# Gewu Studio / Products and Spatial Experiments Canonical: https://hefa.p4theater.cn/en/work/gewu-products-and-spaces Gewu Studio / Products and Spatial Experiments, 2012–2013. Parametric design, products, 3D printing, spatial proposals. He Fa’s role: Co-founder and artistic director. 2012–2013 / Parametric design, products, 3D printing, spatial proposals From Wave Pen, Tantan and Cornices to screens and lighting, an archive of Gewu’s early work across products and art. Wave Pen, product photograph. Gewu Studio half-year report, p. 3. Studio Gewu Studio He Fa’s role Co-founder and artistic director Archive scope Three product projects and two spatial proposals ## Work record Gewu Studio / Products and Spatial Experiments, 2012–2013. Parametric design, products, 3D printing, spatial proposals. He Fa’s role: Co-founder and artistic director. Work / series Gewu Studio / Products and Spatial Experiments Date 2012–2013 Medium Parametric design, products, 3D printing, spatial proposals He Fa’s role Co-founder and artistic director Catalogue section Collaborative practice Cite this record: Gewu Studio / Products and Spatial Experiments · 2012–2013 · Co-founder and artistic director · [https://hefa.p4theater.cn/en/work/gewu-products-and-spaces](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) [Materialise: Fashion Show Like No Other Debuts at the Materialise World Conference](https://investors.materialise.com/news-releases/news-release-details/fashion-show-no-other-debuts-materialise-world-conference) ## A collaborative studio practice This archive is drawn from Gewu Studio’s half-year report. It brings together five projects: Wave Pen, Tantan, Cornices, a screen for Phoenix Island in Sanya, and lighting for Beijing’s 768 Creative Park. As co-founder and artistic director, He Fa contributed to the studio’s creative direction, conceptual development, form studies and philosophical inquiry. Individual products and commissions are presented here as a collaborative studio archive. ## Products: curves, repetition and generation Wave Pen and Cornices turn continuous curves and layered structures into objects for use and wear. Tantan appears alongside them in the studio’s product series. Product photographs in the report make it possible to read these projects together with the contemporaneous Twelve Water Lamps. ## Space: screens and light The report also includes a screen designed for a Type A residence at Phoenix Island in Sanya and lighting for a venue in Beijing’s 768 Creative Park. The surviving images are design renderings. They record how curves and light were intended to enter architectural space; they do not establish completion of construction. ## Credits and documentation These products and spatial proposals are presented as records of the studio’s collaborative practice. He Fa’s work encompassed photography, conceptual development, form exploration and artistic direction. The making of the objects and authorship of their images are recorded separately. ## Qingfeng Fuping: a view that changes with the body The Qingfeng Fuping proposal designs a seascape screen for the entrance of a Type A show residence in the Phoenix Island business clubhouse, Sanya. It treats the entrance as a point where an interior view reaches the sea, connecting screen, home and seascape through looking. The proposal records an overall width of 2 m and height of 6 m, combining 55 distinct horizontal curved elements with a concealed straight framework. The document also preserves form studies, three views of a single frame layer and a proposal for mortise-and-tenon assembly. As viewers change position, overlapping curves form different relationships. The document’s idea of “flow” refers both to the image of water and to the movement of a person. Source documents: 清风拂屏, pp. 3, 6, 11, 14, 15, 16, 17, 20. ## Ten names for Tantan The studio’s Tantan naming draft develops ten homophonous or near-homophonous Chinese names: 弹弹, 忐忐, 探探, 叹叹, 昙昙, 坦坦, 檀檀, 潭潭, 谈谈 and 袒袒. Each links a disposition to a flower: 忐忐 connects shyness with begonia, while 潭潭 connects mystery with winter cherry blossom. The formal series thus also has a linguistic system built from sound, written meaning and botanical associations. The draft documents the series’ naming concept and expressive method; it does not by itself establish production or exhibition details for all ten groups. Source documents: 格物Tantan文案. ## Jinhua Award medal and trophy proposal The studio’s initial Jinhua Award proposal brings together a ploughshare, earth, sun and a V for victory. A transformed V frames the medal; the trophy develops that outline into curves and volumes seen from different directions. The nine-page document preserves two variants, four elevation renderings and a sequence of spatial studies through 360 degrees. The document is credited to GEWU Studio, and the medal rendering is inscribed “2013.” This date belongs to the award inscription in the image; the initial draft provides no record of selection or completed production. Source documents: 金铧奖——方案初稿, pp. 1, 2, 3, 4, 5, 6, 7, 8, 9. ## Works & details Tantan. Gewu Studio half-year report, p. 4. Cornices. Gewu Studio half-year report, p. 5; a record of collaborative studio practice. Screen proposal for a Type A residence at Phoenix Island, Sanya. Gewu Studio half-year report, p. 8; rendering. Lighting proposal for a venue in Beijing’s 768 Creative Park, view 1. Studio half-year report, p. 9. Lighting proposal for a venue in Beijing’s 768 Creative Park, view 2. Studio half-year report, p. 9. Lighting proposal for a venue in Beijing’s 768 Creative Park, view 3. Studio half-year report, p. 9. Qingfeng Fuping proposal: form and framework studies. GEWU Studio document, p. 14; full page retained. Qingfeng Fuping proposal: layered forms among the 55 curved elements. GEWU Studio document, p. 16; full page retained. Qingfeng Fuping proposal: proposed mortise-and-tenon assembly. GEWU Studio document, p. 20; full page retained. Jinhua Award initial draft: medal proposal. GEWU Studio proposal, p. 2; the medal rendering is inscribed “2013.” Jinhua Award initial draft: four elevations of trophy variant two. GEWU Studio proposal, p. 7. Jinhua Award initial draft: form development. GEWU Studio proposal, p. 8. ## Archive note Prepared from original documents retained by the artist. English text is a translation for this site. ## Continue exploring ### Gewu Studio / Twelve Water Lamps Water held in form; photography reveals light, surfaces and the spaces between. ### Shanshui From a distance, a landscape. Up close, photographs made at different times and positions. TAKE A PATH ACROSS ## Other paths from this work. Spaces transformed Which movement produces the flow [Gewu Studio / Products and Spatial Experiments](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) ↔ [Shunan Bamboo Sea](https://hefa.p4theater.cn/en/work/shunan-zhuhai) Shunan Bamboo Sea accumulates photographs vertically; the Clear Breeze Screen proposal uses fifty-five curved layers in relation to viewing position. One moves the eye; the other proposes changing relations among curves through bodily movement. 2012–2013 / Parametric design, products, 3D printing, spatial proposals 2010 / Photography, light box Read the source materials Work image [Images and presentation ↗](https://hefa.p4theater.cn/en/work/shunan-zhuhai#chapter-1) Photographic fragments accumulate along the long axis of a narrow vertical image, directing attention between its upper and lower ends. Period document [Qingfeng Fuping: a view that changes with the body ↗](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces#chapter-5) Pages 3, 6, 11, 14–17 and 20 of the Qingfeng Screen proposal document the sea-view screen, 55 surfaces and changing viewing positions; renderings do not establish construction. [Continue from this work ↗](https://hefa.p4theater.cn/en/crossings#work=shunan-zhuhai) Spaces transformed ### Which movement produces the flow [Gewu Studio / Products and Spatial Experiments](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) ↔ [Shunan Bamboo Sea](https://hefa.p4theater.cn/en/work/shunan-zhuhai) Shunan Bamboo Sea accumulates photographs vertically; the Clear Breeze Screen proposal uses fifty-five curved layers in relation to viewing position. One moves the eye; the other proposes changing relations among curves through bodily movement. 2012–2013 / Parametric design, products, 3D printing, spatial proposals 2010 / Photography, light box Work image [Images and presentation ↗](https://hefa.p4theater.cn/en/work/shunan-zhuhai#chapter-1) Photographic fragments accumulate along the long axis of a narrow vertical image, directing attention between its upper and lower ends. Photographic fragments accumulate along the long axis of a narrow vertical image, directing attention between its upper and lower ends. Period document [Qingfeng Fuping: a view that changes with the body ↗](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces#chapter-5) Pages 3, 6, 11, 14–17 and 20 of the Qingfeng Screen proposal document the sea-view screen, 55 surfaces and changing viewing positions; renderings do not establish construction. Pages 3, 6, 11, 14–17 and 20 of the Qingfeng Screen proposal document the sea-view screen, 55 surfaces and changing viewing positions; renderings do not establish construction. Language in transit A sun changes its position [Gewu Studio / Products and Spatial Experiments](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) ↔ [Central](https://hefa.p4theater.cn/en/work/central-2013) Central moves a relief’s sun into photography; Gewu’s trophy proposal combines sun, ploughshare and a V shape. Both transfer motifs, but one has a documented finished work while the other remains a studio design draft. 2012–2013 / Parametric design, products, 3D printing, spatial proposals 2013 / Archival inkjet print Read the source materials Artist’s statement [Artist statement in the portfolio ↗](https://hefa.p4theater.cn/en/work/central-2013#artist-statement) The portfolio statement explicitly begins with a relief encountered while travelling and places the sun among mountains; this is the artist’s stated compositional decision. Period document [Jinhua Award medal and trophy proposal ↗](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces#chapter-7) Pages 1–9 of the Golden Plough Award draft combine a ploughshare, sun and V shape; the draft supplies no selection or manufacture record. [Continue from this work ↗](https://hefa.p4theater.cn/en/crossings#work=central-2013) Language in transit ### A sun changes its position [Gewu Studio / Products and Spatial Experiments](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) ↔ [Central](https://hefa.p4theater.cn/en/work/central-2013) Central moves a relief’s sun into photography; Gewu’s trophy proposal combines sun, ploughshare and a V shape. Both transfer motifs, but one has a documented finished work while the other remains a studio design draft. 2012–2013 / Parametric design, products, 3D printing, spatial proposals 2013 / Archival inkjet print Artist’s statement [Artist statement in the portfolio ↗](https://hefa.p4theater.cn/en/work/central-2013#artist-statement) The portfolio statement explicitly begins with a relief encountered while travelling and places the sun among mountains; this is the artist’s stated compositional decision. The portfolio statement explicitly begins with a relief encountered while travelling and places the sun among mountains; this is the artist’s stated compositional decision. Period document [Jinhua Award medal and trophy proposal ↗](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces#chapter-7) Pages 1–9 of the Golden Plough Award draft combine a ploughshare, sun and V shape; the draft supplies no selection or manufacture record. Pages 1–9 of the Golden Plough Award draft combine a ploughshare, sun and V shape; the draft supplies no selection or manufacture record. Language in transit What identity does a name give an object [Gewu Studio / Products and Spatial Experiments](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) ↔ [Happiness Kingdom](https://hefa.p4theater.cn/en/work/happiness-kingdom) Tantan’s naming text connects ten homophones to temperaments and flowers; Happiness Kingdom lets makers give figures personalities. Names extend objects’ meanings in both, while a series-naming proposal differs from an ongoing shared world. 2012–2013 / Parametric design, products, 3D printing, spatial proposals 2023 / Collective puppet-making, role play and an evolving theatrical environment Read the source materials Period document [Entering a role through making ↗](https://hefa.p4theater.cn/en/work/happiness-kingdom#chapter-1) Public materials from April–May 2023 describe collective puppet making, assigned personalities and role recruitment; individual roles and texts retain their own authors. Period document [Ten names for Tantan ↗](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces#chapter-6) The Gewu Tantan text connects ten homophonic names with temperaments and floral images; it is a naming proposal. [Continue from this work ↗](https://hefa.p4theater.cn/en/crossings#work=happiness-kingdom) Language in transit ### What identity does a name give an object [Gewu Studio / Products and Spatial Experiments](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) ↔ [Happiness Kingdom](https://hefa.p4theater.cn/en/work/happiness-kingdom) Tantan’s naming text connects ten homophones to temperaments and flowers; Happiness Kingdom lets makers give figures personalities. Names extend objects’ meanings in both, while a series-naming proposal differs from an ongoing shared world. 2012–2013 / Parametric design, products, 3D printing, spatial proposals 2023 / Collective puppet-making, role play and an evolving theatrical environment Period document [Entering a role through making ↗](https://hefa.p4theater.cn/en/work/happiness-kingdom#chapter-1) Public materials from April–May 2023 describe collective puppet making, assigned personalities and role recruitment; individual roles and texts retain their own authors. Public materials from April–May 2023 describe collective puppet making, assigned personalities and role recruitment; individual roles and texts retain their own authors. Period document [Ten names for Tantan ↗](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces#chapter-6) The Gewu Tantan text connects ten homophonic names with temperaments and floral images; it is a naming proposal. The Gewu Tantan text connects ten homophonic names with temperaments and floral images; it is a naming proposal. Spaces transformed Landscape between image and threshold [Gewu Studio / Products and Spatial Experiments](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) ↔ [Shanshui](https://hefa.p4theater.cn/en/work/shanshui) Shanshui forms a landscape from photographs, readable from near and far; the Clear Breeze Screen proposal places curved layers between a residence and a sea view. One changes an image, the other proposes changing an actual passage of sight. 2012–2013 / Parametric design, products, 3D printing, spatial proposals 2012 / Photography, digital montage, light boxes Read the source materials Artist’s statement [1,025 photographs and the trace of walking ↗](https://hefa.p4theater.cn/en/work/shanshui#graduation-process-03) The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work. Period document [Qingfeng Fuping: a view that changes with the body ↗](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces#chapter-5) Pages 3, 6, 11, 14–17 and 20 of the Qingfeng Screen proposal document the sea-view screen, 55 surfaces and changing viewing positions; renderings do not establish construction. [Continue from this work ↗](https://hefa.p4theater.cn/en/crossings#work=shanshui) Spaces transformed ### Landscape between image and threshold [Gewu Studio / Products and Spatial Experiments](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces) ↔ [Shanshui](https://hefa.p4theater.cn/en/work/shanshui) Shanshui forms a landscape from photographs, readable from near and far; the Clear Breeze Screen proposal places curved layers between a residence and a sea view. One changes an image, the other proposes changing an actual passage of sight. 2012–2013 / Parametric design, products, 3D printing, spatial proposals 2012 / Photography, digital montage, light boxes Artist’s statement [1,025 photographs and the trace of walking ↗](https://hefa.p4theater.cn/en/work/shanshui#graduation-process-03) The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work. The statement on defence page 7 describes an experiment with 1,025 Siguniang photographs, combining different viewpoints as traces of walking; that number is not generalized to every work. Period document [Qingfeng Fuping: a view that changes with the body ↗](https://hefa.p4theater.cn/en/work/gewu-products-and-spaces#chapter-5) Pages 3, 6, 11, 14–17 and 20 of the Qingfeng Screen proposal document the sea-view screen, 55 surfaces and changing viewing positions; renderings do not establish construction. Pages 3, 6, 11, 14–17 and 20 of the Qingfeng Screen proposal document the sea-view screen, 55 surfaces and changing viewing positions; renderings do not establish construction. 2026-10-04 / ARCHIVAL ADDITION ## Source materials, process and versions Studio documents distinguish project work from artistic production and discuss parametric design, 3D printing and participation. A trophy draft retains the development of V-shaped forms, horizons and curves. The documents belong to collaborative studio practice. [格物工作室介绍.pdf ↗](https://b.p4theater.cn/sources/cv-gewu-products-and-spaces-3bdc60a576dd) [格物工作室 -jieshao2.pdf ↗](https://b.p4theater.cn/sources/cv-gewu-products-and-spaces-0e68cc402b1e) [格物工作室“金铧奖”奖杯方案.pdf ↗](https://b.p4theater.cn/sources/cv-gewu-products-and-spaces-ea4807ebdf36) [Follow the other material strands ↗](https://hefa.p4theater.cn/en/reading/materials-and-process#gewu-products-and-spaces) FROM HERE, ELSEWHERE ## Passages between works ### Related records in the archive [Gewu Studio / Twelve Water Lamps ↗](https://hefa.p4theater.cn/en/work/twelve-water-lamps) 2012–2013 [Shanshui ↗](https://hefa.p4theater.cn/en/work/shanshui) 2012 ## [Early Creation and Process ↗](https://hefa.p4theater.cn/en/reading/early-creation-and-process#spatial-branches) Compare questions of geometry and fabrication while retaining studio credits; formal similarities do not establish a causal history. Archival research and editorial analysis, 2 October 2026.