The shadow of the ancestral hall of the native family and the sharp edge of plagiarism in the workplace once trapped the talented designer Su Kexin in the specimen frame of "The Good Wife". A Lingnan girl who was locked in an attic since she was a child and recited the "Girls' Commandments" tore through the iron curtain that favored boys over girls with her top score in the county. However, on her wedding day, she was shocked to find that the steel frame of her wedding girdle was exactly the same as the curvature of the carved window lattice of her childhood ancestral hall. The husband stole the design drawings she drew on the night of her miscarriage, but he did not know that the concrete crack monitoring algorithm was hidden in those curves; even more opaque, under the blue light of the computer late at night while breastfeeding, the wife was using BIM technology to build a chain of evidence of his cheating.
The divorce agreement was turned into a "White Paper on Professional Ethics in the Construction Industry", and Su Huaijin's revenge was full of professional edge. She used parametric design to expose her ex-husband's data fraud at the bidding meeting, and turned the signing site of the Civil Affairs Bureau into a simultaneous interpretation live broadcast room for the International Design Summit; she transformed her husband's family ancestral hall into a shared space for female designers, and hung the curved dome of the Global Design Award above the ancestral tablet; the Women's and Children's Museum built by her daughter with Lego became the final lever to crush her ex-husband's business empire.
From the design assistant whose signature was erased to the chief architect of the intangible cultural heritage revitalization project, she glimpsed the hidden codes of thousands of years of female craftsmen in the gold foil that fell off the Dunhuang murals. When the cultural relic restorer juxtaposed the wooden tablet of "The Women's Commandments" from the Han tomb with her titanium alloy "The Bride's Commandments", Su Huaijin finally understood: the real masterpiece is the scale by which women measure the world with their lives. Her declaration that "it is not only marriage that we must leave, but also the riveted structure that society has nailed to women" was eventually transformed into a giant installation at the Rockbund Art Museum in Shanghai.
