Focusing on the intersection of architecture and cinematography, this project strives to investigate the potential for integrating architecture and film through the transformative processes afforded by shifts between drawn, spatial, and cinematic languages, with the purpose of cultivating a novel and interdisciplinary connection between the temporal and spatial media, fostering a form of synthesis through physical fabrication and manufacture. The subject of the spatio-temporal narrative is family history evolving throughout the timeline, from modern to contemporary China.The definition of “home” has undergone a profound transformation over the past century.Concurrent with this shift, the objects, spaces, lifestyles, and interpersonal relationships within it have experienced a gradual evolution. A variety of actors, including changes in household size, the downsizing of dwellings, population migration, and cultural interweaving, have compelled humans to reconsider their place and their connection to the infinitely expanding world beyond. This project aims to distill the generational transitions experienced by an ordinary family in China’s Jiangnan region into tangible and observable forms and products. It seeks to present human perception within a rapidly changing historical context, while also reflecting the circumstances of individuals navigating the tides of their era. The project employs a range of cinematic techniques, including stop-motion animation and documentary. The documentary firstly functions as an archive that initiates and propels the project, and secondly operates asan integral component of the narrative through its “authentic storytelling”, which may be integrated with fictions. Stop-motion animation, as the primary language, generates and transforms spaces, characters, and events in history through two-dimensional and three-dimensional forms – drawings, models, and spatial constructions. In this course, techniques such as ink painting, paper-cutting, and shadow puppetry, in conjunction with physical construction materials including wood, stone, and concrete, delineate the narrative. Film is produced through the physical and spatial fabrications. While concurrently, it intervenes in physical spaces to generate new possibilities for narration. Memories of family are thus constituted by the interplay of substantial and virtual media, becoming perceivable yet elusive realities that appear to have never truly existed.