http://www.press.ierek.com ISSN (Print: 2537-0154, online: 2537-0162) The Academic Research Community Publication pg. 1 Research paper Received: 22 June 2023, Accepted: 24 July 2023, Published online: 31 July 2023 DOI: 10.21625/archive.v7i2.970 Regeneration Strategy of Rural Architecture Promoting Tourism from the Perspective of Narrative Architecture Jiaqi Meng Graduate student, School of Architecture and Urban Planning, Chongqing University, China Abstract With the ra pid development of the construction of beautiful villa ges in China , tra ditiona l settlements of na tural growth ha ve been repla ced by nea tly pla nned new villa ges, which seem to improve the living qua lity of residents but destroy the origina l villa ge texture. Most of them ta ke a dva ntage of the common cultura l tourism developm ent mea ns in China , which lea ds to other a ncient villa ges scra mbling to follow suit, the emergence of thousa nds of villa ges, and other problems tha t need to be solved urgently. This pa per first reviews the development history a nd opera tiona l pra ctice of sp a tia l na rra tive design, extra cts the releva nce a nd tra nsformability between na rra tology a nd a rchitecture through theoretica l resea rch a nd a na lysis, and summa rizes the methods of ra tiona l use of na rra tive spa ce orga niza tion a nd a rra ngement a ccording to diff erent na rra tive themes. This pa per tries to innova te the na rra tive elements a ccording to the villa ge unit sca le, explore a new wa y of villa ge reconstruction a nd renewa l of na rra tive a rchitecture, brea k the situa tion tha t the stra tegy is mostly used for the design of a single building, a nd then by mea ns of a n upda te pra ctice of Jingxing County Lvjia villa ge, summa rize the tra ditiona l villa ge renewa l pa th under the perspective of na rra tive a rchitecture. © 2023 The Authors. Published by IEREK Press. This is a n open a ccess a rticle under the CC BY license (https://crea tivecommons.org/licenses/by/4.0/ ). Keywords Narrative architecture, Rural tourism, Traditional settlement, Village renewal, Lvjia village; 1. Introduction In the context of the informa tion society, the fourth type of economy ma inly focuses on informa tion technology and cultura l a nd crea tive services, a dvoca ting the experientia l economy and further promoting it on the ba sis of the tertia ry industry. How to develop crea tive tourism in the context of the experientia l economy a nd broa den the boundary of urba n-rura l tourism is exa ctly a question tha t needs t o be considered in rura l construction, which is a n importa nt part of China 's current rura l revita liza tion stra tegy a nd the frontier of a rchitectura l pra ctice (Wa ng, 2019). Although "na rra tive a rchitecture" is a new product in the field of modern na rra tology, they ha ve a long history. Na rra tive, to some extent, esta blishes the rela tionship between a rchitecture, time, a nd ima ge. Na rra tive a rchitecture first origina ted in the Greek period, a nd the spa tia l na rra tive of the Acropolis in Athens, Greece, reflects the scene na rra tive of buildings orga nized in a strea mlined line (Fig.1). "His model of shot design, switching, a nd length is one of the most perfect a ncient films" (Eisenstein, C.M., 1937). Ba sed on the ba sic concept of na rra tive a nd its extended function, a rchitecture ha s a more constructive a nd integra ted pa th a nd stra tegy in its methodology. Na rra tive a rchitectura l design ha s developed in both theory a nd pra ctice, a nd it wa s first a pplied a s a n a rchitectural design method in the 1980s. Berna rd Tschumi a nd Nigel Koutes, fa culty members of the Architectura l Allia nce College in the United Kingdom, spea rhea ded the interdisciplina ry explora tion of na rra tive between a rchitecture and http://www.press.ierek.com/ https://creativecommons.org/licenses/by/4.0/ Meng / The Aca demic Resea rch Community Publica tion pg. 2 litera ry, film, a nd performa nce Spa ces (Zhou, 2019). Since then, ma ny schola rs ha ve explored the a pplica tion and pra ctice of na rra tive in a rchitecture. Sophia from the University of Michiga n in the United Sta tes ha s systema tica lly cla rified the rela tionship between na rra tive a nd a rchitecture a nd expounded the va lue of na rra tive in a rchitecture (Ta ng, 2016). Her book Architecture a nd Na rra tive: The Construction of Spa ce a nd its Cultura l Significa nce, published in 2009, ha s become a n importa nt milestone in the ma turity of na rra tive a rchitecture. The use of visua l dyna mics a s a ba sis for na rra tive a rchitecture ca n be seen in Le Corbusier's Acropolis, influenced by Towa rds the New Architecture, a nd in a series of residentia l designs, nota bly Villa La Roche a nd Villa Sa voy (Lu, 2008). Wa nder from Le Corbusier's a rchitecture to Louis Ka hn's idea of a rchitectura l order to Berna rd Tschumi's La Villette Pa rk. Na rra tive a rchitecture is a dva ncing with The Times to open up new fields in va rious types of a rchitecture, especia lly in the exhibition ha ll, museum, a nd memoria l ha ll of the continuous em ergence of explora tion, such a s the Jewish Holoca ust Memoria l Ha ll a nd Da nte's Memoria l Ha ll. Architects ha ve a lso tried to study spa tia l na rra tive (Da i et a l., 2014) a nd film a rchitecture (Lu, 2015) in their tea ching courses. Figure 1 The Acropolis na rra tive route Figure 2 Psychologica l commona lity Na rra tive, a s a rela tively independent bra nch of a rchitecture, provides a new resea rch pa ra digm for the diversified development of a rchitecture (Lu, 2012). However, most of the previous spa tia l na rra tive a nd a rchitectural na rra tive used a single building a s the na rra tive ca rrier, a nd its a pplica tion va lue in a ncient villa ge tourism ha s not been deeply rea lized. This pa per a ttempts to explore the spa tia l na rra tive of community sca le, a nd construct the na rra tive design technique of villa ge or community sca le by controlling the na rra tive spa ce construction of building monomers, public spa ces, a nd street sca le. The ra tiona l use of na rra tive method in the regenera tion des ign stra tegy of Lujia Villa ge in Jingxing County provides a new a ttempt to develop the rura l experientia l tourism economy, suggesting a new perspective of litera ry na rra tive sha ping the pla ce spirit to promote susta ina ble tourism. 2. Overview of narrative architecture 2.1 Concepts "Cities a re thea ters of huma n events, a nd certa in Spa ces a re crea ted by certa in events tha t ta ke pla ce in them, and certa in Spa ces a re filled with emotions a nd memories tha t a re pa ssed down from genera tion to genera tion." (Rossi, 2006) Therefore, the purpose of na rra tive a rchitecture is to use spa ce with regiona l cha ra cteristics to trigger rela ted a ctivities, sha pe cultura l connota tions through spa ce experience, a nd resha pe the interdependence between people a nd a rchitecture. Architectura l na rra tive is a crea tive wa y of thinking tha t ca n be understood a s the story expressed in the pla ce with a rchitectura l la ngua ge. This wa y of thinking ma kes the spa ce where tourists a re present the storyteller a nd the medium for the viewer's perception a nd connection with the pla ce. Through va rious sensory experiences such Meng / The Aca demic Resea rch Community Publica tion pg. 3 a s vision a nd touch, the viewer's emotiona l experience a nd collective consciousness ca n be stimula ted. Thus, the purpose of conveying the spa tia l theme to tourists is a chieved, simila r to the sha ping of the spirit of pla ce (Li et a l., 2020). The tra nsla tion of a rchitecture into the essence of la ngua ge is the process of reverse -esta blishing the symbolic mea ning of spa ce, structura l rela tions, a nd a rchitectura l la ngua ge. "Na rra tive" pa ys more a ttention to the "poetic" orga niza tion a nd spa tia l cha ra cteristics a nd goes beyond the technica l content, such a s the conversion of light and da rk spa ce a nd the tra nsition a nd integra tion of spa ce. (Hu et a l., 2008) 2.2 The analogy between narrative structure and architectural structure "In order to use the a bove na rra tive techniques, we must first ma ster the structura l correla tion between textual na rra tive a nd a rchitectura l na rra tive. The ba sis of their mutua l tra nsforma tion is, firstly, t he commona lity of psychology (Fig. 2); secondly, the sa me crea tive context a nd simila r scene na rra tive mode (Lu, 2015); a rchitecture a nd na rra tive ha ve a clea r time a nd spa ce structure, obvious publicity, a nd a common logic system (Fig.3). We can see tha t na rra tology a nd architecture ha ve simila r expression structures. In genera l, the concepts in na rra tive works give the a bstra ct spa ce dimension to discourse, while a rchitectura l crea tion is responsible for crea ting the order between concrete Spa ces. Therefore, how to express time a nd spa ce a nd how to customize the experience of time and spa ce a re common topics in a rchitecture a nd litera ture . Figure 3 Logical system similarity comparison Berna rd Tschumi defines a rchitecture a s a na rra tive: "When you enter a building, it's like entering a whole new story." You go through the pa rts of the building in a n orderly fa shion, like a sequence in a movie, a nd the pa rts come together to form the story." (Ra smussen, S. E., 2003) In Tschumi's view, a rchitecture should be a rea ction a nd enclosure to this series of "events", so it is not difficult to use a rchitectura l na rra tive integra tion. 2.3 Relationship between architectural narrative and the updated design of Village The a rchitectura l na rra tive of this pa per is the design method of rura l renewa l under the lea dership of susta ina ble tourism. The na rra tive na ture of the villa ge groups a nd individua l units in Lujia cun, the plot a nd life experience ba sed on the story, a nd the scene of sponta neous performa nce of the public ma ke its a rchitecture a choreogra phed a rt. People's menta l journeys before tra veling ca n be roughly divided into the following two kinds.(Fig.4) From the perspective of susta ina ble rura l tourism, the key step in determining whether tourists will return is between the"origina l/initia l impression" a nd the "enha nced/revised impression". Architects use a rchitectura l na rra tive techniques to esta blish spa tia l interfa ce, form, a nd sequence, while a lso sha ping spa tia l themes a nd scenes. If history, culture, a nd other susta ina ble elements a re ta ken a s the sta rting point to describe the scene, to crea te a unique spa tia l experience for tourists, or to a wa ken old memories or explore new memories, to foc us on susta ina ble rura l renewa l design ba sed on susta ina ble huma n a ctivities. Meng / The Aca demic Resea rch Community Publica tion pg. 4 Figure 4 Narrative architecture construction and interpretation Figure 5 Steps to determine the topic 3. Methods and strategies 3.1 Theme of narrative scene The crea tion a nd innova tion of the theme tone of a n a rchitectura l na rra tive should come from the experience and a na tomy of life. The steps to determine the topic a re a s a bove (Fig.5). Designers or pla nne rs should conduct ma rket resea rch in combina tion with loca l industries, cultura l cha ra cteristics, a nd na tura l resources, exca va te villa ge cha ra cteristics, a nd ca refully determine na rra tive themes. (Zheng, 2020) Once the theme tone is determined, it will become the compa ss for a rchitects to construct ba sic elements, scenes, a nd structures. Only by crea ting a tone a round the theme ca n the ima gined na rra tive plot be genera ted, a nd fina lly, the emotiona l experience is given to people. 3.2 Narrative space design elements Spa ce design elements include five points: pa th, intera ctive interfa ce, regiona l tone, node function, a nd building monomer. Pa ths connect ea ch homogeneous or heterogeneous spa ce a nd a re the ba sis of spa tia l sequence expa nsion. The path design is developed a round the na rra tive, ba sed on the viewer's observa tion of the spa ce, a nd does not strictly follow the spa ce sequence or tra ffic flow preset by the designer. The interfa ce refers to the interfa ce between the villa ge and the surrounding environment, which genera lly includes the following types: villa ge + mounta in, villa ge + hydrology, villa ge + fa rmla nd, or villa ge + villa ge. The initia l feeling of the villa ge is la rgely derived from the interfa ces that define the spa ce. The regiona l tone ta kes squ a res, a rchitectura l complexes, a nd na tura l loca tions a s the ma in objects, a nd does not necessa rily revolve a round the ma in theme. Just a s the theme of emotion domina tes the whole na rra tive content of na rra tive works, a single na rra tive sta tement ma y not in volve the expression of emotion. The complete composition of rura l tourism consists of ma ny nodes, including villa ge reception, thea ter, squa re, historica l buildings, a nd so on. Ea ch node is the core of ea ch a rea a nd is a n independent scene unit. In the co nstruction of nodes, spa ce should be combined with the topic of the region to deepen. The proportion a nd sca le, color and ma teria l, light, a nd tempera ture of individua l buildings impress visitors a nd a re the ba sis for the emotiona l memory of the countryside. The spa tia l sca le of design ca n be used to crea te emotion. Architectura l light ca n a lso a ffect the expa nsion a nd contra ction of spa ce experience. As a n a rchitectura l voca bula ry, the psychologica l implica tion and emotiona l sustena nce implied by a rchitect ura l ma teria ls a re a n importa nt pa rt of rura l spa tia l na rra tive. Meng / The Aca demic Resea rch Community Publica tion pg. 5 .3.3 Narrative path and rhythm The na rra tive pa th ca n be divided into multi-direction, single-direction, crossover, or disorder. In other words, na rra tive text ca n interpret both "a single event" a nd "a collection of ma ny events". Figure 6 Three narrative lines of Yad Vashem Jerusalem Figure 7 The Asian cultural complex Multi-direction na rra tive, a lso known a s pa ra llel na rra tive, is the expression of the juxta position of a variety of themes. In terms of time structure, it is ma nifested a s different spa tia l lines a t the sa me time or different time lines in the same spa ce. Different na rra tive events ma inta in their independence, a nd when combined, multiple events convey the same mea ning. For exa mple, in the Berlin Holoca ust Memoria l Museum (Fig.6), three pa ra llel spa tia l plots express t he different fa tes of the Jews in Berlin (Zhou, 2019). Coincidenta lly, UnSa ngDong Architects + Kim Woo Il designed the Asia n Cultura l Complex (Fig.7) reproduces a n urba n la ndsca pe of historica l tra ces a nd memories, integra ting events a nd sta ges of a ctivity. One direction includes sequentia l na rra tion a nd fla shback na rra tion. Chronology follows the chronologica l order in which things begin, develop, a nd end. Arra nge the spa ce in series a ccording to the time order; divide the space logica lly while guiding the flow of people. According to the needs of the expression of spa ce a tmosphere, fla shback shows the key plot in a dva nce, or highlights the nodes, or dela ys the origina l scene, pa ving the wa y for the subsequent spa ce a tmosphere, crea ting suspense, a nd ma king the bla nd plot full of dra ma . Liu Jia kun's West Villa ge Courtyard uses a rchitecture to construct a complete network of story plot spa ce. (Fig. 8,9) Figure 8 Narrative events contained in the West Village Courtyard Figure 9 Reappearance narrative of the former scenes of the Courtyard Meng / The Aca demic Resea rch Community Publica tion pg. 6 Disordered na rra tion ha s episodic na rra tion, which is to pla ce a heterogeneous na rra tive spa ce into a group of homogeneous na rra tive spa ces (Wu,2022). Heterogeneous spa ce ca nnot dominate but ca n cre a te twists a nd turns in the spa ce experience a nd visua l cha nges in the origina l spa ce, presenting rich spa tia l effects. Crossover ca n be understood a s text na rra tion, while spa tia l na rra tion mea ns tha t scenes presented in two spa tio -tempora l situa tions a ppea r in the sa me spa tio-tempora l situa tion a t the sa me time a nd become scene nodes in the spa ce side by side, without lea ding visitors. The cla ssic ca se of disordered a nd cross-na rra tive is the PARC de La Villette in Pa ris, designed by Berna rd Tschumi, which a rra nges a three-dimensiona l spa tia l na rra tive system with the help of montage in the three systems of point, line, a nd surfa ce. Ea ch "collision event" of the plot is repea ted, reversed, repla ced, and inserted like a monta ge, which is perceived a nd remem bered in continuous motion. The rhythm of the spa ce controls the na rra tive mood of the whole exhibition spa ce. The key to ma stering na rra tive rhythm lies in the considera tion of wa lking time a nd length to a chieve control of frequency. (Li et a l., 2020) The setting of the rhythm should be ba sed on the na rra tive theme of the exhibition spa ce. Through the regula r visua l cha nges in the spa ce, we ca n a lwa ys feel the sense of rhythm a nd hiera rchy of the spa ce throughout the tour. 4. Jingxing County Lvjia Village tourism promotion practice 4.1 Narrative Background Lujia Villa ge is loca ted in the Ta iha ng Mounta ins, but the outside tra ffic is convenient. The villa ge is close to tra ditiona l historica l villa ges a nd na tura l scenic spots (Fig.10,11). The mounta in, a s a na tura l ba rrier, strengthens the milita ry defense; here since a ncient times, the Ji-Jin throa t a nd stra tegic loca tion. There a re still relics of the a nti- a ggression revolution. In recent yea rs, Lvjia cun ha s gra dua lly developed a tourism industry tha t focuses on a rt tea ching a nd Red Revolution melodra ma s (Fig.12). In the process of investiga tion, it wa s found tha t the problems of tourism development in Lujia cun ma inly include: Lujia cun la cks tourism cha ra cteristics a nd clea r positioning, which require the intervention of unique idea s and distinct themes; The a rchitectura l deca y of the a ncient villa ge is serious: the a rchitectura l style is uniform but monotonous, a nd the a rchitectural color is dull. In pa rticula r, some houses in the a ncient villa ge colla pse, a nd tourists ca n see the a rchitectura l deca y scene. Imperfect tourism -supporting fa cilities: Lvjia Villa ge's tourism supporting fa cilities a re not perfect a nd ca nnot meet people's ba sic needs. 4.2 Practice 4.2.1 Macro narrative context -- Jingxing County The good development of Lvjia villa ge ca nnot be sepa ra ted from Jingxing County's la rge tourism environment; villa ge pla nning should consider the multi-line na rra tive pla nning stra tegy of "connecting a rea s into a piece". Jingxin g County ha s severa l tra ditiona l a ncient villa ges with na tura l fa ctors, joint with the surrounding villa ges horizonta l development, Jingxing County tour scope tra ditiona l villa ge reserve fea tures a dva ntages to explore, by a single tour point series into a regiona l tour, ea ch villa ge tells their own story a nd drives the development of the villa ge, to better rea lize the whole a rea of rura l revita liza tion. (Zha ng et a l., 2019). Figure 10 Aerial view of Lujia Village Figure 11 Stone architecture of Lu family Figure 12 Revolutionary live action drama Meng / The Aca demic Resea rch Community Publica tion pg. 7 4.2.2 Meso narrative context --Lujia Village (1) Emotional introduction -- narrative theme The Jingxing County survey found tha t revolutiona ry memory is the na rra tive ba ckground of a few villa ges, so the use of the revolutiona ry culture of Lujia villa ge, the focus of the revolutiona ry culture, is to be a ble to see red movies a nd dra ma s to improve the core competitiveness of Lujia villa ge . Aiming a t the specific story ba ckground of Lujia cun, we a dopt the dua l na rra tive theme of "one ma in story a nd one pa ir of two-line na rra tives." The ma in na rra tive threa d is "revolutiona ry thea ter", crea ting a na rra tive experience route of the Red Revolution a nd deepening the na rra tive impression on the ba sis of the melod ra ma of the sponta neous revolution in Lujia villa ge. Another hidden na rra tive line is "reproducing Lv's fa mily", which puts forwa rd deeper suggestions on the renova tion a nd upda ting of a rt tea ching a nd cultura l a nd crea tive ha ndicra ft . (Fig.13) Figure 13 Two-line narrative Figure 14 Three kinds of narrative sequences Figure 15 Single frame -- architecture (2) Narrative structure -- narrative spatial sequence organization Ta king the whole villa ge a s a n exhibition ground a nd integra ting the villa ge scene to promote the na rra tive process of the revolutiona ry story of Lujia Villa ge, the story content needs to be orga nized a nd a rra nged, from observing the scene to thinking a bout the significa nce of ea ch spa tia l a rra ngement (Xu, 2021). There a re three kinds of na rra tive sequences in Lvjia cun: linea r, centra lized, a nd group (Fig.14). As the ma in guide for visitors to ca rry out a ctivities, the linea r na rra tive of Lujia villa ge—revolutiona ry melodra ma a lmost runs through the whole villa ge. Centra lized na rra tion crea tes a theme-ba sed cultura l experience a rea for film a nd television. The ma in a nd seconda ry themes of group na rra tive a ppea r a t the sa me time with strong independence. The development of the na rra tive sequence uses the roa d in the villa ge a s the tra ck. In order to ensure tha t tourists ca n a ppea r a t the expected narra tive points, it is necessa ry to cla rify the villa ge structure a nd roa d lev el a nd a djust a nd repa ir the villa ge roa ds (Fig.16,17 ). Meng / The Aca demic Resea rch Community Publica tion pg. 8 Figure 16 Overall planning map Figure 17 The narrative structure unravels (3) Single frame -- building construction An a rchitectura l na rra tive on a single fra me should be ta rgeted to a wa ken the memory of specific segments. (Fig. 13,15) In the na rra tive line of "Revolutiona ry Thea ter", a thea ter a ppea rs in the prologue. After visitors enter the entra nce of the villa ge, the outdoor thea ter on a high level is fa scina ting a nd crea tes suspense. The Red Thea ter is loca ted in the northernmost pa rt of the villa ge a nd wa s built on the site of the origina l outdoor thea ter. Since the origina l thea ter embodies the a rchitectura l cha ra cteristics of the Soviet Union in the la st century, its wa ll is kept embedded in the new thea ter. After entering the a ncient villa ge, a s the first memory point, it will first impa ct the tourists' initia l impression of the building volume a nd environment. With the question of why the gra nd thea ter is built in the mounta in a nd why there is such a residua l wa ll in the interior, we will ta ke the next step. At the sa me time, the terra ce on the north side of the thea ter will be rebuilt to provide sha de for villa gers a nd tourists to hold wed ding a nd funera l a ctivities. The na rra tive segment is set between mounta ins a nd rivers a nd surrounded by ploughed fields. It is very plea sa nt for villa gers a nd tourists to sit here in the summer evening to experience fa rming culture, enjoy the whea t fra gra nce, wa tch the sta rry sky, a nd listen to the ba bbling wa ter. The development pa rt of the na rra tive story is the Red Revolution film a nd television ba se, which is the centra lized na rra tive of the a rea volume. Multiple spa ce plots in the scene revolve a round the centra l content of film a nd television shooting, forming a na rra tive structure. The story ends a t the end of the villa ge, where visitors a re ushered into a revolutiona ry culture-themed hotel for a rest. The building is designed in a modern wa y, but th e building ma teria ls a nd other a rchitectura l voca bula ry still use loca l elements such a s stone, wood, a nd gla ss. The courtya rd of the hotel a nd the roof of the homesta ys a re open to the new a nd the old to crea te the Red Cultura l Development Area . Another hidden na rra tive line a lso focuses on experience (Fig.13,15), sta rting from the ma rtyrs' memoria l stele pa vilion a t the entra nce of the villa ge, crea ting suspense a nd la ying the revolutiona ry tone. The clima x of the na rra tive is the Pa rty Cultura l Center a cross the river. Using the height difference of the site to form a zigza g ra mp up the building block, mea ning the new China through the difficult zigza g roa d. Wa tchtowers, a lso on the other side of the river, bring visitors into the role of sentinels defend ing the villa ge. With a height of 8m, the tower is a n excellent scenic lookout for the whole villa ge. You ca n get the whole picture of the villa ge without climbing the mounta in, which grea tly improves the viewing experience of the a ncient villa ge. The end of the na rra tive gets rid of the serious a tmosphere of the ea rly sta ges a nd turns into a rela xed a nd ca sua l style. Loca ted a t the southern end of the villa ge, the ha ndmade crea tive experience Pa vilion is loca ted a t the southern end of the villa ge. Visitors ca n experience the Meng / The Aca demic Resea rch Community Publica tion pg. 9 fun of loca l ha ndmade wea ving a nd dough sculpture, ta ste the food, a nd pa rticipa te in the production of food ingredients. This na rra tive route gives visitors a deep sense tha t even through wa r a nd even without wea lth, one can live a colorful a nd interesting life. To a chieve the ultima te goa l of tourism: to hea l the hea rt a nd look forwa rd to a better future. Two na rra tive lines, one ma in a nd the other, cross ea ch other on the pedestria n sightseeing flow line beca use of the roa d structure in the villa ge. Ea ch pla ys a role in producing a superimposed effect to deepen people's experiences of visiting life in the villa ge. In terms of geogra phica l loca tion, due to the dense la yout of the buildings in the villa ge, the tra nsformed monomer a nd a rea a re loca ted outside the villa ge a nd distributed in a ll directions, showing a ra dia l sha pe centered on eight historic protected buildings. (4) Enhanced modification -- detailed narrative description The description of a rchitectura l deta ils is in line with the na rra tive theme of revolutiona ry culture, not only to provide a brief sense of viewing, but a lso to provide a na rra tive plot theme closely rela ted to the scene, props, order, ma teria ls, etc.; tha t is, the deta il ha s the a bility to express the theme to ne of na rra tive a rchitecture. (Xu, 2021) The ma in pa rt of the building follows the form a nd ma teria ls of the origina l building. In the a tmosphere rendering, the design elements of the bla ck a nd white viewboa rd fra me, steel, gla ss, lea ther, a nd other ma teria ls a re used to form a sha rp contrast with the closed a nd solid old buildings. The color a nd style a re still designed in bla ck a nd white gra y, so a s to integra te the old a nd new buildings a s fa r a s possible. Architectura l colors a nd lighting deta ils a ttemp t to crea te a sense of the old modern, a llowing users to be immersed in the squa re inch of ea ch fra me of the viewfinder fra me, immersed in the so -ca lled old golden a ge of film. The viewfinder fra me in the a rchitectura l spa ce ca n a lso be used to "record" th e beha vior of different people in the spa ce, so tha t those dra matic moments in life become the inspira tion for film crea tion a nd the cha rm of the film. As night fa lls, wa rm yellow light spills through the gla ss from the somewha t dila pida ted stone house, eleva ting the level of the building a nd the feeling of use while a lso providing a good view of the villa ge a t night. 5. Summarize: The revelation of "narrative" Tschumi Berna rd once sa id, "No event, no a rchitecture." (Tschumi Berna rd,1981) Events produce mea ningful buildings a nd pla ces through spa tia l na rra tive. (Li,2022) Ba sed on this theoretica l ba sis, the tourism stra tegy of Lujia villa ge discussed in this pa per ca n deepen the tourists' memory to a certa in extent a nd seize repea t customers by a pplying a rchitectura l na rra tive to the rura l sca le, regenera ting the thea ter na rra tive scene of revolutiona ry memory, a nd reexperiencing the folk na rra tive a tmosphere of Lujia . At the sa me time, this discussion a ims to cla rify the industria l positioning of Lujia villa ge, sha pe a new economic a nd industria l structure for the villa ge, a ttra ct young people who struggle outside to "go home", a nd completely a ctiva te the regenera tion of Lujia villa ge. In the process of a pplying na rra tive a rchitecture, we find tha t, first, in the renewa l design of a ncient villa ges, a ttention should be pa id to its pa rticula rity, to explore its cha ra cteristics, a nd to pa y a ttention to the differences in na rra tive theme, structure, media , a nd sca le between rura l a rchitectura l group s a nd individua l buildings. Second, the a pplica tion of na rra tive a rchitecture is closely rela ted to susta ina ble a rchitecture. The definition of susta ina bility is not limited to the reduction of environmenta l resource consumption but extends to various leve ls such a s society, economy, a nd culture. (Chu et a l.,2021) However, the focus of Susta ina ble Architecture on these a spects is still in the initia l sta ges of resea rch. The na rra tive technique combines the na tura l environment a nd building ma teria ls to a chieve the susta ina bility of green technology, a nd the spa tia l scene mining of memory points ca n a chieve the susta ina bility of cultura l economy. Thirdly, the method itself ha s certa in limita tions a nd is suita ble for villa ges with their own cha ra cteristics. Suc h a s na tura l environmenta l resources, historica l a nd cultura l memory, a rchitectura l decora tion fea tures, or folk food cha ra cteristics. However, there a re ma ny villa ges in China tha t do not ha ve their own distinct cha ra cteristics, so it is difficult to construct spa tia l scenes by orga nizing na rra tive texts. Meng / The Aca demic Resea rch Community Publica tion pg. 10 In a ddition, the depth of the na rrative a nd the integrity of tourism pla nning need to be improved. Due to the complexity of the monomer design pa rt, there is no complete presenta tion. Limited by the a utho r's own pra ctica l experience, this pa per only discusses the initia l pla nning a nd design levels, a nd there will be ma ny problems a nd cha llenges in the pra ctice process. Designers, ma na gers, a nd villa gers need to work together to ma ke a djustments. The a pplic a tion of na rra tive a rchitecture on rura l roa ds requires consta nt lea rning a nd revision. Acknowledgments Not a pplica ble. Funding This resea rch did not receive a ny specific gra nts from funding a gencies in the public, commercia l, or not -for-profit sectors/individua ls. Ethics approval Not a pplica ble. Conflict of interest The a uthor decla re no conflict of interst. 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