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June 7th- June 10th
14:00-20:00
WUHAO No. 35, Mao’er Hutong, Dongcheng District, Beijing
The Shanshui City Exhibition will open in WUHAO, a quadrangle courtyard of the Qing Dynasty.
Meanwhile, Ma Yansong will launch his new book “Shanshui City,” a brief declaration of the young architect’s vision for the future city.
2013年6月6日，马岩松的“山水城市”展在北京吾号，一所清代四合院的园林里开幕。二十多件建筑模型和艺术作品散落在古老的庭院里，在假山、影壁、竹林、水池和天空的掩映之下，模糊了彼此的尺度，展现了一幅乌托邦式的未来城市图景。展品从小到不足0.1平方米的鱼缸，到百万平米的山水城市概念模型，都在表达对人性和自然的情感，描绘着以山水城市为社会理想的未来。与展览同时发布的新书《山水城市》是马岩松十年建筑实践和思想的重要转折点。
马岩松在书中写到：“未来城市的发展将从对物质文明的追求转向对自然文明的追求，这是人类在经历了以牺牲自然环境为代价的工业文明之后的回归。自然和人将在山水城市之中重建情感上的和谐关系。”这本并不厚的小册子，是这位年轻的中国建筑师关于未来人居理想的宣言。他说，“轰轰烈烈的城市化运动后，如果没能孕育出新的城市文明和思想，那将是一个莫大的遗憾。”
中国著名的科学家钱学森曾在上世纪80年代提出“山水城市”构想。针对当时中国城市刚刚出现的大规模的水泥方盒子建筑，他提出要以中国的山水精神为基础建立一种新的城市模式，让“人离开自然又返回自然”。但这一富有理想主义色彩的城市设想，并没有得到真正的实践和发展。今天的中国作为全球最大的制造城市的基地，由于缺乏文化上的准备，出现了大量缺乏灵魂的货架城市。他指出现代城市对权力和资本的崇拜，导致了城市对利益最大化和功利主义的追逐。“城市中的建筑不应该成为居住的机器。再强大的技术和工具也无法赋予城市以灵魂。”
在马岩松看来，山水不只是自然，更是人对于世界的感性回应，每个人的心中皆有山水。山水城市就是将城市的密度、功能和自然山水意境结合起来，希望构建以人的精神和情感为核心的未来城市。
在“山水城市”的开幕论坛上，刘骁纯、栗宪庭、包泡、王明贤、金秋野和马岩松进行了一场圆桌对话。这无疑是一个的历史时刻。也许山水城市的思想，才是中国的城市化应该带给世界的进步。
On June 6, 2013, Ma Yansong’s “Shanshui City” exhibition officially opened; the exhibition is displayed in a Qing Dynasty courtyard garden at Wu Hao in Beijing. More than twenty architectural models and works of art are scattered around the ancient courtyard. Among rocks, screen walls, bamboo groves, pools of water and beneath the sky, the scale of each piece varies and collectively they form a futuristic utopian urban landscape. The pieces on display range from a fish tank to the conceptual model of the “Shanshui City” which represents a proposal of hundreds of thousands of square meters in size. All the pieces exhibited express the sentiment of humans towards nature and depict the “Shanshui City” as the social ideal of the future. The newly issued book “Shanshui City” – released simultaneously with the exhibition – is an important turning point for Ma Yansong’s ten years of architectural practice and theory.
In the book, he says: “The city of the future development will be shifted from the pursuit of material civilization to the pursuit of nature. This is what happens after human beings experience industrial civilization at the expense of the natural environment. The emotional harmonious relationship between nature and man will be rebuilt upon the ‘Shanshui City.'” This small brochure illustrates the young Chinese architect’s ideals concerning futuristic habitation. “It would be a great pity if the vigorous urbanization could not breed new urban civilization and ideal.”
The famous Chinese scientist Qian Xuesen proposed the concept of “Shanshui City” in the 1980s. In view of the emerging large-scale cement construction, he put forward a new model of urban development based on Chinese Shanshui spirit, which was meant to allow people to “stay out of nature and return to nature.” However, this idealistic urban concept was not put into practice. As the world’s largest manufacturing base, a large number of soulless “shelf cities” appeared in contemporary China due to the lack of cultural spirit. Qian Xuesen pointed out that modern cities’ worship of power and capital leads to maximization and utilitarianism. “Buildings in cities should not become living machines. Even the most powerful technology and tools can never endow the city with a soul.”
To Ma Yansong, Shanshui does not just refer to nature; it is also the individual’s emotional response to the surrounding world. “Shanshui City” is a combination of city density, functionality and the artistic conception of natural landscape. It aims at composing a future city that takes human spirit and emotion at their cores.
In the opening forum of “Shanshui City,” a round-table dialogue was held with the participation of Liu Xiaochun, Li Xianting, Bao Pao, Wang Mingxian, Jin Qiuye and Ma Yansong, leading to be, undoubtedly, a historic moment. Perhaps the “Shanshui City” ideology is the very progress that China’s urbanization can contribute to the world.
