叹绿成真：2024亚热带可持续设计竞赛获奖作品落成发布

△ 三个建成获奖作品  供图：华南理工大学建筑学院

在全球气候变化加剧与“双碳”目标持续推进的当下，建筑已不再只是需要被减排的对象，也成为设计重新介入现实的重要场域。围绕这一命题，华南理工大学建筑学院联合亚热带建筑与城市科学全国重点实验室共同主办2024亚热带可持续设计竞赛，在陆谦受教育基金的支持下，尝试将可持续议题从方案层面的讨论进一步推向深化设计与建造实践，使研究、教学与在地行动在同一框架中发生关联。

As global climate change intensifies and China's "dual carbon" goals continue to advance, architecture is no longer merely an object that must reduce emissions; it has also become an important field through which design can intervene in reality in new ways. Against this backdrop, the School of Architecture at South China University of Technology, together with the State Key Laboratory of Subtropical Building and Urban Science, jointly launched the 2024 Subtropical Sustainable Design Competition, with sponsorship from the Luke Him Sau Educational Foundation. The competition sought to push the discussion of sustainability beyond conceptual proposals toward detailed design and real construction, bringing research, teaching, and local action into a shared framework.

本届竞赛以“叹绿：不唯碳，是为叹”为主题，面向全球在读建筑相关专业学生征集原创“零碳建筑”方案，鼓励参赛者从各自熟悉的亚热带环境出发，在建筑全生命周期中重新思考材料、空间与使用之间的关系，并探索兼具可行性、互动性与实施价值的设计回应。

Under the 2024 theme, Green Enjoyment (In Cantonese: Taan Luk) — not just about reducing carbon, but about enhancing life — the competition invited architecture students worldwide to submit original "zero-carbon building" proposals. Participants were encouraged to begin from subtropical environments familiar to them, rethink the relationships among materials, space, and use across the entire building life cycle, and explore design responses that combine feasibility, interactivity, and implementation value.

2024年12月，竞赛最终评选出10件获奖作品，其中一等奖《松果的表皮》 与二等奖《秘密花园》《菌丝共生花园》在深化设计后，结合“百千万工程”于2026年2月落地于均安镇天连村的凫洲河畔河滨公园中。

In December 2024, the competition selected 10 winning entries. After further development, the First Prize project Flipmod and the Second Prize projects Secret Garden and Fungus Garden were realized in February 2026 in Riverside Park along the Fuzhou River in Tianlian Village, Jun’an Town, as part of the "Hundreds, Thousands and Tens of Thousands Project."

三件作品沿河滨公园展开，分别从界面更新、微气候营造和生态材料出发，落点不同，气质也不同，但都把注意力放在真实场地中的停留、使用与感受上。

Distributed along the riverfront park, the three works address different concerns — interface renewal, microclimate creation, and ecological materials — and each possesses a distinct spatial character. Yet all three focus on staying, using, and sensing within a real site.

下面按获奖顺序，介绍这三件作品从设想到建成的过程。

Presented below, in award order, is the process through which these winning proposals moved from concept to construction.

01

松果的表皮

Flipmod

设计团队：梁家铭、小池润 Liang Jiaming, Koike Jun

早稻田大学·日本 Waseda University,Japan

Flipmod不是先有造型、再去寻找用途的作品。它从街边最普通的立面出发，试着用一套能够翻转的模块，让遮阳、停留和交流重新发生。

Flipmod was not conceived as a form in search of a function. It began instead with one of the most ordinary urban conditions: the everyday street facade. Through a system of rotatable modules, it attempts to reactivate shading, staying, and social interaction.

Flipmod由日本早稻田大学团队完成，参赛时两位成员都还是建筑学方向的学生。梁家铭的学习背景更偏向建筑与都市计划，小池润则来自建筑环境方向。也正因为如此，这个项目一开始就不是单纯从形式出发，而是带着对街道界面、使用行为和气候条件的细致观察。

Flipmod was developed by a team from Waseda University, Japan. At the time of the competition, both members were still architecture students. Liang Jiaming’s academic background was more oriented toward architecture and urban planning, while Koike Jun came from the field of architectural environment. Perhaps for this reason, the project did not start from form alone; from the beginning, it was grounded in close observation of street interfaces, patterns of use, and climatic conditions.

/ 从街边看起 Starting from the street edge

项目最初关注的是广东城市中常见的沿街小店与门前灰空间。这样的地方介于店铺内部与公共街道之间，原本就承载着等待、停留、交谈、避雨等日常行为，却往往因为缺少设计而显得零散、局促。团队从这些再普通不过的街边界面中看到了一种可能：如果立面不只是边界，而是可以随着使用被打开、被翻转，它就有机会从一个静止的背景变成真正参与日常生活的空间装置。

The project initially focused on the common condition of small street-side shops and the gray space in front of them in cities across Guangdong. These spaces, situated between shop interiors and the public street, already accommodate everyday acts such as waiting, pausing, chatting, and taking shelter from rain, yet they often remain fragmented and cramped due to the absence of design. In these ordinary street interfaces, the team identified a possibility: if a facade were not merely a boundary, but something that could be opened and flipped in response to use, it might shift from being a static background into a spatial device that actively participates in daily life.

从形式上看，Flipmod受到松果表皮开合机制的启发，但项目的重点并不在于模仿自然形态，而在于把“开合”转化成一种直接清楚的空间语言。模块翻起时形成屋檐，为人提供阴影；半开时成为窗口，组织停留与交流；合上时又回到相对完整的界面状态。也正因为这一点，Flipmod从一开始就带有很明确的现实性：它不是一件独立摆放的雕塑，而是一套可以进入城市日常、并随着场地变化而被重新使用的界面系统。

Formally, Flipmod draws inspiration from the opening and closing mechanism of pinecone scales. Yet the point of the project is not the imitation of a natural form, but the translation of “opening and closing” into a direct and legible spatial language. When the modules are lifted, they form an eave that provides shade; when half-open, they become windows that organize staying and communication; when closed, they return to a relatively complete facade. For this reason, Flipmod carried a strong sense of real-world applicability from the outset: it is not an autonomous sculpture placed in space, but a facade system capable of entering urban daily life and being reused under changing site conditions.

/ 从立面到装置 From facade to installation

进入深化阶段后，项目并没有完全按照最初设想落在商业街区，而是转向了两个不同的公共场地：河岸步道和一所小学入口。场地的变化让设计团队重新思考这套系统的适应能力。原本依附于店铺立面的表皮装置，逐渐发展为可以独立站立的模块化结构；原本服务于沿街经营的界面，也转化为服务散步、等候、短暂停留等日常行为的公共设施。

In the detailed design stage, the project was not implemented exactly as first imagined in a commercial street setting, but instead shifted to two different public sites: a riverfront walkway and the entrance to a primary school. This change of site led the design team to reconsider the adaptability of the system. The skin-like device, originally conceived as something attached to a storefront facade, gradually developed into a modular structure capable of standing on its own. Likewise, an interface originally intended to support street-side commerce was transformed into a public facility serving everyday activities such as walking, waiting, and short stays.

在建造层面，项目保留了翻转屋面单元与模块组合的核心逻辑，但在材料和结构上做了更现实的调整。考虑到广东地区高温、高湿和户外长期暴露的条件，主要结构最终采用不锈钢体系，并结合滑轮、钢索与转轴形成清晰可靠的开合方式。整个项目采用模块化预制与现场组装结合的方式实施，基础定位、主体框架搭建和翻转单元安装是最关键的几个环节。相比一次性的造型表达，Flipmod更像是一套可以在不同场地中不断被验证和修正的方法。

At the level of construction, the project retained the core logic of the rotatable roof units and modular combination, while making more pragmatic adjustments to materials and structure. Given the hot, humid climate of Guangdong and the conditions of long-term outdoor exposure, the primary structure ultimately adopted a stainless steel system, combined with pulleys, steel cables, and rotating shafts to create a clear and reliable opening-and-closing mechanism. The project was realized through a combination of modular prefabrication and on-site assembly, with foundation setting-out, erection of the main frame, and installation of the rotating units as the most critical stages. More than a one-time formal gesture, Flipmod became a method that can be tested and refined across different sites.

/ 翻开之后 After opening up

建成后的Flipmod在两个场地中呈现出不同的空间表情。河岸步道上的版本更接近一组轻型遮阳装置，为散步、垂钓和短暂停歇的人群提供了半开放的停留界面；小学入口处的版本则更贴近日常节奏，为家长等候和学生集散留出一层缓冲。翻转动作让它始终处在“可变”的状态里，也让装置既像构筑物，也像可以被参与的街道家具。

Once built, Flipmod takes on different spatial expressions in its two locations. The riverfront version resembles a lightweight shading structure, offering a semi-open edge for people who walk, fish, or pause briefly along the river. The version at the school entrance is more closely tied to the rhythms of everyday life, creating a buffer zone for parents waiting and students gathering and dispersing. The act of flipping keeps the installation in a constant state of change, allowing it to read at once as a small structure and as a piece of participatory street furniture.

从结果来看，项目最有价值的地方并不只是“翻”这个动作本身，而是它重新组织了原本容易被忽略的边界空间。它没有依赖复杂设备，而是通过简洁的结构手段去改善遮阳和停留条件，让一块普通界面真正变成可以被使用的公共空间。这也使得Flipmod从一件获奖作品，慢慢显现出一种更可推广的公共空间原型。

What makes the project most valuable is not simply the act of “flipping” itself, but the way it reorganizes boundary spaces that are otherwise easily overlooked. Without relying on complex equipment, it improves shading and staying conditions through straightforward structural means, turning an ordinary interface into genuinely usable public space. In this sense, Flipmod has gradually evolved from an award-winning entry into a more widely applicable prototype for public space.

02

秘密花园

Secret Garden

设计团队：Rafael Enrique Wong Cubas、Inés Castillo Colombás、Gabriel Flores Derega

马德里理工大学·西班牙 The Polytechnic University of Madrid,Spain

如果说Flipmod处理的是界面与街道的关系，那么秘密花园更像是在高密度环境里藏下一小块能让人慢下来的地方。它讨论的不是“看见什么”，而是“人在里面会感受到什么”。

If Flipmod addresses the relationship between interface and street, Secret Garden is more like a small place hidden within a dense urban environment — somewhere that invites people to slow down. Its concern is not simply what one sees, but what one feels inside the space.

秘密花园由Rafael Enrique Wong Cubas、Inés Castillo Colombás和Gabriel Flores Derega共同完成。参赛时，三位成员都是马德里理工大学建筑学院的学生。对他们来说，这次竞赛既是一次设计练习，也是一种跨文化的场地想象：他们试着从自身对空间、气候与自然的理解出发，去回应中国南方城市环境中的炎热、降雨与停留需求。

Secret Garden was created by Rafael Enrique Wong Cubas, Inés Castillo Colombás, and Gabriel Flores Derega. At the time of the competition, all three were students at the School of Architecture of the Polytechnic University of Madrid. For them, the competition was not only a design exercise, but also a cross-cultural act of site imagination: beginning from their own understanding of space, climate, and nature, they sought to respond to the heat, rainfall, and need for staying spaces in cities of southern China.

/ 把花园藏起来 Hiding a garden within the city

项目最初的想法，是在拥挤、炎热、节奏紧张的城市环境里放入一座微型花园。团队并不想把自然理解成附着在建筑表面的装饰，而是希望让风、雨、植物和人的停留共同参与空间的生成。也因此，秘密花园从一开始就不是一个强调外观冲击力的作品，而是更接近一种微气候装置：它试图在很小的尺度里，为人提供阴影、通风、湿润感和短暂的安静。

The project began from the idea of inserting a miniature garden into a city environment marked by crowding, heat, and a fast pace of life. The team did not understand nature as a decorative layer attached to architecture; instead, they hoped to let wind, rain, planting, and human occupation participate together in the making of space. For this reason, Secret Garden was never intended as an object defined by visual impact alone. It was conceived instead as a kind of microclimate device: at a very small scale, it seeks to offer shade, ventilation, moisture, and a brief sense of calm.

在空间想象上，团队设想它适合出现在街角余地、社区灰空间或邻近步行流线却缺少停留设施的节点。这样的地方往往不在城市最显眼的位置，却恰恰最需要一小块能让人停下来的阴凉地。项目围绕“隐藏”这一感觉展开：它既不完全封闭，也不彻底暴露，而是在开放环境中形成一个略带庇护感的内部。风可以穿过去，雨可以落进来，植物不是背景，而是空间经验本身的一部分。

Spatially, the team imagined the project occupying leftover street corners, neighborhood gray spaces, or nodes adjacent to pedestrian routes yet lacking places to stop. Such locations are rarely the most visible parts of the city, but they are often exactly where a small shaded place to pause is most needed. The design revolves around the feeling of "hiddenness": it is neither fully enclosed nor completely exposed, but instead creates an interior with a subtle sense of shelter within an open setting. Wind can pass through, rain can fall in, and planting does not serve merely as a background — it becomes part of the space experience itself.

/ 在转角落地 Taking shape at the corner

项目最终落位于均安镇天连村公园更新区域的一处转角地带，邻近步行与骑行路径，也有较明确的界面围合。这个位置并不处在绝对中心，却和秘密花园的气质很贴近：它更适合被偶然发现，而不是被高声宣告。实际场地给了项目一个很清楚的前提——如何在保持开放性的同时，做出一处真正愿意让人停留的空间。

The project was ultimately realized at a corner within the park renewal area of Tianlian Village, Jun’an Town, adjacent to walking and cycling routes and partially enclosed by surrounding edges. The location is not at the absolute center of the site, yet it corresponds closely to the temperament of Secret Garden: it is better discovered by chance than announced loudly. The actual site offered the project a clear premise — how to create a place where people genuinely want to stay while maintaining openness.

深化阶段，团队把原本偏自由的空间意象逐步转化成可加工、可安装的结构系统。项目采用钢结构作为主体框架，以保证轻盈造型下的稳定性；屋面通过规则化分解形成可实施的构造逻辑；围护则以织物和膜材完成，使垂直界面保持轻盈与通透。

During the detailed design phase, the team gradually translated what had originally been a relatively free spatial image into a structural system that could actually be fabricated and installed. The project uses a steel structure as the main frame to ensure stability beneath its lightweight form. The roof was rationalized into a buildable construction logic, while the enclosure was executed with textile and membrane materials so that the vertical surfaces would remain light and permeable.

施工从钢结构预拼装开始，再进入现场基础、吊装和围护安装。过程中也根据实际道路关系和基础条件对落点、尺寸和细部做了调整，最后才逐渐形成今天这个看上去轻，但并不松散的空间。

Construction began with the prefabrication and trial assembly of the steel frame, followed by site foundations, hoisting, and installation of the enclosure. During this process, the location, dimensions, and details were adjusted in response to actual road relationships and foundation conditions, eventually producing the light yet coherent space that exists today.

/ 走进花园里 Entering the garden

建成后的秘密花园像一块被轻轻折叠进场地里的小型绿洲。纤细的金属骨架与半透明织物围合出柔和边界，在遮荫的同时保留了空气和视线的流动；本土植物让空间不只是“有绿”，而是真正有了生长感。人进入其中，并不会立刻被某个强烈造型抓住，而是先感受到亮度的变化、风通过围护时的流动、雨落到屋面和植物上的声音，以及被遮蔽后那一点细微但真实的凉意。

The built Secret Garden resembles a small oasis gently folded into the site. Slender metal frames and semi-transparent fabric enclose a soft boundary that provides shade while allowing air and views to circulate. Native planting means that the space is not simply "green", but genuinely alive with a sense of growth. On entering, one is not immediately confronted by a striking form; what is felt first is instead the change in brightness, the movement of wind across the enclosure, the sound of rain on the roof and vegetation, and the slight yet tangible coolness that comes with being sheltered.

这个项目的价值，也许正在于它没有把舒适感做得很夸张，而是处理得很克制。它通过遮阳、导雨、通风与种植共同改善微气候，尽量不依赖额外设备，却让空间体验变得具体可感。

The value of the project may lie precisely in the restraint with which it handles comfort rather than exaggerating it. By combining shading, rain guidance, ventilation, and planting to improve the microclimate, it minimizes reliance on additional equipment while making the experience of the space concrete and perceptible.

和最初设想相比，落地方案在植物配置、座椅和局部材料上都做了调整，但它最核心的愿望一直没有变：在高密度环境中，为人留出一块可以慢下来、重新接近自然的地方。

Compared with the initial proposal, the realized scheme adjusted the planting configuration, seating, and some local material choices, yet its core ambition never changed: to leave, within a high-density environment, a place where people can slow down and reconnect with nature.

03

菌丝共生花园

Fungus Garden

设计团队：吕潇洋、YIN HONG、罗恺蓓、李泓翰、毛会军、徐邹明朗 Lyu Xiaoyang, YIN HONG, Luo Kaibei, Li Honghan, Mao Huijun, Xu Zouminglang

华南理工大学·中国 South China University of Technology,China

菌丝共生花园关心的不是如何把“绿色”做得更显眼，而是如何把材料循环这件事真正放进公共空间，让人愿意看，也愿意停下来。

Fungus Garden is concerned not with making "green" more visually conspicuous, but with bringing material circulation into public space in a way that people are willing both to look at and to inhabit.

菌丝共生花园由吕潇洋、YIN HONG、罗恺蓓、李泓翰、毛会军、徐邹明朗共同完成，来自华南理工大学。由于团队成员具备建筑设计、景观设计、建筑技术科学与暖通空调等多学科专业背景。相较于直接从造型出发，他们更关注材料性能、生态过程与公共空间使用之间能否建立起更具体的联系，这也让整个项目从一开始就带着比较明确的研究性和实验性。

Fungus Garden was created by Lü Xiaoyang, YIN HONG, Luo Kaibei, Li Honghan, Mao Huijun, and Xu Zouminglang from South China University of Technology. Owing to the team’s multidisciplinary backgrounds in architectural design, landscape design, building technology, and HVAC engineering, they were less interested in beginning directly from form than in asking whether more concrete connections could be established among material performance, ecological process, and the use of public space. This gave the project a distinctively research-oriented and experimental character from the very beginning.

/ 从菌丝出发 Beginning with mycelium

项目的出发点来源于对“分解者”这一角色的关注。相较于植物和人，菌类在城市空间里往往并不显眼，但恰恰是它们让物质得以循环、让生命过程得以延续。团队并没有把菌丝材料仅仅当作一种新奇材料来展示，而是试图把它转化成一个更完整的空间议题：如果一座公共装置不仅能被观看，还能让人直观感知材料如何生长、分解并最终回归，那么“生态”便不再停留于抽象概念，而能够转化为一种可被体验的现实过程。

The project originated from an interest in the role of the "decomposer". Compared with plants and people, fungi are often inconspicuous in urban space, yet it is precisely they that allow matter to circulate and life processes to continue. The team did not treat mycelium-based material merely as a novel substance to display. Instead, they attempted to turn it into a more comprehensive spatial question: if a public installation can do more than be seen — if it can allow people to directly perceive how materials grow, decompose, and ultimately return — then "ecology" no longer remains an abstract concept, but becomes a real process that can be experienced.

方案最初设想落位于珠江沿岸高密度城区中的临江绿地。这样的场地一方面承受着暴晒、高频人流和停留设施不足等现实问题，另一方面又有足够开放的城市背景，适合作为一种生态共享设施的试验场。也正是在这样的设想中，项目逐渐形成了自身的空间图景：以菌伞意象发展出的碗状结构，结合回收纸筒、菌丝模块、雨水利用和光伏系统，让植物、材料与使用行为共同构成一个小型生态系统。

The proposal originally envisioned a site within a riverside green space in a high-density urban area along the Pearl River. Such a site would face practical challenges including intense solar exposure, heavy pedestrian flow, and insufficient places to stop, while also providing an open urban context appropriate for testing an ecological shared facility. It was within this setting that the project gradually formed its spatial image: a bowl-like structure derived from the image of a mushroom cap, combined with recycled paper tubes, mycelium modules, rainwater use, and a photovoltaic system, allowing plants, materials, and patterns of use to form a small ecological system together.

/ 从原型到搭建 From prototype to assembly

从概念走向建造的过程中，团队经历了一次很关键的转译。原方案希望通过更复杂的圆筒单元和更强的互动模块来呈现“菌伞”意象，但在预算、加工周期、施工精度与后期维护等现实条件面前，这样的系统难以稳定实施。最终，项目转而采用更克制的三角形构架体系，以标准化单元拼接出连续弧面，在尽量保留生长感与包裹感的同时，提升了结构稳定性和施工效率。

The translation from concept to construction involved a crucial process of adaptation. The original scheme sought to express the image of a mushroom cap through more complex cylindrical units and more strongly interactive modules. Yet under the practical constraints of budget, fabrication time, construction precision, and long-term maintenance, such a system proved difficult to realize reliably. The project therefore shifted to a more restrained triangular structural system, using standardized units to assemble a continuous curved surface. In doing so, it preserved as much as possible the sense of growth and enclosure while improving structural stability and construction efficiency.

施工阶段则围绕预制、装配和整体曲面的控制展开，团队采取“先骨架、后填充”的方式，逐步完成主体与菌丝模块的安装。项目最终落地于佛山市顺德区均安镇天连村，实际场地开敞、临水，也面向村民、游客和儿童等多样使用者。和最初的城市滨江设想相比，这个场地更贴近日常生活，也更强调装置作为公共节点的识别度与可进入性。

During construction, the work centered on prefabrication, assembly, and control of the overall curved geometry; the team adopted a "frame first, infill second" method to complete the main structure and installation of the mycelium modules step by step.The project was ultimately realized in Tianlian Village, Jun’an Town, Shunde District, Foshan. The actual site is open, close to the water, and used by villagers, visitors, and children alike. Compared with the original vision of an urban riverside setting, this site is more closely embedded in everyday life and places greater emphasis on the installation’s legibility and accessibility as a public node.

/ 让循环可见 Making circulation visible

建成后的菌丝共生花园呈现出一种既开放又带有包裹感的空间状态。由三角构架围合而成的整体形态如同一只半张开的菌伞，局部嵌入的菌丝模块让结构在虚与实之间形成清楚的层次：有些面被填满，提供材料质感与视觉重心；有些面保持开放，让光线、风与视线穿过。人进入其中，既能获得基本的遮荫和停留体验，也会自然注意到材料本身所传达的时间感和生长感。

The completed Fungus Garden presents a space that is at once open and subtly enveloping. The overall form, enclosed by a triangular framework, resembles a half-open mushroom cap. Mycelium modules inserted into selected portions of the structure establish a clear relationship between solid and void: some surfaces are filled, giving the project material texture and visual weight; others remain open, allowing light, air, and sightlines to pass through. Entering the structure, people gain basic shade and a place to stay, but they also become naturally aware of the sense of time and growth conveyed by the material itself.

项目真正有意思的地方，在于它没有把生态议题处理成一套抽象说辞，而是努力把它转化为可以被看见、被触摸、被理解的空间现实。当然，从设想到建成，作品在互动模块、局部功能和构造复杂度上都做出了一定简化，但也正是在这些调整之后，它才从一个理想化的原型，转变为一个能够真实存在于公共环境中的生态装置。

What is most compelling about the project is that it does not reduce ecological thinking to a set of abstract claims; rather, it works to translate such concerns into a spatial reality that can be seen, touched, and understood. Certainly, in the process from concept to construction, the work simplified certain interactive modules, local functions, and aspects of constructional complexity. Yet it was precisely through these adjustments that it transformed from an idealized prototype into an ecological installation capable of truly existing in a public environment.

竞赛项目信息

主办方：华南理工大学建筑学院、亚热带建筑与城市科学全国重点实验室

评委会召集人：孙一民、彭长歆

评委会成员：宋晔皓、刘少瑜（Stephen S.Y. LAU）、张宏、罗智星、杨燕玲（Yvonne leong）、陈翠儿（Corrin Chan）、肖毅强、何健翔

竞赛策划：苏平、殷实、钟冠球

竞赛组织：苏平、殷实、钟冠球、刘骁、林正豪、陈永明、汪俊松、任浩山、何天宇

落成项目设计团队：

松果的表皮（日本早稻田大学 ）：梁家铭、小池润

秘密花园（西班牙马德里理工大学）：Rafael Enrique Wong Cubas、Inés Castillo Colombás、Gabriel Flores Derega

菌丝共生花园（中国华南理工大学 ）：吕潇洋、YIN HONG、罗恺蓓、李泓翰、毛会军、徐邹明朗

竞赛协助：青建造工作室

建造顾问：华南理工大学建筑设计研究院有限公司、广州市竖梁社建筑设计有限公司、广州东意建筑设计及咨询有限公司

Competition Information

Organizers:

School of Architecture, South China University of Technology

State Key Laboratory of Subtropical Building and Urban Science

Jury Chairs:

Sun Yimin, Peng Changxin

Jury Members:

Song Yehao, Liu Shaoyu (Stephen S.Y. LAU), Zhang Hong, Luo Zhixing, Yang Yanling (Yvonne Leong), Chen Cui’er (Corrin Chan), Xiao Yiqiang, He Jianxiang

Competition Planning:

Su Ping, Yin Shi, Zhong Guanqiu

Competition Organizing:

Su Ping, Yin Shi, Zhong Guanqiu, Liu Xiao, Lin Zhenghao, Chen Yongming, Wang Junsong, Ren Haoshan, He Tianyu

Design Teams of the Built Projects:

Flipmod (Waseda University, Japan): Liang Jiaming, Koike Jun

Secret Garden (Polytechnic University of Madrid, Spain): Rafael Enrique Wong Cubas, Inés Castillo Colombás, Gabriel Flores Derega

Fungus Garden (South China University of Technology, China): Lyu Xiaoyang, YIN HONG, Luo Kaibei, Li Honghan, Mao Huijun, Xu Zouminglang

Competition Assistance:

Ecodesign Studio

Construction Consultants:

Architectural Design and Research Institute Co., Ltd. of South China University of Technology

Atelier cnS, Guangzhou, China

Atelier Y, Guangzhou, China

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