Design is never an unattainable art form, but rather a sincere expression of careful observation and love for life. It emerges from everyday experience and grows alongside our awareness of the world. Recently, two design exhibitions were curated by Mary (Jiang Nan) from Grade 11 Class 2. Both reflect her pursuit of beauty and her desire to bring that beauty into everyday life. One focuses on Jiangnan culture and Zisha clay ware（紫砂器）, exploring traditional craftsmanship and aesthetics. The other centers on a “wave chair” designed for campus public space, functioning both as an artistic installation and a piece of practical furniture. Although the two projects differ in style, they share the same starting point: to integrate design into daily life and to express care through creation.

Mary’s first exhibition focuses on Jiangnan culture and Zisha teapots, which represent the traditional craftsmanship and cultural depth of the Jiangnan region. In areas such as Yixing, people have been producing wares using this unique iron-rich clay for over a thousand years.

Beyond the material itself, what matters most is the thinking behind its design. When creating Zisha teapots, artisans not only emphasize practicality—ensuring the teapot is easy to hold, pour, and use—but also the continuation of cultural aesthetics. The design often draws inspiration from the natural landscapes and cultural traditions of Jiangnan. For example, the softness of water towns, the elegance of classical gardens, and the tranquility of traditional daily life are all reflected in the forms and patterns of the teapots.

As visitors move through the exhibition, they first encounter classic Zisha teapot forms and trace the evolution of craftsmanship and style. They then explore how contemporary artists reinterpret tradition and create new forms of expression. Finally, visitors are invited to interact with tools and raw clay, gaining a hands-on understanding of the material itself.

This exhibition is not only a presentation of traditional craftsmanship, but also an expression of her appreciation for Jiangnan culture, aiming to allow more people to experience the enduring charm of traditional aesthetics.

If the first exhibition is an exploration of traditional culture, the second brings design directly into campus life. Mary initiated this project after noticing that the campus lacks comfortable and welcoming spaces for rest and informal interaction. Most existing chairs in classrooms and public areas are functional but rigid, failing to fully support students’ needs for relaxation and communication. As a result, she designed a wave-shaped chair that fits campus environments and creates a more holistic, human-centered experience.

According to Mary, the chair balances functionality and artistic expression, ensuring both structural stability and a sense of openness for social interaction. The wave form is universal and calming, symbolizing a pause within a fast-paced daily routine. Its simple and elegant design allows it to blend naturally into the campus environment, providing not only a place for rest but also an inviting space for communication and connection.

When asked why she chose two seemingly different themes, Mary offered her own explanation:

“Many people may wonder why I chose two completely different directions—one rooted in traditional craftsmanship and the other in modern furniture design. In fact, they are closely connected, as both originate from my observations of daily life. The Zisha teapot reflects my love for my hometown culture, while the campus chair grows out of my care for the campus community. For me, design is not only about creation; it is also a way of communicating with the world. I hope that through these works, people can see that design exists in every detail of our lives.”

From traditional artifacts to campus spaces, and from cultural understanding to practical care, we see Mary’s active engagement in learning and exploration. Through her own approach, she connects aesthetics, reflection, and daily life, making the concept of “design” more tangible and meaningful within the campus community.