未来提案｜厦门大学创意与创新学院2026毕业设计作品④

香蕉树荫下

Under the Banana Canopy

环境设计

Environmental Design

欧阳雯菲 Ouyang Wenfei

指导老师 | Niloofar Amini, 钟贞ZHONG Zhen

该项目以厦门集美区后溪溪流边的废弃建筑为场地基础，以香蕉种植废弃物的循环利用为设计线索，回应农业空间被忽视、公共生活空间不足与材料循环缺失等问题。设计通过对废弃建筑的适应性再利用，将原本闲置的建筑转化为集香蕉废料回收、处理、再生展示与社区参与于一体的复合工坊；同时结合社区中心、共享种植空间与滨水景观，构建一个可被观看、参与和学习的公共循环系统。项目不再将农业废弃物视为单一的处理对象，而是将其转译为连接生产、教育与日常生活的空间媒介，在延续场地农业记忆的同时，探索一种兼具生态价值、公共性与社区参与的社区更新方式。

The project is based on an abandoned building beside the Houxi stream in Jimei District, Xiamen, and takes the circular reuse of banana cultivation waste as its design cue to address the neglect of agricultural spaces, the lack of public living spaces, and the absence of material-recycling systems. Through adaptive reuse, the once-idle building is transformed into a hybrid workshop that integrates banana-waste collection, processing, upcycling demonstrations, and community participation. Together with a community center, shared growing spaces, and a waterfront landscape, it creates a public circular system that is observable, participatory, and educational. Rather than viewing agricultural waste merely as something to be processed, the project reframes it as a spatial medium connecting production, education, and everyday life. While preserving the site's agricultural memory, it explores a model of community renewal that combines ecological value, publicness, and community participation.

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导师评语 Mentor’s Review

欧阳雯菲同学以独到的视角切入城市更新议题，敏锐捕捉到废弃工业建筑与当地农副产业之间被忽视的关联性，将香蕉种植废弃物的循环利用作为设计线索，展现出难得的在地观察力与问题意识。尤为可贵的是，她对当地居民公共生活匮乏的深切关注——没有停留于空间形式的营造，而是以“建筑针灸”式的精准介入，用轻巧的更新策略激活沉寂空间，让闲置建筑重新成为连接生产、教育与日常生活的公共载体。设计中始终贯穿着对场地农业记忆的尊重与延续，体现出将生态价值、公共关怀与社区参与融为一体的思考深度。这种立足真实问题、心系社区民生的设计态度，正是当下青年设计师社会责任感的体现。

Ouyang Wenfei tackles urban regeneration from a distinctive perspective, perceptively identifying an overlooked relationship between abandoned industrial buildings and local agricultural and sideline industries. By taking the circular use of banana-farming waste as the project's design cue, she demonstrates a rare sensitivity to place and a strong awareness of real-world problems. Particularly commendable is her deep concern for the lack of public spaces for community life available to local residents. Instead of stopping at formal spatial design, she makes a precise, 'architectural acupuncture' intervention, using a light-touch regeneration strategy to reactivate dormant spaces and allow the idle building to once again serve as a public platform connecting production, education, and everyday life. The design consistently respects and carries forward the site's agricultural memory, demonstrating depth of thinking in integrating ecological value, public concern, and community participation. This design attitude—grounded in real problems and attentive to the everyday well-being of the community—embodies the sense of social responsibility expected of young designers today.

钟贞 ZHONG Zhen

空间叙事视角下嘉庚瓦非遗文化的活化设计研究——以“意象同构”与“沉浸剧场”为路径

Research on the Activation Design of Tan Kah Kee Tiles’ Intangible Cultural Heritage from the Perspective of Spatial Narrative:

A Path Based on "Imagery Isomorphism" and "Immersive Theater"

环境设计

Environmental Design

何晨玥 HE Chenyue

指导老师 | 钟贞ZHONG Zhen, Niloofar Amini

嘉庚瓦作为嘉庚建筑体系中标志性的视觉符号，承载着陈嘉庚先生“穿西装、戴斗笠”的建筑哲学及闽南劳动人民的创新智慧。然而，随着建筑工业化进程，砖瓦厂已经停产，嘉庚瓦也逐渐退出了市场，“嘉庚瓦制作工艺”被列入厦门市第一批市级非物质文化遗产代表性项目名录并以博物馆式的静态陈列科普展示。但传统博物馆式的静态展示难以唤起社会深层的情感共鸣。针对这一现状，本设计立足于集美学村场域现状，旨在探索一种非遗保护的“第三路径”——空间叙事下的活化传承。研究通过 文献研究与实地调研，提取闽南生产性建筑“虎头窑”的空间意象，构建了一座“嘉庚瓦叙事剧场”。设计通过“虎头窑意象同构—沉浸式剧场叙事—工坊具身闭环”的三层策略，尝试将非遗技艺科普从静态标本转化为动态叙事场域；“物理空间—动态剧目”的互文性建构，能够激活受众从信息接收到深度共情的情感跨越。

As an iconic visual symbol within the Tan Kah Kee architectural system, Tan Kah Kee tiles embody Mr. Tan Kah Kee's architectural philosophy of “wearing a Western suit and a bamboo hat,” as well as the inventive wisdom of Minnan working people. Yet with the industrialization of construction, brick and tile factories ceased production and Tan Kah Kee tiles gradually disappeared from the market. Although the Craft of Making Tan Kah Kee Tiles was inscribed on Xiamen's first municipal list of representative intangible cultural heritage items and has been presented in static, museum-style educational exhibits, such conventional display methods struggle to generate deep emotional resonance among the public. In response, the design is grounded in the context of Jimei School Village and explores a “third path” for safeguarding intangible cultural heritage: its living transmission through spatial narrative. Drawing on literature review and field research, the project derives the spatial imagery of the Minnan production-oriented architecture known as the “Tiger-Head Kiln” and creates a “Tan Kah Kee Tile Narrative Theater.” Through a three-layer strategy—imagery isomorphism with the Tiger-Head Kiln, immersive theatrical storytelling, and an embodied workshop loop—the design seeks to transform public education about the heritage craft from static exhibits into a dynamic narrative environment. The intertextual construction of physical space and live performance enables audiences to transition from receiving information toward deep empathy.

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导师评语 Mentor’s Review

何晨玥同学的作品《空间叙事视角下嘉庚瓦非遗文化的活化设计研究》立足厦门大学深厚的历史文脉，以嘉庚瓦这一标志性文化符号为切入点，完成了一次兼具学术深度与人文关怀的设计探索。嘉庚瓦承载着陈嘉庚先生“穿西装、戴斗笠”的建筑哲学与闽南劳动人民的创新智慧，然而在建筑工业化的浪潮中，其制作工艺虽被列入非遗名录，却因制作技艺遇到传承困境逐步退出历史舞台，难以唤起公众深层的情感共鸣。何晨玥同学敏锐地捕捉到这一现象，在集美学村场域中开辟了非遗保护的“第三路径”——以空间叙事为载体的活态传承。作品通过提炼闽南“虎头窑”的空间意象，通过意象同构的手法将原本的制作技艺通过表演形成具身经验的共鸣，将原本静态的科普标本转化为可感知、可参与、可共鸣的动态叙事场域。这种从器物保护到文化再生的范式转换，使一种普通的建筑材料升华为文化延续的象征，赋予其新的生命力与当代意义，显示出作者敏锐的文化理解力、扎实的设计功底与可贵的人文关怀。

He Chenyue's project, Research on the Activation Design of Tan Kah Kee Tiles' Intangible Cultural Heritage from the Perspective of Spatial Narrative, is rooted in the deep historical and cultural heritage of Xiamen University. Taking Tan Kah Kee tiles as an iconic cultural symbol, it presents a design exploration that combines academic depth with humanistic concern. These tiles embody Mr. Tan Kah Kee's architectural philosophy of “wearing a Western suit and a bamboo hat” and the inventive wisdom of Minnan working people. Yet amid the industrialization of construction, although their making technique has been listed as intangible cultural heritage, difficulties in passing the craft on have gradually pushed it out of active practice, limiting its ability to evoke deeper public resonance. He Chenyue perceptively captures this phenomenon and opens up a “third path” for safeguarding intangible heritage within Jimei School Village—living transmission through spatial narrative. By distilling the spatial imagery of Minnan's “Tiger-Head Kiln” and employing imagery isomorphism to transform the making process into a performance-based embodied experience, the work converts a static educational specimen into a dynamic narrative environment that perceptible, participatory, and capable of evoking resonance. This paradigm shift from object protection to cultural regeneration elevates an ordinary building material into a symbol of cultural continuity, giving it new vitality and contemporary relevance. It reveals the designer's perceptive cultural understanding, solid design abilities, and admirable humanistic concern.

钟贞 ZHONG Zhen

织补侨情：侨乡历史文化街区的街巷博物馆设计——以集美大社侨楼群为例

Weaving Diaspora：Street-Lane Museum Design in Overseas Chinese Historic and Cultural Districts: A Case Study of the Qiaolou Cluster in Jimei Dashe, Xiamen

环境设计

Environmental Design

张静姝Zhang Jingshu

指导老师 | 钟贞ZHONG Zhen, Niloofar Amini

本项目以厦门集美侨楼群历史街区为研究对象，提出“街巷博物馆”策略，将分散侨楼转化为连续文化叙事空间。通过串联再成楼、怡本楼、泰和楼、建业楼与文确楼等节点，构建步行游览路径，使游客在行进中逐步感知华侨迁徙与侨乡发展的历史脉络。叙事由宏观历史逐渐过渡至日常生活与个体记忆，并回归文化传承与当代转译。通过空间序列与展陈植入，街巷被重塑为可体验的时间轴。设计强调最小干预以保护建筑真实性，并引入结合传统铺装纹样与无障碍系统的多感官导览方式。本项目探索城市空间与展陈空间的融合，使历史在日常空间体验中被重新激活，使文化被还原到其原有的语境之中。

This project examines the historic Qiaolou district in Jimei, Xiamen, and proposes a “street-and-lane museum” strategy that transform dispersed Qiaolou buildings into a continuous cultural narrative space. By linking sites including Zaicheng Lou, Yiben Lou, Taihe Lou, Jianye Lou, and Wenque Lou, the design establishes a walking route that allows visitors to gradually perceive the historical trajectory of overseas Chinese migration and the development of their hometown. The narrative moves from macro-history to everyday life and personal memory, ultimately returning to cultural inheritance and contemporary interpretation. Through a sequence of spaces and curated displays, the streets and lanes are recast as an experiential timeline. The design emphasizes minimal intervention to preserve architectural authenticity, while introducing a multisensory guidance system that integrates traditional paving patterns with accessible features. By exploring the integration of urban and exhibition space, the project reactivates history through everyday spatial experience and returns culture to its original context.

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导师评语 Mentor’s Review

张静姝同学的作品《织补侨情：侨乡历史文化街区的街巷博物馆设计》根植于厦门地域文化，以独特的文化视野为集美大社侨楼群的更新提供了一种突破性的遗产展示范式。长久以来，博物馆往往以围墙划定边界，将文化遗存从原生语境中剥离，形成僵化孤立的观看关系。张静姝同学将再成楼、怡本楼、泰和楼、建业楼与文确楼等分散的侨楼节点串联为连续的步行叙事路径，将街巷变为串联起展陈空间的文化线索，让游客在行进中逐步感知华侨迁徙的历史脉络与侨乡发展的文化肌理，创新性的提出“街巷博物馆”的设计概念。设计以最小干预为原则，尊重建筑的真实性与场所精神，同时引入基于传统铺装纹样的多感官导览系统，兼顾文化表达与无障碍需求。最终实现了传统街区与展陈空间的有机融合，将文化还原到其应有的语境之中，使历史在日常空间体验中被重新激活，为侨乡历史街区的保护与更新提供了富有启发性的设计路径。

Zhang Jingshu's project, Weaving Diaspora: Street-Lane Museum Design in Overseas Chinese Historic and Cultural Districts, is rooted in Xiamen's regional culture and, with a unique cultural perspective, proposes a groundbreaking heritage presentation paradigm for the regeneration of the Qiaolou cluster in Jimei Dashe. Museums have long used walls to define their boundaries, separating cultural heritage from its original context and producing a rigid, isolated relationship between viewer and artifact. Zhang Jingshu links the dispersed Qiaolou sites—Zaicheng Lou, Yiben Lou, Taihe Lou, Jianye Lou, and Wenque Lou—into a continuous narrative walking route, turning streets and lanes into cultural threads that connect exhibition spaces. As visitors move through the district, they gradually encounter the history of overseas Chinese migration and the cultural fabric of the hometown community, giving rise to the innovative concept of the “street-and-lane museum.” Guided by the principle of minimal intervention, the design respects the buildings' authenticity and the spirit of place while introducing a multisensory guidance system based on traditional paving patterns, balancing cultural expression with accessibility. The result is an organic integration of the historic neighborhood and exhibition space, restoring culture to its proper context and reactivating history through everyday spatial experience. The project offers an inspiring design approach to the conservation and renewal of historic overseas Chinese hometown districts.