Set within over 300‑mu mountain‑forest terraces of Liushigang Village, this project takes seasonally cyclical terrace concerts as a spatial fulcrum for rural cultural‑tourism revitalisation. Rather than a standalone performance event, the concert serves as the village’s opening calling‑card to the public. Taking terrace contour lines as its structural framework, the design naturally divides the site into performance, viewing and sightseeing sequences. Visitors enjoy immersive performances along an approximately 2‑kilometre boardwalk, delivering an experience where “audience wander along field ridges while soundscapes drift across the valley”. Upon arrival, visitors immediately perceive this village whose natural landscape acts as its stage.
Guided by phenological rhythms, the seasonal cycles of terrace crops shape the site’s evolutionary logic. Wheat‑wave stage, golden sunflower stage and winter‑snow stage transform with the passing seasons, turning the wilderness into an ever‑growing flexible system that supports year‑round operation. Adopting a light‑touch intervention strategy, viewing trails, observation decks, night‑scene lighting and a circular viewing loop of over 2 kilometres are constructed. The concert venue and daily sightseeing share one set of sustainable landscape infrastructure. Boardwalks bypass ecologically sensitive zones, and farmland retains its original texture. Minimal man‑made intervention accommodates multiple functions including performances, sightseeing and industry development. Public attention generated by events is translated into long‑term cultural‑tourism momentum for the village, fulfilling the integrated objective: “gather popularity through events, drive industries via popularity, and advance revitalisation through industries”.
Built upon terrace contour lines, ordered by phenology and woven together via light‑touch interventions, the design transforms concerts into a coordinated fulcrum for the village’s cultural‑tourism revitalisation.
Leveraging contour lines and elevation differences across more than 300 mu of terraced fields, the design translates the village’s innate advantage of “landscape‑as‑stage” into spatial order. It organically delineates zones for performance, audience viewing and leisure sightseeing. Visitors stroll along field ridges as soundscapes permeate the valley, enabling instant site comprehension upon arrival. Terrain is treated not merely as background, but as the backbone of spatial narrative.
The seasonal rhythms of terrace crops define site morphology. The wheat‑wave stage, golden sunflower stage and winter‑snow stage shift throughout the year. The mountain wilderness becomes a continuously evolving flexible system, enabling year‑round operation featuring “blossoms in spring, rolling wheat waves in summer, flower seas in autumn and snow scenery in winter”. One‑off performances are elevated into a year‑long cultural‑tourism rhythm.
Viewing footpaths, observation decks, night‑time lighting and a circular viewing loop exceeding 2 kilometres constitute a unified sustainable landscape infrastructure shared by concert events and daily visitor use. Boardwalks avoid ecologically sensitive areas, while farmland preserves its original texture. Multiple functions for performance, recreation and industry are supported with minimum artificial disturbance to maximise spatial value.
The design extends beyond the physical site itself. Spatial coordination connects events, sightseeing, homestays, catering and agricultural‑product consumption into a complete value chain. The concert venue acts as a trigger point to attract visitor flows. Shared landscape infrastructure further distributes visitors across the whole village. Buzz generated by events solidifies into lasting cultural‑tourism momentum for the community, realising the integrated vision: “gather popularity through events, drive industries via popularity, and advance revitalisation through industries”.
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