年学术界与产业界的工作经验，专长于工业设计中的人文研究与应用科学领域。他的研究与实践涵盖产品设计、战略设计、可穿戴设计、可持续发展以及SETI研究等方向，体现出融合设计、科学与思辨探索的跨学科研究路径。

其研究兴趣源于持续的好奇心，并不断拓展至新兴及尚未充分探索的领域，致力于运用自身的专业知识与研究方法，创造新的视角与知识体系。除专业研究与设计实践外，他还长期关注艺术文化及民间传统等领域的发展与传承。

I am a professional designer and researcher with over 30 years of experience in academic and industrial environments, specializing in the humanistic and applied science dimensions of industrial design. My work focuses on areas such as product design, strategic design, wearable design, sustainability, and SETI studies, reflecting an interdisciplinary approach that bridges design, science, and speculative inquiry.

My research interests are driven by curiosity and extend into emerging and less-explored fields, where my expertise and methodologies can be applied to generate new perspectives and knowledge. In addition to my professional activities, I maintain a personal interest in broader artistic and folk traditions.

工业设计学院专业教师，工学博士。研究⽅向聚焦于⽤户⾏为与信息交互设计。近年来，致⼒于探索基于多模态感知的⽤户体验研究与服务系统升级，以及 AI驱动设计创新，并通过主导跨学科项⽬与实践⼯作坊，将理论洞察转化为具备市场潜⼒的产品解决⽅案。

Professional teacher at the School of Industrial Design, Ph.D. in Engineering. Her research focuses on user behavior and information interaction design. In recent years, she has been dedicated to exploring user experience research and service system innovation based on multimodal perception, as well as AI-driven design innovation. Through leading interdisciplinary projects and hands-on workshops, she seeks to transform theoretical insights into product solutions with real-world and market potential.

智利出生、芬兰籍的跨文化设计师。2012年从商业设计转向公共设计领域，创立 LUZ Creative Collective。多项赫尔辛基公共图书馆服务概念与室内建筑项目主创，Fennia 奖得主（2012）。自2015年起在阿尔托大学任教，2023年起兼任拉赫蒂应用科技大学讲师。

I am a Chilean-born, Finnish designer and lecturer with over 20 years of experience leveraging design to foster empathy and positive social interactions.

Driven by the belief that design can transform urban settings and human structures, I transitioned from commercial design to public design in 2012. Today, I collaborate with diverse organizations to develop participatory methods that engage citizens and generate meaningful social impact. My core focus lies in co-creating strategies and service environments alongside local communities. By bridging my background in retail with public sector design, I aim to develop solutions that serve, gather, and inspire the public.

Alongside my practice, I am an educator with teaching experience at both Aalto University and LAB University of Applied Sciences. Beyond my primary roles in Finland, I am periodically invited to contribute as an international guest lecturer and expert on participatory processes, with recent engagements spanning Europe, South America, and China.

中国美术学院工业设计专业教师，浙江省钱江人才计划，埃因霍芬理工大学工业设计博士，浙江大学设计艺术学硕士。主要从事工业设计和产品设计的教学与研究工作，专注于健康产品设计、服务系统设计、人机交互设计等研究方向，致力于智慧健康老龄的产品服务系统设计研究。

Jeff MAN, a teacher in Industrial Design at China Academy of Art, Qianjiang Talent Program in Zhejiang Province, Ph.D. in industrial design from Eindhoven University of Technology and Master in design art from Zhejiang University. Mainly engaged in teaching and research work in industrial design and product design, focusing on research directions such as health product design, service system design, human-computer interaction design, and dedicated to design research of product service system for smart and healthy ageing.

现任上海创新创意现任上海创新创意设计研究院首席运营官、世界设计组织（WDO）前主席。研究重点是可持续设计，拥有超过35年全球设计行业经验，他曾担任2024年世界设计之都评审团主席，并曾担任许多国际设计奖的评委，包括土耳其设计奖、金点奖、Better设计奖、中广交会设计奖、前沿设计奖、国设计智造大奖评审。2022年起主导上海创新创意设计研究院“设计+产业”平台建设，推动建立联合实验室及AI初创团队孵化器，同时负责运营唐·诺曼设计大奖。

Prof. Srini R. Srinivasan is currently the Chief Operating Officer and Prof of Industrial Design of the Shanghai Institute of Innovation and Creative Design. He is a Senator and former President of the World Design Organization (WDO). His research focuses on sustainable design, and he brings over 35 years of experience in the global design industry. He was the Jury Chair of the World Design Capital 2024 and has served as a judge for many international design awards including the Turkey Design Awards, Golden Pin Awards, Better Design Award, Frontier Design Prize, Canton Fair Design and many others. He also served in the judging panel for the China Design Intelligence Awards in 2019. Since 2022, he has led the development of the “Design Innovation Transformation + Industry” platform at the Shanghai Institute of Innovation and Creative Design, driving the establishment of joint laboratories and an AI startup incubator, while also overseeing the operations of the Don Norman Design Awards.

中国美术学院工业设计学院教师。德国魏玛包豪斯大学媒体建筑硕士(MchbaArchitecturi)，同济大学交互设计硕士，浙江大学工业设计学士。所授课程包括交互设计、服务设计以及设计思维。研究领域涵盖以教育为中心的软硬件交互设计，并围绕行为设计和体验创新等方向展开设计研究工作。

QIN Zhen：She received her Bachelor's degree in Industrial Design from Zhejiang University, and her Master's double-degree in Interaction Design and MediaArchitecture from Tongji University and the Bauhaus University Weimar, Germany. Her research interests include education-focused intelligent interactive environments, smart hardware, tangible interaction, human-machine interface design, and she also study in user psychology such as research through persuasion design and behavioural design.

资深设计策略师、创业者与项目孵化人，拥有 15 年以上产品开发、创新研发与设计策略从业经验。Apxt Ventures工作室创始人、Aihu机构董事长、Kick AI 联合创始人。先后服务初创企业、中小公司及大型成熟机构，主导实体产品、数字服务、人工智能与前沿科技类项目。长期担任初创企业创业导师，并与高校合作开展创新、创业及未来设计方向教研工作。依托设计、商业、技术复合型专业背景，助力各类机构打造高价值产品、落地创业项目与创新课题。深耕跨学科协作与设计领导力研究，专注探究设计师在塑造未来进程中的角色演变。

Research Focus: Strategic Design, Design Thinking, Product Development, Venture Building, Artificial IntelligenceStrategic designer, entrepreneur, and venture builder with over 15 years of experience in product development, innovation, and design strategy. Founder of Apxt Ventures Studio, Chairman of Aihu Agency, and Co-Founder of Kick Ai. Has worked across startups, SMEs, and established organizations, leading projects spanning physical products, digital services, AI, and emerging technologies. He mentors startups and collaborates with universities on innovation, entrepreneurship, and future-oriented design education. Combining expertise in design, business, and technology, he helps organizations create meaningful products, ventures, and innovation initiatives. Passionate about interdisciplinary collaboration, design leadership, and the evolving role of designers in shaping the future.

任教于中国美术学院工业设计学院智能制造研究所，清华大学博士、博士后，研究方向包括数字化设计、智能制造、人机交互等。致力于通过多学科交叉，针对柔性制造场景中的前沿问题展开研究，强调设计师的思维与机器建造能力的相互促进。

Faculty Member, Institute of Intelligent Manufacturing, School of Industrial Design, China Academy of Art; PhD and Postdoctoral Fellow, Tsinghua University.

His research covers digital design, intelligent manufacturing, human–computer interaction and related fields. Committed to interdisciplinary research on cutting-edge challenges in flexible manufacturing scenarios, he advocates the mutual empowerment of design thinking and robotic fabrication capabilities.

Toni Kauppila 教授拥有艺术学博士学位和建筑学文凭，在过去12年间担任挪威奥斯陆国立艺术学院设计系主任，并运营基于研究的建筑与设计实践机构ND。自1999年起，他在芬兰阿尔托大学等多所国际高校任教，并曾任日本多摩美术大学客座教授。他的学术重点是通过跨机构研究和课程开发推进高等教育的创新实践，并在欧亚两地开发了多个跨学科项目。他的博士论文提出了“教育型建筑师”概念，以促进面向复杂和不确定未来的创造性专业实践，提倡为从业者社区带来持续学习的能力。

Professor Toni Kauppila (Dr.Arts, Dip.Arch) has been the Head of Design Programme at the Oslo National Academy of the Arts in Norway for the past 12 years and runs his research-based architectural design practice ND. He has been teaching since 1999 in several international universities including Aalto University in Finland and as Guest Professor at Tama Art University in Japan. Kauppila’s academic focus has been on advancing the emergent practices of higher education through cross-institutional research projects, internationalisation processes and curriculum development. This has led to several trans-disciplinary programmes both in the European and Asian contexts. Kauppila has been developing teaching and research practices to enhance the dialogue with the societies for a more agile approach to the ever-more complex social issues.

浙江大学计算机科学与技术学院设计学博士，现任中国美术学院工业设计学院讲师。主要研究领域为智能设计、人机交互、设计认知方向。已在《Design Studies》、《The Design Journal》等国际权威设计学期刊发表论文十余篇，并获德国红点（Red Dot）、A' Design等国际设计大奖二十余项。目前主要从事工业设计及跨学科设计思维相关的教学与科研工作。

Wenqi Wu, a lecturer in Industrial Design at China Academy of Art, and Ph.D. in design from the College of Computer Science and Technology at Zhejiang University. Mainly engaged in teaching and research work in industrial design and transdisciplinary design thinking, focusing on research directions such as intelligent design, human-computer interaction (HCI), and design cognition, and dedicated to pioneering design research with over ten papers published in authoritative international journals including Design Studies and The Design Journal, alongside more than twenty prestigious design accolades such as the Red Dot and A' Design Awards.

时尚设计学院成立于2023年，在原来染织与服装设计系基础上发展建立，最早追溯到1928年中国美术学院建校时的图案科，是全国高等院校中最早开办染织与服装设计专业本硕博教育的院系之一。上世纪50年代，染织专业成立，隶属于工艺系。1984年开始了服装教学的探索，1989年增设服装设计专业。1996年，染织与服装设计系正式成立，迅速发展成为我国早期少数几个培养染织与服装专业研究生的国内一流高层次专业人才培养基地。时尚设计学院以“时尚生态链”为思维模型基础，建构时尚跨界，多维创新的办学格局。培养具有独立思考精神、创新跨界能力、国际视野与社会责任意识的设计人才。围绕“时尚设计生态”的互生互助展开本硕博课题化教学，建设个性、圈层的高端产业链，发展识别性品牌意识并协助产业转型升级，引领国内时尚设计教育新方向。学院以“东方文化活化”为根本，关注设计前沿发展，立足“可持续发展”与“东方本土话语”体系的研究，与产业实时接轨。通过设计、管理和技术的交叉融合，提供本硕博个性、市场、系统的教育课程体系。

The School of Fashion Design, founded in 2023 upon the previous Department of Fashion and Textile Design, has its earliest foundation dating back to the year of 1928 when the Department of Patterns was established in China Academy of Art (CAA) as one of the earliest departments launching under-graduate, master and doctoral education. In the 1950s, the Department of Dyeing and Weaving was set up under the School of Crafts. Based on such a solid foundation, the Department of Fashion and Textile Design was formally founded in 1996, rapidly developing into one of the few first-class, high-level programs in China that provides professional talent training for graduate students majoring in dyeing, weaving and fashion design.

Based on the mentality of establishing a Fashion Ecosystem, the School of Fa-shion Design focuses on interdisciplinary, multi-dimensional innovation, aiming to cultivate designers with critical thinking, interdisciplinary innovation, global vision and social responsibility. The subject-based teaching for undergraduates, mas-ters and doctoral students centers on the interdependence of Fashion Design Ecosystem to build a featured, high-end industrial chain and recognizable brands amid the industrial transformation and upgrading, leading the new direction of do-mestic fashion design education. Guided by the fundamental mission of reviving oriental culture, the School also pays attention to the frontier development of design based on research on Sustainable Development and Local Oriental Dis-course system, and integrates them into the industry in real time. Through the cross-integration of design, management and technology, the School provides undergraduates, masters and doctoral students with a personalized, market-oriented and systematic education curriculum.

伊娃・费尔德为副讲师，研究专长聚焦贯穿设计、研发、生产全流程的数字时装与可持续创新方向。她是《创新时装制作》硕士项目授课团队成员，课程通过对商业模式、生产流程与消费行为展开批判性分析，发掘时尚产业体系中的新型发展机遇。此外，她在校设计与技术学院开设数字时装专题课程、主持专业工作坊，授课融合自身在前沿生产工艺、服装仿真软件（主打 CLO3D）领域的专业研究积累。

伊娃曾在德国、瑞士的成衣及轻奢运动服饰行业任职高级时装设计师，现阶段依托行业经验，通过学术研究与行业理念倡导推动时尚产业正向革新。其研究围绕未来服装智造展开，探究数字技术如何降低人力负担、落地可持续生产路径，进一步拓宽创意设计的发挥空间。基于该研究方向，她着力研究服装仿真软件在提升生产效率、落地按需定制生产模式上的应用价值，目标是化解服装过量生产的行业痛点。现阶段，她持续对接跨学科研究与产业项目合作，推动前沿科研结论落地转化为行业实操方案。

Eva Feld is an Associate Lecturer specialising in digital fashion and sustainable innovation across design, development, and production. She is part of the teaching team for the MA Innovative Fashion Production, where business models, production processes, and consumer behaviour are critically analysed to identify new opportunities within the fashion system. In addition, she delivers lectures and facilitates workshops on her specialism, Digital Fashion, across the School of Design and Technology, incorporating her specialist expertise in emerging production technologies, and garment simulation software, particularly CLO3D. Following a career as a senior fashion designer in Germany and Switzerland within the fashion and luxury sportswear sectors, her current practice focuses on driving positive change through advocacy and research. Her work centres on the future of making, exploring how digital technologies can alleviate workload, enable more sustainable ways of production, and create greater space for creative practice. Within this context, she investigates the potential of garment simulation software to improve production efficiency and support production-on-demand models, with the aim of reducing overproduction. She is actively seeking interdisciplinary and industry collaborations to translate research insights into practice.

China Academy of Art

中国美术学院时尚设计学院专任教师，获芬兰阿尔托大学时尚，服装与纺织品设计艺术硕士学位。她致力于纺织品材料的探索，专注于针织纺织品的织造与印染工艺等研究，主张以材料的自身特性来构建设计，将设计视为材料语言的延伸。

Yuanyang Zhou is currently teaching at the School of Fashion Design, CAA. She completed her Fashion, Clothing, and Textile Design Master's Degree(Art and Design) at Aalto University, Finland. She explores and creates flexible materials through knitting machines, fabric printing, and dyeing research. In her work, she built up the design by experimenting with the material's characteristics and considered the design an extension of the material language.

海梅・普埃尔塔斯・卡斯蒂略（西班牙，1996 年生）为职业电影导演，先后求学于加泰罗尼亚高等影视学院（ESCAC）与埃利亚斯・克雷赫塔电影学院。他独立编剧并执导《荒原》（43 分钟，2019 年）与《牧人纪事》（80 分钟，2024 年）两部影片，作品先后在全球多家电影节与艺术机构公开展映，入选展映平台包括鹿特丹国际电影节、全州国际电影节、塞萨洛尼基国际电影节、库尔蒂萨纳电影节、墨西哥国家电影资料馆、巴黎杜帕姆美术馆、马德里燃屋艺术中心。

2025 年，他携新项目《重返山谷》入选圣塞瓦斯蒂安国际电影节驻地培育计划，并斩获马尔赫内斯未来新锐奖；该奖项旨在表彰其为当代西班牙影像创作界最具原创禀赋与发展潜力的新锐创作者之一。

卡斯蒂略已形成成熟的创作脉络：依托象征意蕴饱满的叙事架构，将乡土民俗传统、奇幻母题与科幻内核熔于一炉。其影像开辟了专属的电影美学疆域，构建起扎根乡野地貌的情感地理，把实地乡土转化为神话、集体记忆与未来畅想的载体。在他的创作观念里，乡村不再是平铺的叙事布景，而是能够思索过往、留存记忆、持续嬗变的有机生命体，令那个曾被世人视作已然消亡的乡土文明重焕生命力与想象力。

Jaime de Vizcaya Puertas Castillo (born 1996, Spain) is a filmmaker who studied at the Catalonia School of Cinema and Audiovisuals (ESCAC) and later at the Elías Querejeta Zine Eskola (EQZE). He wrote and directed the films The Moorland (43 min, 2019) and Chronicles of the Shepherd (80 min, 2024), both of which have been screened internationally at numerous film festivals and cultural institutions, including the International Film Festival Rotterdam, Jeonju International Film Festival, Thessaloniki International Film Festival, Curtas Vila do Conde International Film Festival, Cineteca Nacional de México, Palais de Tokyo in Paris, and La Casa Encendida in Madrid.

In 2025, his latest project, Return to the Valley, was selected for the residency programme of the San Sebastián International Film Festival and received the Marlenes Future Talent Award, which recognizes one of the most original and promising emerging voices in contemporary Spanish cinema.

Puertas Castillo has developed a distinctive cinematic practice that combines richly symbolic narrative structures with rural folklore, fantasy motifs, and speculative imagination. His films carve out a unique aesthetic territory rooted in the landscape of the countryside, transforming local geographies into vessels for myth, collective memory, and visions of the future. In his work, the rural is no longer a passive backdrop for storytelling; rather, it becomes a living organism capable of remembering the past, preserving cultural memory, and continually evolving. Through this perspective, a rural world often presumed obsolete is reanimated with renewed vitality, imagination, and contemporary relevance.

王璐，跨领域沉浸式声音体验设计师，作曲，专注于声音、空间、交互与沉浸式体验设计。拥有跨媒介作曲，汽车、艺术装置、空间声音系统与互动媒体背景，曾负责蔚来乐道品牌声音体验管理及设计，包括沉浸式座舱声音系统、声音交互、空间音频体验与多感官体验设计。毕业于纽约大学交互通讯专业与伯克利音乐学院影视作曲专业，长期关注声音如何在物理空间、数字媒介与情绪体验之间建立连接。作品及装置在纽约动态影像博物馆，纽约时装周，鹿特丹电影节，美国卡内基音乐厅，上海中国银行总行科技金融沙龙，上海当代艺术博物馆等地均有展演。

Lu Wang is an interdisciplinary immersive sound experience designer and composer whose practice focuses on sound, space, interaction, and immersive experience design. With a background spanning multimedia composition, automotive sound design, art installations, spatial audio systems, and interactive media, they have led sound experience management and design for the ONVO brand, including immersive in-cabin sound systems, sonic interaction design, spatial audio experiences, and multisensory experience development.

They hold degrees in Interactive Telecommunications from New York University and Film Scoring from Berklee College of Music. Their research and creative practice explore how sound can create meaningful connections between physical space, digital media, and emotional experience.

Their works and installations have been presented at venues and events including the Museum of the Moving Image, New York Fashion Week, International Film Festival Rotterdam, Carnegie Hall, the Bank of China Technology Finance Salon, and the Power Station of Art, among other international platforms.

中国美术学院时尚设计学院教师，硕士毕业于帕森斯设计学院，时尚设计与社会学方向（Parsons, Fashion Design and Society）。研究方向涉及数字时尚、时尚叙事与跨界设计，个人及品牌作品曾发布于纽约时装周、CFDA Graduation Showcase、上海时装周等时尚平台。相关作品与设计被《VOGUE RUNWAY》《1 Granary》《TEEN VOGUE》《VOGUE Italia》《i-D》《LOVE》《DEZEEN》《Feroce》《Nasty》《WRPD》《Sicky》《The New Yorker》《Office》《FASHION UNITED》《GARAGE》《时尚芭莎》《瑞丽》等多家国内外媒体专访及报道。

Yu Shi is from the School of Fashion Design, China Academy of Art. She holds a Master’s degree in Fashion Design and Society from Parsons School of Design.

Her research and creative practice focus on womenswear design, digital fashion, fashion narratives, and interdisciplinary design. Her work explores fashion as a medium for cultural expression, storytelling, and contemporary social inquiry.

Her projects have been presented at major international fashion platforms, including New York Fashion Week, CFDA Graduation Showcase, and Shanghai Fashion Week. Her work has been featured by leading international and Chinese media, including Vogue Runway, Teen Vogue, Vogue Italia, i-D, Dezeen, The New Yorker, Harper's Bazaar China, and other international publications.

资深时尚学科教研负责人，伦敦时装学院研究生预科系主任，拥有十余年一线教学经验。主攻本硕阶段时装与纺织品专业的研究方法论、三维数字化落地实现方向，长期致力于引导学生开展深度课题研究、推进实验性设计与产品研发。同时身为艺术创作者，主打在地定制艺术项目，围绕人与大自然在实体、形而上层面的联结关系，以及多层级审美体验（实体感知、感官认知、亲身体验，以及各类体验间的居间场域）的时间流变特性展开创作探索。

Academic leader in fashion with over 10 years of teaching experience. Course Leader Graduate Diploma Fashion Design and Technology,London College of Fashion, University of the Arts London.Specialising in research methodologies and 3D realisation in Fashion Design & Textiles at Undergraduate and Postgraduate, with a strong interest in encouraging insightful research and experimental design and product development within student cohorts. Artist working with Site specific projects that explore our physical and metaphysical relationship with nature and the temporality of the multi-layered aesthetic experiences (physical, perceptual, experiential and the space in between).

先后毕业于中央美术学院、伦敦艺术大学伦敦时装学院，现任中国美术学院时尚设计学院染织与装饰设计系专任教师。聚焦于时尚设计的现时语境转化，探索情绪性色彩与多元材料的视觉语言，关注设计方法的创新实践。独立设计师品牌MOLE'NERATION联合创始人,携品牌多次参与伦敦时装周、上海时装周、中国国际时装周等官方平台动态秀及展陈活动。

Having graduated from the Central Academy of Fine Arts and the London College of Fashion, University of the Arts London, she currently serves as a full-time faculty member in the Department of Textile and decorative Design, School of Fashion Design, at the China Academy of Art. Her research focuses on the contextual transformation of contemporary fashion design, exploring the visual language of emotional color and diverse materials, with an emphasis on innovative approaches to design methodology. She is the co-founder of the independent designer brand MOLE'NERATION, which has participated in multiple official platform events, including physical shows and exhibitions at London Fashion Week, Shanghai Fashion Week, and China International Fashion Week.

我是一名定居英国的新加坡籍创意从业者、研究者和教育工作者，致力于探索时尚、文化与批判性思考的交叉领域。我的实践不仅将时尚视为潮流，更将其视为生活中的真实体验——将物质知识、服饰传统与全球设计史相联结。凭借在国际时尚教育、创意设计方法及可持续实践方面的经验，我通过有意识、具身化且富有同理心的方法进行设计与教学。我将长期积累的时尚教育与课程开发经验融入工作，同时开展独立项目，探索服饰作为文化知识与静默批判的内涵。

I’m a UK-based Singaporean creative practitioner, researcher, and educator working at the intersection of fashion, culture, and critical inquiry. My practice explores fashion not just as trend, but as lived encounters—connecting material knowledge, clothing traditions, and global design histories. With experience in international fashion education, creative design approaches and sustainable practice. I design and teach through conscious, embodied, and empathetic methods. I bring a long-standing practice in fashion education and curriculum development to my work, alongside independent projects that explore dress as cultural knowledge and quiet critique.

李佳璐，英国格拉斯哥艺术学院室内设计硕士学位，中国美术学院会展设计学士学位。她对空间细节有着敏锐的观察力与同理心，相信人与环境之间紧密的联结能激发有意义的设计。她关注空间的可持续性，探索时间与空间的对话；同时，她坚持将跨学科视角与分析严谨性结合，以创造富有惊喜的室内体验。

Li Jialu holds a Master of Interior Design from the Glasgow School of Art in the UK and a Bachelor of Exhibition Design from the China Academy of Art. With a keen eye for spatial details and a deep sense of empathy, she believes that the close connection between people and their environment inspires meaningful design. She focuses on spatial sustainability and explores the dialogue between time and space; at the same time, she combines an interdisciplinary perspective with rigorous analysis to create interior experiences full of surprises.

主办：中国美术学院

承办：中国美术学院教务处、中国美术学院视觉传播学院、中国美术学院创新设计学院、中国美术学院时尚设计学院、中国美术学院工业设计学院

教学地址：中国美术学院良渚校区

项目总策划：陈正达、刘益红

学术委员会：吴小华、俞佳迪、刘征、成朝晖、李昭、姜珺、王昀、段卫斌、凌雅丽

学院总指导：刘益红、郎青、武奕陈、于朕

项目策划：虞琼洁、胡晓琛、顾文佳

执行策划：华宏梁

教务执行：程灵、吴季蕾、陈镜西、古蕾、田菁、黄瓛、陈效

课程助教：刘禾沐、彭洋、温姝雨、谢毅鸿、骆晔晨、朱奕好、胡可熠、沈严、姚孙天傲、何若瑶、唐佳婧、胡格伦、赖禹涵、王骏扬、杨凯强、朱丹丹、杨依楠、应汐、林丽音、熊梓贝

视觉设计：虞琼洁、夏远媛、赵一帆、吴越、梁青青、马昊鸣、熊祖平、陈懿、华宏梁

活动组：王岚、左佑、王可青、姜珍汝、贾梓欣、钟汕哲

摄制组：温姝雨、朱震岳、曹沂芬、陈萧竹、何若瑶、陈依柔、赵艺芃、杨骁

宣传组：华宏梁、张若瑜、朱煜宁、钟汕哲、钱蔚、周袁伊

Sponsor: China Academy of Art

Organizers: Office of Education Administration, China Academy of Art

School of Communication and Design, China Academy of Art

School of Design and Innovation, China Academy of Art

School of Fashion Design, China Academy of Art

School of Industrial Design, China Academy of Art

Location: Liangzhu Campus, China Academy of Art

Project Directors: Chen Zhengda, Liu Yihong

Academic Committee: Wu Xiaohua, Yu Jiadi, Liu Zheng, Cheng Zhaohui, Li Zhao, Jiang Jun, Wang Yun, Duan Weibin, Ling Yali

Academic Supervisors: Liu Yihong, Lang Qing, Wu Yichen, Yu Zhen

Project Curators: Yu Qiongjie, Hu Xiaochen, Gu Wenjia

Executive Coordinator: Hua Hongliang

Academic Administrarion Executives: Cheng Ling, Wu Jilei, Chen Jingxi, Gu Lei, Tian Jing, Huang Huan, Chen Xiao

Course Assistants: Liu Hemu, Peng Yang, Wen Shuyu, Xie Yihong, Luo Yechen, Zhu Yihao, Hu Keyi, Shen Yan, Yao Suntian'ao, He Ruoyao, Tang Jiajing, Hu Gelun, Lai Yuhan, Wang Junyang, Yang Kaiqiang, Zhu Dandan, Yang Yinan, Ying Xi, Lin Liyin, Xiong Zibei

Visual Designers: Yu Qiongjie, Xia Yuanyuan, Zhao Yifan, Wu Yue, Liang Qingqing, Ma Haoming, Xiong Zuping, Chen Yi, Hua Hongliang

Event Team: Wang Lan, Zuo You, Wang Keqing, Jiang Zhenru, Jia Zixin

Documentation Team: Wen Shuyu, Zhu Zhenyue, Cao Yifen, Chen Xiaozhu, He Ruoyao, Chen Yirou, Zhao Yipeng, Yang Xiao

Promotion Team: Hua Hongliang, Zhang Ruoyu, Zhu Yuning, Zhong Shanzhe, Qian Wei, Zhou Yuanyi