厦门大学创意与创新学院课程成果｜施工工艺与结构Fabrication and Construction

施工工艺与结构三年级 第二学期环境设计专业2023级

Fabrication and ConstructionSemester 2 – Year 3Environmental Design2023 Cohort

教学团队

Teaching Team

Zihong Yue, Pierangelo Marco Scravaglieri, Matteo Aimini

2026年度F&C课程再创佳绩。十项装置作品即十件社会构建性技术产物，其创作过程捕捉了文化中丰富多元的可能性，可为福林村未来发展提供启示。回望历程，课程三位授课讲师深入反思了孕育课程教学三大关键维度的研究导向型思维——社区建构、场所精神与“当下课堂"。以下为他们的完整思考，并附学生作品作为课程成果范例。

F&C Module 2026 has seen another year of success. 10 installations constitute 10 pieces of socially constructive technologies and their creative processes capture the assemblage of possibilities that could inform the future of Fulin Village. In retrospect, the three co-teachers of the module reflect deeply about their research-informed thinking that generated the three key aspects of module’s pedagogy - self-construction, genius loci, and classroom of nows. Below are their reflections in full along with students' work attached as examples of the module’s outcome.

身体与集体 - 社区自建

The body and the collective - community self-construction

Zihong Yue

F&C 课程负责人

环境设计专业讲师

F&C Module Leader

Lecturer of Environmental Design

鲁登村照片

Photo of Ludeng Village by Zihong Yue

鲁登村是贵州黔东南大山里一座有600年历史的苗族村寨，大部分建筑仍是古老的手工木构。历史上，苗族人因战乱逃入深山，在土地稀缺、资源有限的陡峭山地上建起家园。在道路修通之前，从台江县城前往鲁登村要跋涉七个小时。然而贫困并未扼杀艺术的生长。村中一位老人告诉我：寨子里人人都会盖房子。谁家要建房，只需到县城找个能组织乡亲的工头。孩子们从小跟着大人到亲戚家的工地帮忙——这便是他们的学习。而我们当时居住的那栋屋宇，也是多年前由几位叔伯共同筹划、全村合力建成的。

这种社群自建的模式带来了深刻的启示。在贫瘠的山区，有限的人口与稀缺的资本，无法催生足以支撑专业化和产业化营建的需求。人们转而依靠自己的身体和集体的组织。他们把身体化为技艺的容器——每一位成年人都内化了关于榫卯、承重和组装的切身知识。集体则通过协调、共享工具与劳力、凭着默契一同劳作。这种模式不仅孕育了卓越的建筑遗产——吊脚楼、客家土楼、藏族碉楼，更塑造了社会的韧性和强大的凝聚力。与晋商大院或苏州园林那些依托雄厚经济支撑的“富人宅邸”不同，这些乡土传统源于集体的坚韧。

国际学界早有观察：人工环境学科在很大程度上是为资本服务的。全欧洲仅有5%到6%的建筑有建筑师参与，却占据了行业资本总量的85%以上，而其余95%的建筑只分享不到15%的资本。鲁登村揭示了另一种可能：没有资本，人的身体与集体依然能够完成非凡的创造。这对今天的人工环境学科具有直接的现实参照意义。自古乡村面临资本短缺本是常态，既然古人能以自建应对挑战，我们何不在今天将这一模式予以现代化？这将催生出一种对乡村和城市在地社区更具可持续性、且有助于在地场所营造的实践模式。

此外，人体——每一寸肌肤密布着触觉神经，不同的肌群无缝配合——以及集体——成员之间心意相通又各具所长，能够共情并协调行动——蕴含着任何AI或机器人都无法复制的丰富性。正因如此，我们的“制造与建造”课程将三分之一用于面向“地方智慧”的设计实践，三分之二投入以“集体建造”为核心的全身心沉浸式设计。这门课始终依赖小组协作，也从不将劳动抽离于知识建构的过程之外，而是在“智能”逐渐被算法所替代的今天，重新启发人的具身感知力，唤起每一个人体细胞和神经元来创造知识。这种能力的丰富度，正是人工智能无法替代的、我们作为人本身所固有的能力。

Ludeng Village is a 600-year-old Miao settlement in the mountains of Qiandongnan, Guizhou. Most of its buildings remain ancient, handcrafted wooden structures. Historically, the Miao people fled warfare into these deep mountains, building on steep terrain with scarce land and limited resources. Before roads existed, reaching the village from Taijiang county required a seven-hour trek. Yet poverty did not constrain artistry. An elder told me: everyone in the village knows how to build. When someone needs a house, they find a foreman in the county town who organises the villagers. Children grow up helping adults on relatives' construction sites—that is their learning. The very building that hosted us was planned years ago by several uncles and built collectively.

This model of community self-construction offers profound inspiration. In barren mountain regions, limited population and scarce capital cannot generate the demand that supports professionalised, economised building making. Instead, people rely on their own bodies and collective organisation. They turn their bodies into vessels of skill—every adult possesses embodied knowledge of joinery, load-bearing, and assembly. And the collective work together through co-ordination, sharing tools, labour, and tacit understanding. This produces not only remarkable architectural heritage—stilted houses, Hakka tulou, Tibetan fort houses—but also social resilience and strong cohesion. Unlike the grand mansions of Shanxi or Suzhou gardens, which were "houses of the rich" backed by strong economies, these vernacular traditions emerge from collective perseverance.

International academia has long observed that the built environment discipline is structured largely to serve capital. Only 5–6% of buildings across Europe involve an architect, yet that fraction accounts for over 85% of the industry's capital volume. The remaining 95% of construction shares just 15%. Ludeng Village reveals a different possibility: without capital, human bodies and collectives can still accomplish remarkable acts of creation. This has direct relevance to today's built environment subject. Throughout history, it has been normal for rural areas to face capital shortages. If ancient communities rose to the challenge through self-construction, why not try and modernise that model for today? This will trigger a model of practice that’s more sustainable for villages and urban local communities and which contributes towards local placemaking.

Furthermore, the human body—every inch of skin dense with tactile nerves, different muscle groups coordinating seamlessly—and the collective—members sharing understanding yet distinct, capable of empathy and coordinated action—contain richness no AI or robot can replicate. Thus, our "Fabrication and Construction" module dedicates 1/3 to design practice oriented toward "local intelligence," and 2/3 to whole-body immersive design centred on "collective construction." The module relies constantly on group collaboration and never removes labour from the process of knowledge construction. Rather, in an era where "intelligence" is increasingly being replaced by algorithms, it seeks to reawaken human embodied perception, calling upon every cell and nerve in the body to react and create knowledge. The richness of this capacity is precisely what artificial intelligence cannot replace—an ability intrinsic to our very being.

场所禀赋 - 把教学融入福林村的场所语境之中

Genius Loci - contextualise learning into Fulin Village

Dr. Matteo Aimini

环境设计专业高级讲师

Senior Lecturer of Environmental Design

福林村位于福建省泉州市，是研究亚洲特大城市复杂层叠肌理中地域变迁动态与景观韧性的绝佳观察窗口。这座村落拥有丰厚的历史与建筑遗产，凝聚了闽南乡村聚落的精髓，历史上以鲜明的文化认同、与海外侨胞的跨国纽带，以及独特的空间格局为特征——乡土建筑与当地生态基质在此共生相融。

如今，泉州城市区域的扩张将福林村置于一场微妙的形态转型中心。历史肌理正与现代基础设施及快速城市化压力彼此博弈、争抢空间，使聚落逐渐演变为一种混杂的城市碎片。这种“界面”状态引出了一系列关键问题：如何保护文化认同？如何再生公共空间？——这里的公共空间不仅被理解为物理虚空，更是社会凝聚与环境适应的媒介。

在此语境下，设计与研究的挑战在于解码福林村的形态，进而提出以多元且有意义的方式调动社区参与的策略。目标并非简单地将过去博物馆化，而是彰显那些让一个地方真正焕发生机的要素：其传统所承载的文化，以及生活在其中的人们。福林村由此成为一个基础性的理论与实践模型——一座露天实验室，展示着不同形式与功能的小型建筑装置如何揭示场所精神的潜能，激发全新而意想不到的动态。

Fulin Village, located in the municipality of Quanzhou (Fujian Province), represents a privileged observatory for studying the dynamics of territorial transformation and landscape resilience within the complex palimpsest of Asian megacities. Characterised by a rich historical and architectural heritage, the village embodies the essence of rural communities in southern Fujian, historically defined by a strong cultural identity, transnational ties with the diaspora, and a distinctive spatial configuration in which vernacular architecture integrates symbiotically with the local ecological matrix.

Today, the expansion of the Quanzhou urban region places Fulin Village at the centre of a delicate morphological transition. The historic fabric finds itself negotiating space with contemporary infrastructures and the pressures of rapid urbanisation, transforming the settlement into a hybrid urban fragment. This condition of "interface" raises crucial questions about the preservation of cultural identity and the regeneration of public space — understood not merely as physical void, but as a device for social cohesion and environmental adaptation.

In this context, the design and research challenge lies in decoding the morphology of Fulin in order to propose strategies that engage communities in diverse and meaningful ways. The aim is not simply to museify the past, but to valorise what makes a place alive: the culture of its traditions and the people who inhabit it. Fulin Village thus becomes a fundamental theoretical and practical model — an open-air laboratory demonstrating how small architectural installations of varying form and function are capable of revealing the potential of the genius loci, triggering new and unexpected dynamics.

课堂的无数个刹那

Classroom of now

Dr. Pierangelo Marco Scravaglieri

环境设计专业讲师

Lecturer of Environmental Design

研讨辅导台

Photo of the tutorial desk by Pierangelo Marco Scravaglieri

仙女座银河系的悖论为思考F&C课堂提供了一个有益的视角。这一悖论由罗杰·彭罗斯提出，它指出表明：两个在街上擦肩而过的人，在考虑遥远星系中发生的事件时，可能处于略微不同的“当下时刻”。位置的微小差异，便改变了每个人所能声称的界定的“现在”。两种视角互不抵消。现实——无论它是什么其本质为何——都变成了一种关系性的存在。

这也正是我们设计课堂的真实写照。学生们围坐在同一张桌子旁，听同一堂课，探访同一座村庄，回应同一份任务书工作，但每个人面对的项目却截然不同。一个学生注意到了水，另一个注意到了香火，还有人听到了声音，跟随一只猫，绘制女性的活动地图，研究造纸工艺，或是沉浸于脚手架的细节之中。课堂将这些不同的 “当下”汇聚一堂，让它们彼此对话。

从这个意义上说，《施工工艺与结构》课程远不止是一个传授技术技能的地方。它是一座临时的注意力建筑，在这里，对世界的不同解读相互碰撞、彼此检验。福林村并非作为中立的场地信息被带回课堂，而是以图纸、模型、碎片、疑问、错误、争论、故事、材料以及未完成的原型等形式回归。围绕桌子，村庄在同一时刻成为了许多个不同的地方。

这就是课堂真正力量之所在。它是为数不多的、能让分歧保持生产性的空间之一。学生们无需对福林村达成一致的解读，而是要学会与不同的解读共处共事。课堂并不抹除差异，而是赋予差异以结构、语言及共享的界面。

建造通常被视为设计的最终阶段。但在F&C课程中，制作从一开始便成为一种思考方式。材料会产生抵抗，原型会遭遇失败，模型会扭转项目方向，工具会带来限制，小组讨论会揭示出此前隐而不见的预设。知识正是通过这些摩擦被生产出来的。手、工具、小组、导师、场地、材料——它们共同参与了理解的建构。

在一个日益被人工智能和自动化塑造的时代，这一点至关重要。如果说AI擅长生成答案，那么课堂仍然是少数致力于提出问题的场所。人类的能力绝非仅等同于智能，它同样存在于协调、触觉、判断、记忆、犹豫、即兴、分歧与协同努力之中。

因此，F&C课程运作于地方智慧与集体建造之间， 其价值不仅在于学生产出的作品，更在于他们学会维系的各种关系：场地与课堂之间、概念与材料之间、个体感知与集体劳作之间。课堂成为了这些关系得以彰显、协商与转化的场域。

正如仙女座悖论所揭示的，启示并不在于某个视角是正确的，而在于当不同的世界建立关联时，学习才真正开始。

F&C课程并未要求学生就福林村的本质达成共识，而是引导他们去发现——在同一张桌子周围，可以有多少座村庄并存。

The Andromeda Paradox offers a useful way to think about the F&C classroom. Proposed by Roger Penrose, it suggests that two people passing each other on the street may occupy slightly different "present moments" when considering events in a distant galaxy. A small difference in position alters what each person can claim as now. Neither perspective cancels the other. Reality, whatever it may be, becomes relational.

This is also what happens in our design classroom. Students may sit around the same table, attend the same lecture, visit the same village, and work toward the same brief, yet each encounters a different project. One student notices water. Another notices incense. Another hears sound, follows a cat, maps women’s movement, studies papermaking, or becomes absorbed by scaffolding. The classroom gathers these different presents and brings them into conversation.

In this sense, Fabrication & Construction is more than a place where technical skills are transferred. It is a temporary architecture of attention, where different readings of the world are tested against one another. Fulin Village is not brought back into the classroom as neutral site information. It returns as drawings, models, fragments, questions, mistakes, arguments, stories, materials, and unfinished prototypes. Around the table, the village becomes many places at once.

This is where the classroom acquires its real force. It is one of the few spaces in which disagreement can remain productive. Students do not need to arrive at the same reading of Fulin. They need to learn how to work with the presence of other readings. The classroom does not erase difference; it gives difference a structure, a language, and a shared surface.

Construction is often imagined as the final stage of design. In F&C, making becomes a way of thinking from the beginning. Materials resist. Prototypes fail. Models redirect projects. Tools introduce limits. Group discussions expose assumptions that had remained invisible. Knowledge is produced through this friction. The hand, the tool, the group, the tutor, the site, and the material all participate in the construction of understanding.

This is extremely important in an age increasingly shaped by artificial intelligence and automation. If AI excels at producing answers, the classroom remains one of the few places dedicated to producing questions. Human capability cannot be reduced to intelligence alone. It also lives in coordination, touch, judgement, memory, hesitation, improvisation, disagreement, and shared effort.

F&C therefore operates between local intelligence and collective construction. Its value lies not only in the objects students produce, but in the relationships they learn to hold: between site and classroom, concept and material, individual perception and collective work. The classroom becomes the place where these relations are made visible, negotiated, and transformed.

Like the Andromeda Paradox, the lesson is not that one perspective is correct. The lesson is that learning begins when different worlds are brought into relation.

F&C did not ask students to agree on what Fulin Village was. It asked them to discover how many villages could coexist around the same table.

学生作品展示

Examples of students’ work

《涟观》

Water Listens

张珂菡，葛樱桦，沈崇乐，刘可妮，傅卓尔，吴安宸，程煜杰

ZHANG Kehan, GE Yinghua, SHEN Chongle, LIU Keni, FU Zhuo’er, WU Anchen, CHENG Yujie

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图片来自葛樱桦设计报告Images extracted from the Design Report of GE Yinghua

随着华侨迁往海外，福林村逐渐沉寂。《涟观》作为一个让声音可视化的节拍器，以水和光为媒介，让参与者在互动中共同触发水的振动，将能代表华侨、闽南的声音转化为可见的波纹——远方的声音被带回村庄，沉寂的空间在水与声音的共鸣中被再次激活。

As overseas Chinese emigrated, Fulin Village gradually fell into silence.Water Listens, a metronome that visualizes sound, uses water and light as media to enable participants to collectively trigger water vibrations through interaction, transforming sounds representative of overseas Chinese and Minnan culture into visible ripples—bringing distant voices back to the village and reawakening the silent space through the resonance of water and sound.

《捕语者》

Horn

邱心迪，王观屹，出陈芯夷，叶芊乐，佘其霖，张家月，黄雨涵，钟新

QIU Xindi, WANG Guanyi, CHU Chenxinyi, YE Qianle, SHE Qilin, ZHANG Jiayue, HUANG Yuhan, ZHONG Xin

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图片来自王观屹设计报告

Images extracted from the Design Report of WANG Guanyi

本设计位于福林村一处废弃无顶古厝，旨在回应其废墟状态，同时探索场地中风、植物与声音的微妙感官关系。项目以八角喇叭为载体，收集并放大风吹动植物时产生的细微声响，将自然流动转化为可感知的空间体验。装置采用CNC切割木板制作，并结合传统榫卯结构组装，以杜邦纸包裹，在传统工艺与场地声音记忆之间建立一种富有象征意义的联系。

The project is located within a roofless, abandoned traditional house in Fulin Village, conceived to respond to the site’s ruinous state while exploring the subtle sensory interplay between wind, vegetation, and sound. Centered on an octagonal horn, it collects and amplifies the delicate sounds produced as wind moves through plants, transforming natural motion into a perceivable spatial experience. The installation is fabricated from CNC-cut wooden panels and assembled through traditional mortise-and-tenon joinery, then wrapped in Tyvek paper, establishing a symbolically resonant connection between traditional craft and the site’s acoustic memory.

《非人类转译装置》

Fortune Telling Device

郑嘉怡，钟凯桐，于轶峤，陈宝尔，郑瑞阳，周映廷，黄舒禾

ZHENG Jiayi, ZHONG Kaitong, YU Yiqiao, CHEN Bao'er, ZHENG Ruiyang, ZHOU Yingting, HUANG Shuhe

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图片来自郑嘉怡设计报告Images extracted from the Design Report of ZHENG Jiayi

Site 5 是福林村中部的废弃古厝，树木、风与动物路径共同构成仍在运作的场域。装置以“生境演算”读取这些隐喻的非人类语言，并借福林村的风水观转译为村民可读的结果。通过风向、绕线与声音感知，算法系统把环境输入转化为可参与的占卜语言，引导人驻足、观察并重新解读废墟场地。

Site 5 is a derelict traditional house in the heart of Fulin Village, where trees, wind, and animal trajectories together form an active living field. The installation uses "The Living Algorithm" to read these metaphorical more-than-human languages, and translates them through Fulin Village’s fengshui worldview into results accessible to villagers. Through wind direction, thread winding, and sound sensing, the algorithmic system transforms environmental inputs into a participatory language of divination, inviting people to pause, observe, and reinterpret the ruined site.

《花生擂台坊》

Peanut Beating Device

卫佳雪，赵晨萱，董沛言，颜子婵，钟艺竹，张雅怡

WEI Jiaxue, ZHAO Chenxuan, DONG Peiyan, YAN Zichan, ZHONG Yizhu, ZHANG Yayi

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图片来自赵晨萱设计报告Images extracted from the Design Report of ZHAO Chenxuan

项目选址泉州福林村闲置口袋公园，地块被居民区与校园环绕，场地勘探找到镌刻花生糖工艺的古石碑以及废弃石墨构件。以复兴闽南花生酥传统文化为设计核心，打造互动花生工坊与儿童活动场地，设置脱壳风箱、跷跷板碾具、古法熬糖灶三件装置，还原完整制糖流程，实现文化重生。

The project is located in an underutilized pocket park in Fulin Village, Quanzhou, encircled by residential areas and a school campus. Site surveys uncovered an ancient stone stele inscribed with peanut candy-making techniques alongside abandoned graphite components. Centered on reviving the traditional Minnan peanut brittle culture, the project establishes an interactive peanut workshop and children’s play area. It features three installations—a shell-removing bellows, a seesaw-style grinding tool, and a traditional sugar-cooking stove—to recreate the full sugar-making process and breathe new life into local heritage.

《东京秘笈》

Mystery Box

刘奕然，张鹏，王若熙，何煜儿，林睿衡，李佳骏，白杨亦心

LIU Yiran, ZHANG Peng, WANG Ruoxi, HE Yu'er, LIN Ruiheng, LI Jiajun, BAI Yangyixin

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图片来自张鹏、李佳骏设计报告Images extracted from the Design Report of ZHANG Peng and LI Jiajun

本项目以晋江福林村关于“东京村”的历史传闻为研究对象。虽然大量文献记载提及东京村，但其真实性至今未被证实。我们结合望月楼、端园及其地下暗道等历史遗迹，设计了一套互动装置。观众需通过破解暗语开启密码门，逐步探索关于东京村的线索。装置采用可无限延展的结构，象征历史叙事的持续生成，并引发人们对地方记忆、历史真实性以及碎片化历史记录价值的思考。

This project investigates the local legend of "Dongjing Village" in Fulin Village, Jinjiang. Although the village appears in numerous historical records, its actual existence remains unverified. Drawing on local heritage sites such as Wangyue Tower, Duanyuan Garden, and its hidden tunnels, we designed an interactive installation. Visitors must decipher coded messages to unlock a secret door and progressively explore clues about Dongjing Village. The infinitely extendable structure of the installation symbolizes the continuous generation of historical narratives, encouraging reflection on local memory, historical authenticity, and the importance of preserving fragmented stories from the past.

福林井边造纸工坊

Fulin Village well-side paper making mill

林欣欣，萧博洋，杨睿，孙霁瑜，章倩，何弦，章凯涵

LIN Xinxin, XIAO Boyang, YANG Rui, SUN Jiyu, ZHANG Qian, HE Xian, ZHANG Kaihan

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图片来自林欣欣设计报告

Images extracted from the Design Report of LIN Xinxin

我们的项目位于福林村清源别院。这里曾是华侨古厝，后转为 XMU 教学实践基地，如今却再度闲置。通过实地观察，我们关注到被忽略的水井、学生购买快递产生的大量废弃纸板，以及修缮完好却缺乏日常活力的庭院，希望以造纸作为公共媒介，让场地重新产生停留、交流与共同创作，重新激发其活力。装置采用可拆卸的模块化木构，整合取水、制浆、抄纸、收纳、遮阳、晾晒与展示结构，支持村民、学生、儿童和访客共同参与。

Our project is located at Qingyuan Villa in Fulin Village, a former overseas Chinese residence that later became an XMU teaching practice base but is now idle again. Through site observation, we identified a neglected well, large amounts of discarded cardboard from students’ daily deliveries, and a restored courtyard lacking vitality. The project uses papermaking as a public medium to transform well water, waste cardboard and site memory into a participatory making process. It aims to bring dwelling, interaction and co-creation back to the site. The installation is a demountable modular timber structure integrating water collection, pulping, paper-making, storage, shading, drying and display.

《寻香》

Incense Making Cabin

董夏熙，陈恺，倪昕烨，王春晨，杨舒然，严明哲，邓盈真

DONG Xiaxi, CHEN Kai, NI Xinye, WANG Chunchen, YANG Shuran, YAN Mingzhe, DENG Yingzhen

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图片来自陈凯设计报告

Images extracted from the Design Report of CHEN Kai

本项目提出了一种移动微型建筑原型，作为在乡村社区之间游历的“气味流动实验室”。设计巧妙地嵌入并寄生于乡村既有建筑的狭窄缝隙之中，在紧凑的三层结构系统中，将烹饪、蒸馏、气味营造与临时栖居融为一体。它并非一个静止的装置，而是一个移动的微观研究平台——在不同的场域间流转，介入当地居民的日常生活，并通过身体力行的日常实践生成独特的在地的知识。借由气味的生产与共享，本项目深入探讨了建筑如何在保持高度功能性、自适应性并嵌入地方文脉的同时，重新缝合社区纽带、集体记忆与场所精神。

This project proposes a mobile micro-architecture that operates as a roving "scent laboratory" travelling between rural communities. Designed to occupy the narrow gaps between existing village buildings, the structure combines cooking, distillation, scent-making and temporary living within a compact three-level system. Rather than functioning as a static installation, it acts as a mobile research platform that can move between locations, engage local residents, and generate site-specific knowledge through everyday practices. Through the production and sharing of scent, the project explores how architecture can re-stitch community bonds, collective memory, and the spirit of place, while maintaining high functionality, adaptability, and deep embeddedness within the local context.

《共生》

Intergrowth

侯奕，张筠琪，李昀璐，曾文希，杨东铃，蔡颖涵，吴紫悠

HOU Yi, ZHANG Yunqi, LI Yunlu, ZENG Wenxi, YANG Dongling, CAI Yinghan, WU Ziyou

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图片来自侯奕设计报告

Images extracted from the Design Report of HOU Yi

该项目选址于福林村晓园。随着乡村更新与建筑修缮活动的推进，大量建筑废弃物不断产生，与此同时，场地中的植物资源也往往仅停留于观赏层面。针对这一现状，《共生》旨在利用场地中广泛生长的三角梅与更新过程中遗留的废弃钢筋，将钢筋转化为结构骨架、将三角梅作为制作原料，从而构建“材料再生—植物生长—颜料生产”的循环系统，使装置成为一个持续生长与运作的活态设施。我们希望从回收再利用的角度出发，探索建筑废料与自然资源共同参与循环系统的新可能性。

The project is located in Xiaoyuan, Fulin Village. With the ongoing rural renewal and building restoration activities, large amounts of construction waste are continuously generated, while plant resources on site are often confined to ornamental use. In response,Intergrowthutilizes the abundant bougainvillea and discarded steel reinforcement left from restoration works, transforming the steel into structural skeleton and the bougainvillea into raw material for pigment extraction. This establishes a cycle of material regeneration, plant growth, and pigment production, allowing the installation to function as a continuously growing and operating living system. The project explores new possibilities for integrating construction waste and natural resources into a shared circular system from the perspective of recycling and reuse.

《行愿生花》

Bloom As Becoming

张笑阳，厉康，夏凡舒，许了了，何佳慧，刘乙萱，袁诗雨

ZHANG Xiaoyang, LI Kang, XIA Fanshu, XU Liaoliao, HE Jiahui, LIU Yixuan,YUAN Shiyu

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图片来自夏凡舒设计报告

Images extracted from the Design Report of XIA Fanshu

《行愿生花》以福建晋江福林寺为场地，关注女性在民间仪式中的日常行动。她们行走、等待、采摘、供奉与祈祷，以持续的身体劳动维系信仰秩序。项目从场地中的木棉花、杨桃与龙眼出发，将花理解为女性生命力在土地、身体与信仰之间的生长状态。最终，我们将这些动作转化为可穿戴竹编结构：上半身回应汇聚、支撑与祈愿，下半身回应行走、蹲下与福牌摆动。身体激活结构，使隐性的劳动与愿望生成可见的仪式空间。

Bloom as Becomingis set at Fulin Temple in Jinjiang, Fujian, where women sustain ritual life through everyday actions such as walking, waiting, picking, offering, and praying. The site reading focuses on their repeated bodily labor, often invisible within the ritual space, and on the flowers and fruit trees around the temple, including kapok, starfruit, and longan. In the project, flowers are understood not as decoration, but as a manifestation of female vitality growing between land, body, and belief. These actions are translated into wearable bamboo structures: the upper body responds to gathering, supporting, and praying, while the lower body responds to walking, squatting, and the swaying of blessing tags. By activating the structure through the body, the project renders invisible labor and desire into a visible ritual space.

《晒晒龙》

Sai Sai Dragon Parade

骆宣辰，姜曦蕊，骆昕桐，郑渝焓，施源，叶紫萱

LUO Xuanchen, JIANG Xirui, LUO Xintong, ZHENG Yuhan, SHI Yuan, YE Zixuan

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图片来自骆宣辰设计报告

Images extracted from the Design Report of LUO Xuanchen

我们的场地位于晋江龙湖镇福林村的一条旧商业街。它曾经承担村庄的日常服务功能，但随着人口外流与日常活动减少，街道的公共生活逐渐减弱。场地周边仍能观察到零散居民在家门口进行私人晾晒。在中文语境中，“晒”不仅是把食物放在阳光下晾干，也有展示、分享和公开呈现的含义。因此，“晒晒龙” 将“晾晒”转化为一种展示日常生活、饮食文化与民俗记忆的方式。附近的百年卤料店也成为地方饮食身份的线索。项目将晾晒与“龙”的民俗象征结合，把私人食物劳动转化为公共节令仪式。最终装置由三辆可移动小车组成，整合晾晒、雨水过滤、蒸煮烹饪与食物分享功能。

Our site is an old commercial street in Fulin Village, Longhu Town, Jinjiang. It once served as the hub of everyday village services. However, population outflow and dwindling daily activities have gradually eroded its public life. Around the site, scattered residents still practise private sun-drying outside their homes. In Chinese, "晒" means not only to dry under the sun, but also to showcase, display and make public. Therefore,Sai Sai Dragon Paradeturns drying into a way of displaying daily life, food culture and folk memory. The nearby century-old brine-spice shop also becomes a clue to local food identity. By fusing sun-drying with the folk symbol of the dragon, the project transforms private food labour into a public seasonal ritual. The final installation consists of three movable carts that integrate drying, rainwater filtration, steaming/cooking and food sharing.

以上作品仅供教学与交流使用。部分课程作品中的图像及声音素材来源于网络或使用 AI 生成。

The above works are for educational purposes only. Some image and sound materials used in the student works are sourced from the internet or generated using AI.