在日常观察中，江楠同学敏锐地察觉到校园内缺乏一些能让人愿意停下来、放松心情的空间。许多现有座椅更强调功能性，却较少关注使用者的感受。因此，她设计了这样一款兼具功能性与艺术性的波浪椅。

这款作品的灵感，一部分来源于物理课堂中关于“波”的学习体验。波浪形起伏的线条，自带柔和舒展的视觉感受，让大家从繁忙节奏中获得片刻休憩。这种简洁大方的设计能完美融入校园环境，提供学习生活以外能够让人愿意停留、交流、感受彼此的空间。

谈到为什么会选择两个看似差异很大的主题，江楠同学给出了自己的答案：

“可能大家会疑惑我为什么选择这两个完全不同的方向：一个是传统工艺，一个是现代家具设计。事实上，它们紧密相连，都源于我对生活的观察。紫砂壶寄托了我对生活地域文化的热爱，而校园椅则处于对我所处校园社区的关怀。对我而言，设计不仅是创作，更是一种与世界沟通的方式。它可以是高雅传统的，也可以是实用温暖的。我希望通过这些作品告诉大家，设计就在我们生活的每一个细节中。”

从传统器物到校园空间，从文化理解到现实关怀，我们看到江楠同学在学习与探索中的主动表达。她用自己的方式，将审美、思考与生活连接起来，也让“设计”这个词，在校园里变得更加具体、可感。

愿更多这样的尝试，在校园里发生；也愿更多同学在观察、思考与创造中，找到属于自己的表达方式。

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.

 

中英：11-2 江楠

责编：11-7 刘晨程

文字指导：李婷

主持：10-8 朱嘉昊

图片、视频剪辑、编辑：曲昊睿

审核：苏晔