團隊秉持生態共存的觀念，將多數果樹保存並結合。生態農耕專家林暐翔運用農業與實驗林的概念設計「時序林帶」，由西側的明亮乾燥，到東側的陰暗潮濕，種植可以表現「演替狀態」的地域性植物，在空間中同時顯現時間的演替階段，形成一個人類依循自然作用而建構的環境劇場。共感地景創作與地景建築師高百慶合作的「地景圖譜」，將慣常機能取向的枕木與鋪面，轉化為「環境—地方」資訊與動態變遷的獨特載體，團隊聚焦在環境劇場中的植物與古地名，將圖示嵌入枕木上，成為對可見與不可見事物的「索引」。共感地景創作以「葉月台—圳棧道—迴身梯」，透過藝術性的空間詮釋，追求教育性和公共性的歷史現場再造。聲音創作團隊以「風景中的聲音」為主題，通過各種層次的「聆聽」來形塑路徑中的獨特節點；蔡宛璇＆澎葉生「海枯土沃」採集與編輯已經消逝的聲音檔案，以聲音劇場呈現於葉月台中；張惠笙「散步」沿著軌道設置，形成聽覺路徑；劉芳一「路徑」以廣播喇叭沿著鄉間路徑設置，疊製時間感並強化感知；奈鳩．布朗「記憶的耳朵距離」設置於堤岸上的亭下，俯瞰遼闊的河床，偶爾出現的聲響，似乎將我們的土地生活經驗放到了對面，與我們自己相望。江玫芳以「群」的趨聚叢簇表現融入、開放與互利的蔓生關係。蕭佑任與鄒享想「織籬」運用編織的手法，將阻隔性的圍籬轉為與居民共創的文化路徑。

龍泉生態月台的獨特氛圍，是由場域中各種型態的「生命」的野生力量所帶出。我們在這裡看見了舊時代的狀況、環境的形塑的力量以及藝術修補所希望開啟的細膩感知與想像。換言之，龍泉生態月台不是回歸到某個凝凍時空的「復刻」（restoration），而是如何運用「修補」（bricolage）的技藝，來開啟人與自然之間的重新對話，鋪下蘊養未來的土壤。

The curatorial team retained the core concepts of ecological co-existence and preserved most of the fruit trees. An ecological farmer, Wei-Siang Lin designed “Raparian Timescape” using the concept of agriculture and experimental forests. The project covers a bright and dry side of the western part of Longchuan Station to a dark and humid side of the eastern part, with plants that show “succession” in nature. The project, at the same time, shows the successiveness of time and is an environmental theater constituted by human beings following the rule of nature. Project “Landscape Choreography” which is a collaboration between ArchiBlur Lab and Pei-Ching Kao transforms sleepers and pavements into unique carriers of information about the environment and place and their dynamic changes. The team designed icons for plants and the old names of places and embedded these in sleepers, turning them into “indexes” of visible and invisible ob-jects. “Leafy Platform - Canal Boardwalk - Riverbank Steps” by ArchiBlur Lab interprets the space in an artistic manner and reconstructs the historical site for educational and public purposes. The sound creation team shaped unique nodes along the path through different levels of “listening” under the topic of “Sounds in the Landscape”. Wan-Shuen Tsai and Yannick Dauby’s “The Land that Came After the Sea” collects and edits faded sound files and represents them on the “Leafy Platform” in the form of a sound theater, while Hui-Sheng Chang’s “Stroll” creates a path for hearing along the trail. In addition, Fang-Yi Liu’s “Path” sets up speakers along a country road, overlapping the sense of time, and strengthening the senses, whereas Nigel Brown’s “Distance of the Mind’s Ear” is located in the pavilion on the bank, overlooking the vast riverbed. Sounds that appear occasionally place our own life experiences with the land on the opposite side, looking at us as we look at them. Mei-Fang Chiang’s “Crowd” shows the open, integrated, and reciprocal re-lationship of clusters. Franky Hsiao and Hsiang-Hsiang Tsou’s “Weaving Pavilion” uses weaving to turn fences that were formerly used as barriers into a cultural path, which they co-created with local residents.

The unique ambience of Longchuan Ecological Platform comes from the various wild “lives” in this field. We see what it was like in the past, the power of the environment in shaping, and the delicate senses and imaginations that art bricolage intends to create. In other words, Longchuan Ecological Platform is not just a restoration that preserves a certain time and space, but a brico-lage that re-initiates the dialogue between human beings and nature and cultivates the future.