This article introduces the outstanding contributions of Professor Zhou Wuzhong, Director of the International Center for Innovative and Design at Shanghai Jiao Tong University, in the field of rural revitalization design. With his profound academic background and rich practical experience, Professor Zhou has promoted theoretical innovation and practical exploration in rural design. Through the publication of his monograph Neo-Rualism, the release of the Dingshan Declaration on Rural Design and the Shanghai Consensus on Rural Design, the establishment of the International Rural Designers Club, and the successful implementation of multiple rural design projects, he has not only enhanced the social recognition of rural design but also provided systematic solutions for rural revitalization. Professor Zhou's theory of "Neo-Ruralism, " which emphasizes the harmony of "production, life, and ecology, " has become an important reference for rural revitalization. His practical cases, such as the planning of the Anji Longwang Mountain Natural Eco-Tourism Zone and the environmental improvement of Jindatian Village, demonstrate the immense potential of rural design in practical applications.
Against the backdrop of the integration of digital technology and cultural tourism, this article focuses on the scene generation and experience design of immersive performances. The essence of immersive performances, as a fusion of drama, technology, and spatial design, reconstructs the relationship between the audience and the performance through interactivity, a sense of immersion, and innovation. A scene generation model is constructed, which combines physical, virtual, and cultural spaces into one. The experience design centers around the "human" and strengthens participation through interactive and digital means. It optimizes the design of "objects" by integrating digital technology and artistic scenes, and improves the experience system with emotional interaction and digital communication. The article also points out that the industry is faced with challenges such as technological iteration, lack of standards, and changing demands. Additionally, taking Wuxi as a regional practical example, the article provides theoretical and practical support for the technological innovation, cultural inheritance, and industrial development of immersive performances.
On September 28, 2024, the 10th Oriental Design Forum, themed "Urban-Rural Integration and Beautiful Rural Design, " was grandly held at the Jinshan sub-venue of the 2024 World Design Cities Conference (WDCC2024). The forum was jointly organized by multiple institutions and received strong support from government and academic organizations. It brought together experts, scholars, university faculty and students, and corporate representatives from the design field, both domestically and internationally, to explore the latest advancements in urban-rural integration and beautiful rural design. At the opening ceremony, Liu Yufeng, Chairman of the Jinshan District Committee of the Chinese People's Political Consultative Conference (CPPCC), delivered a speech emphasizing the critical role of design in urban-rural integration and rural revitalization. Subsequently, Dr. Zhou Zhicheng, Chief Representative of the Shanghai Office of the International Design Science Society (USA), released the Shanghai Consensus on Rural Design and unveiled the International Rural Designers Club. The thematic forum and academic dialogues, chaired by renowned professors and experts, delved into multi-dimensional practices of urban-rural integration and innovative approaches to rural design. The forum not only provided theoretical support and practical guidance for design and rural revitalization but also showcased Shanghai's leading role in global design collaboration and innovation.
On the afternoon of November 23, 2024, the 2024 Symposium on the Inheritance and Protection Project of Agricultural Culture was held in Conference Room 1 of Building 52 at the National Agricultural Exhibition Center. The event was guided by the Department of Rural Social Affairs Promotion of the Ministry of Agriculture and Rural Affairs, hosted by Shanghai Jiao Tong University, and co-organized by multiple institutions. Experts and representatives from government agencies, academia, and the business sector attended the symposium. Centering on the theme of "Rural Aesthetics and Rural Memory, " the discussions highlighted the significance and specific approaches to inheriting and protecting agricultural culture. Participants shared their research findings and practical experiences, emphasizing the pivotal role of rural aesthetics in rural revitalization. Several concrete measures were proposed to promote the preservation and innovation of agricultural culture, contributing to the comprehensive revitalization of rural areas.
Against the backdrop of globalization and mutual learning among civilizations, this paper addresses the imbalance in civilizational exchanges and the deepening spiritual divides in the process of globalization by proposing and systematically elaborating the “Cultural Channel Theory.” First, through a critical reflection on the limitations of the diffusionist school in anthropology, and drawing inspiration from the H? proton pump mechanism in plant physiology, the paper validates the core hypothesis of Cultural Channel Theory using case studies such as the Sinicization of Buddhism, the localization of KFC, and the mutual influence of Chinese and Western gardens. The theory posits that “cultural channels” serve as carrier systems for the cross-civilizational flow of cultural elements, driving civilizational integration and innovation through a “selection-transformation-integration” mechanism, while also tracing the early construction of the theory. Second, the paper clarifies the core concepts of cultural channels, their three-layered structure (“material-institution-spirit”), and categorizes them into passive and active types, delving into the dynamic operational mechanism of “selection-transformation-integration” to establish the theoretical foundation. Next, it traces the historical evolution of cultural channels, from ancient regional channels centered on material carriers (e.g., the overland Silk Road, maritime Silk Road, and the East Asian Chinese-character cultural sphere) to modern global channels driven by industrial technology (e.g., colonial trade channels, missionary cultural channels, and student-exchange cultural channels). Then, focusing on the contemporary era, the paper analyzes the characteristics and value of three new forms of cultural channels under globalization and digitization: digital cultural channels, the “Belt and Road” cultural channels, and intangible cultural heritage (ICH) cultural channels. Finally, it elaborates on the epochal value of Cultural Channel Theory at three levels: theoretical (constructing a systematic framework for civilizational exchange), practical (providing actionable pathways for civilizational exchange), and global (offering cultural support for a community with a shared future for humanity). It also highlights that future cultural channel development must prioritize technological empowerment, equality and inclusivity, and shared human values to achieve the sustainable development of human civilization.
