廉国钊

Durai Jayaraman

林艳红

王强

王小平

郑曦

南苑风起，万物复苏。风，是生命的呼吸，象征着丰富的情感。设计提取东方折扇独特的扇骨与扇面形态，将风的意象具象化，形成自由张合的模块化单体。轻盈的构筑灵活地布置于林木间，与花园结合。林下风起，单元体下垂或上扬，以聚拢或分散的方式组合，创造出人人共创的活力空间。古与今在此交融，城市林下花园场景成为现实。

The wind rises in Nanyuan, and all things come to life. Wind is the breath of life, symbolizing rich emotions. The design extracts the unique shape of the bones and surface of the Eastern folding fan, materializing the imagery of wind, forming modular units that open and close freely. These lightweight structures are flexibly arranged among the trees, integrating with the garden. Under the trees, the wind stirs, causing the units to either droop or rise, combining in ways that gather or disperse, creating a vibrant space that everyone can contribute to. The ancient and the modern merge here, and the urban forest garden scene becomes a reality.

Taking the traditional flower seller's three-wheeled carriage as a prototype, the project is reconstructed into a three-dimensional flower box that combines transportation, display and interactive functions; when closed, it can be ridden, and when unfolded, it creates a multi-layered floral landscape. The main frame is made of recycled wood, the surface of the box is made of sunlight panels, which can be used as both greenhouse and rainshade, and the side panels are etched with plant growth patterns to create dynamic light and shadow. Inside, a closed-loop ecosystem is constructed, forming a miniature natural cycle model of “seed-growth-dying-composting-new life”.

Inspired by seeds sprouting and breaking through the soil surface, this design embodies the strength accumulated underground and manifests it in the overlooked corners of space.  

We interpret the mechanical aesthetics of plant emergence, capturing the moment of tension as the earth cracks open. This concept is expressed through five distinct forms of fissure, creating a spatial structure filled with dynamic tension. Among these, three fissures are designed for passage, while two serve as visual corridors, guiding visitors to explore the space between the cracks and experience the dual perspectives of observation and being observed. Interactive installations are arranged around a central tree, dynamically simulating the process of seeds bursting from their shells, enabling visitors to physically engage with and feel the raw power of natural growth.

Amidst a changing climate, life showcases its infinite grace. This design stems from the intertwining of life and climate, utilizing wooden frames and mirrored interfaces to construct nested "boxes" in the garden. These structures serve as a vessel for the interaction between climate and life. As the mirrored boundaries open and close with the weather, they create a dialogue between the interior and exterior landscapes, blending reality with illusion. Within this limited space, the endless forms of life are reflected, inviting visitors into the "box" to experience the dynamic and playful interplay between the shifting surfaces, life, and the climate.

The project utilizes mycelium compounded with agricultural waste (rice husk and wheat bran), and through 14 days of autonomous growth, cultivates zero energy consumption and zero carbon emission bio-based bricks with a carbon footprint of only 1/8 of traditional building materials. 2504 mycelium bricks are parametrically designed to form a curved permeable boundary, with a porous structure that also serves as microclimate regulator. The bricks interact with the environment to produce dynamic color changes and organic textures, becoming a “living almanac” that records the metabolism of life. The whole cycle of the installation is based on the concept of zero-waste: 300kg of agricultural waste is absorbed during the construction phase, and after disintegration, 100% of the waste is degraded and returned to the land cycle. As an interdisciplinary eco-experiment, “Bacteriophage” subverts the traditional logic of construction with “growth as construction”, and reveals the hidden connection between material recycling and ecological services through the synergy between mycelial intelligence and agricultural waste. In the context of climate change, the project provides a breathable and metabolizable solution for resilient cities through dynamic material innovation and life narratives, redefining the symbiotic boundary between humans and nature.

This art installation, with bamboo as its framework and light as its soul, is named "Colorful Ribbon Brushing Clouds". "Colorful Ribbon" symbolizes the rich and varied hues, while "brushing clouds" depicts the bamboo reaching high into the clouds. The name is derived from the line "Red, orange, yellow, green, blue, indigo, violet—who is waving the colorful ribbon to dance in the sky?" from Mao Zedong's Pusa Man · Dabaidi. Suspended between heaven and earth, the installation resembles a colorful silk ribbon fluttering in the air, and also like a floating cloud drifting gently.

The design inspiration originated from the Forest Bookstore near Beijing Nanyuan Forest Wetland Park, where knowledge leads humanity to explore the vast universe and star clusters beyond Earth, thus extending the concept of "stars". The inspiration for the shape of the wind propulsion device of Lan Shu Tianyan comes from a satellite that continuously rotates around the orbit of a planet. The stellar storms in the universe are the inspiration for the main structure, combined with bamboo structures to visualize the perception of storms and design the form of the main body.

Life is constantly continuing in a cyclical way, and everyone is bound by the expectations imposed by society. We need to break this cycle and gain more possibilities. Our garden uses circles and triangles to represent the cycle and arrows, and through geometric relationships, to understand the gaps in life, and escape the mechanical repetition. Let visitors in this garden feel the sounds of nature, appreciate the sunlight, escape the anxiety given by the mundane world, feel the unique gaps in life, and pursue their most genuine desires.

The design is inspired by the concept of "unity of all things in heaven and earth", creating a virtual and real atmosphere, rooted in regional culture, and interpreting the vast poetic meaning of "pulling away from the clouds and returning to the sky". Entering the country feels like being in the midst of heaven, earth, and the Milky Way, experiencing the vastness and eternity of the universe, where the pulse of life resonates with nature; Leaving the country, a long scroll of ink wash unfolds before my eyes, with long waves of clouds and Han flowing, and the trajectory of life and the rhythm of the universe complementing each other. The brevity of life and the eternity of nature are intertwined here, between reality and virtuality, all things coexist and harmoniously blend together.

The sea of lanterns and the tide of people; the fire trees and silver flowers. When thousands of lights converge into a galaxy, the dancing light spots become the testimony of life. We continue the ancient tradition of lighting lanterns for blessings—crafting lanterns with wooden structures and entering cottages to make wishes.

This design freezes the dynamic ascension into a stayable space for wishes by deconstructing the spatiotemporal logic of the "lantern-releasing" ritual: using wooden installations to freeze the moment of flight, and reconstructing the life wishes of "releasing lanterns—chasing light—watching off" through a garden sequence.

Undulating plants string together the spatial rhythm, colors focus the senses, and greenery supports life.