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Appreciation towards Diameter Narrative Design Studio for providing the following description:

“万化同源——珠江口区域的四个历史时空”展作为南头古城保护与利用项目的重点文化叙事载体，⽬前已于2020年8月26日面向公众开放。直径叙事(DND)受万科集团(Vanke)委托，全权负责该展览的策展与展览设计。展览建筑及临时立面设计均由建筑事务所MVRDV负责。

“Diverse homology ——— four historical angles at the Pearl River estuary area” is of the vital importance of protection and utilization about Shenzhen Nantou Ancient City. It has been opened to the public on August 26, 2020. Diameter Narrative (DND), commissioned by Vanke Group, which be solely responsible for the curation and exhibition design. The exhibition architecture and building elevation are both in charge of Architectural office MVRDV.

▼展览户外⼊口，由MVRDV设计 © creatAR Images
Outdoor entrance of the exhibition, designed by MVRDV

基于南头古城的政策定位，我们将“同源”的策展概念拓展为珠江口区域开放、多元、包容和汇同的文化特征，并通过“山海同貌”、“经济同体”、“文化同心”和“行政同属”四个视角分别解读。面对展馆空间条件、展品条件和时间条件的真实困难，将展览设计方向规划为“一个艺术性历史主题展”，以超级报纸（super flat）为设计概念重织时空，实现内容、空间与展品的“全景式”体验。

Based on the political position of Nantou, we have expanded the curatorial concept of “homology” to the cultural characteristics of openness, diversity, tolerance and convergence in the Pearl River estuary area, and considered geography, economy, culture and administration the four diverse angles of view as the explanation of exhibition. Faced with the real difficulties of space, exhibit and time conditions, we planned “an artistic historical theme exhibition” as the design direction, using the design concept “super flat” to reorganize time and space, which makes the panoramic experience of content, space and exhibit come true.

▼展览户外导视，outdoor guide of the Exhibition © creatAR Images

1、策展思路：从历史的同源到展览的“同源”
Curating ideas: From the same source of history to the “homology” of the exhibition

珠江口地区的“同源”与通常意义的地理学上的“同源”有着本质的区别。展览中所指的“同源”，是指把珠江口区域丰富多彩的社会文化与该地区开放包容的内在精神当成了一种“源头”。基于这样的策展思考，我们在设计时对“同源”的意涵进行了深入解读。

The “homology” in the Pearl River estuary area is essentially different from the “same-origin” in the general significance of geography. The words that the exhibition referred to mean we put the rich social culture and open inclusive spirit of the region as a kind of source. On account of such curatorial thinking, we deeply interpret the meaning of “homology” when design.

▼改造前后的南头古城，before and after the renovation of Nantou Ancient City © 直径叙事设计工作室 / 南头古城

2、空间对比：站在城中村中看展览
Space comparison: standing in urban villages and watching the exhibition

临展空间位于南头古城城中村里难得的大体量空间，我们设想当观众从人头攒动的南头古城进入展览时，开阔、规整与空旷的临展空间能为他们制造空间体验的反差，让馆内的空旷静谧与馆外的拥挤喧闹形成对比。

The temporary exhibition space is located in a rare large-scale space in the village of Nantou Ancient City. We imagine that when the audience enters the exhibition from the noisy and crowded Nantou ancient city to the quiet and spacious space, this must be creating a contrast of space experience between the two places.

▼展览空间，Exhibition hall © creatAR Images/直径叙事设计工作室

3、设计策略：站在馆内看展览
Design strategy: standing in the hall and watching the exhibition

3.1 “同源全景”
“homology panorama”

此次展览并不是由很多件展品构成，而是通过一个全景式展品，来实现空间全景、展品全景和内容全景的统一。首先团队并未用设置隔墙等常规手段来破坏空间的完整性。其次，置于地面的“报纸”母体同时作为形式和内容整合了展览的所有信息，装置与投影依托于报纸母体进一步回应了主题。专家采访则是从报纸上延伸出的讨论与对话，而无限循环的栈桥进一步将行走的观众纳入展览之中。

Without many exhibits, this exhibition through a panoramic exhibit to realize the unity of space, exhibit and content panorama. Firstly, the team did not use conventional methods such as partitions to destroy the integrity of the space. Then the “newspaper” matrix placed on the ground integrates all the information of the exhibition including form and content. Relying on the newspaper matrix, the installation and projection further respond to the theme. Expert interviews extended from the newspaper are discussions and dialogues, and the endless loop of the trestle bridge further incorporates the audience into the exhibition.

▼同源全景 © 直径叙事设计工作室
homology panorama

3.2 超级报纸，重织时空
Super newspaper, re-texturing time and space

“超级报纸”可以做到尺度放大多倍，图像动态化，插图三维化，内容的电子化延伸。因此，整个展厅的所有存在都变成了其中的一部分：从地面到空间，从静态到动态，从平面到立体，从过去到当下，从展览到观众。

The “Super Newspaper” can be scaled up multiple times, adding dynamic images, three-dimensional illustrations and electronic content. Therefore, the whole existence of exhibition has become a part of it: from ground to space, static to dynamic, plane to three-dimensional, past to present and exhibit to audience.

▼超级报纸，重织时空 © 直径叙事设计工作室
Super newspaper, re-texturing time and space

▼展览空间体验: 山海同貌区域(室内⼊口处)，space experience of the Exhibition: geography © creatAR Images

▼展览空间体验: ⾏政同属区域，space experience of the Exhibition: administration © creatAR Images

3.3 栈桥与海浪声，情感的回归
Trestle bridge and the waves, regression of emotion

栈桥高于报纸母体一定距离，桥下装有扬声器。观众在观展的过程中，可以听到栈桥下的潮水声，配合闪烁的呼吸灯，仿佛置身于海岸边。试听交错，实现理智与情感的交融。而观众脚下的出发点也是最终的回归点，他们恰好用行为回应了“同源”的主题。

The trestle bridge is higher than the newspaper matrix, and loudspeakers are under the bridge. In the process of visiting exhibition, the audience can hear the sound of tide under trestle bridge, with breathing lights flashing as if they are on the coast. Vision and hearing of audience are interlacing between each other, which achieves the blend of reason and emotion. The starting point is also the final point, and they happened to respond to the theme of “homology” with their behaviors.

▼栈桥与海浪声，情感的回归 © 直径叙事设计工作室
Trestle bridge and the waves, regression of emotion

▼展览空间体验: 从⾏政同属区域望向经济同体区域，space experience of the Exhibition: from administration to economy © creatAR Images

▼展览空间体验: ⽂化同心区域，space experience of the Exhibition: culture © creatAR Images

3.4 艺术装置，主题内容的立体化表达
Art installations, the stereoscopic expression of theme

我们依托于报纸的内容，用艺术的手法进行了装置化的表达，以下内容是对装置生成过程的解读。

Relying on the content of the newspaper, we used artistic techniques to express the installation. The following is the interpretation of the installation generation process.

▼艺术装置，主题内容的⽴体化表达 © 直径叙事设计工作室
Art installations, the stereoscopic expression of theme

▼展览空间体验: 经济同体区域，space experience of the Exhibition: economy © creatAR Images

装置1: 气象事件回顾
The first installation: Review of Meteorological Events

我们提取极端天气这一内容，用屏幕影片的方式重新剪辑气象报道中对本区域重点城市的报道，引起本区域居民或观众的共同记忆

We extracted the content of extreme weather, using the method of screen movies to re-edit the weather reports about key cities, which aroused the common memory of residents or audiences in the region.

▼气象事件回顾装置(示意图) © 直径叙事设计工作室
Review of Meteorological Events

▼气象事件回顾装置(装置照片)，Review of Meteorological Events © creatAR Images

装置2: 南头的权利空间
The second installation: Nantou’s Right Space

中央政权对南头的管辖始于对盐的控制，从而进一步覆盖到行政、海防、经济、军事等各个层面。这组地图装置展示南头在历史上权力机构管辖范围的变迁。

The central government’s jurisdiction over Nantou began with the control of salt, which further covered all levels of administration, coastal defense, economy, and military. A series of map installations show changes in the jurisdiction of Nantou’s authority in history.

▼南头的权利空间装置(示意图) © 直径叙事设计工作室
Nantou’s Right Space

▼南头的权利空间装置(装置照片)，Nantou’s Right Space © creatAR Images

装置3: 明清时期珠江口的贸易网络
The third installation: Trade Network of the Pearl River Estuary during the Ming and Qing Dynasties

“天下熙熙皆为利来，天下攘攘皆为利往”。我们将明清变化的航线路径做成立体的网络联结，希望带领观众一窥珠江口在世界贸易中所扮演的重要角色。

“You should make efforts to pursue wealth every day you live.” We made the changing routes of different dynasties to a three-dimensional network connection, hoping to give the audience a glimpse that the Pearl River Estuary is of vital importance in world trade.

▼明清时期珠江⼝的贸易网络装置(示意图) © 直径叙事设计工作室
Trade Network of the Pearl River Estuary during the Ming and Qing Dynasties

▼明清时期珠江⼝的贸易网络装置(装置照⽚)，Trade Network of the Pearl River Estuary during the Ming and Qing Dynasties © creatAR Images

装置4: 珠江口不同族群的集体记忆
The forth installation: Collective memories of different ethnic groups in the Pearl River Estuary

何以为家，故土是人永远的心灵归属。相框装置留下了珠江口地区多族群的历史影像。信件装置承载着珠江游子远洋漂泊与异国奋斗的往事。相框与信件串联起的生活记忆，是中原族群汇入珠江口地区以及辗转移民到世界各地仍心挂家乡的见证。

“People who have never left their hometown do not know what it is called.” The photo frame installation has left historical images of multiple ethnic groups in the Pearl River Estuary, and the letter installation carries the reminiscence of wanderers struggling in foreign countries. Linking of the living memory by the frame and the letter is a testimony that man has always been loving their hometown.

▼珠江⼝不同族群的集体记忆装置(示意图) © 直径叙事设计工作室
Collective memories of different ethnic groups in the Pearl River Estuary

▼珠江⼝不同族群的集体记忆装置(装置照⽚)1 © creatAR Images
Collective memories of different ethnic groups in the Pearl River Estuary 1

▼珠江⼝不同族群的集体记忆装置(装置照⽚)2，Collective memories of different ethnic groups in the Pearl River Estuary 2 © creatAR Images

3.5 专家采访，基于报纸内容的延伸
Expert interviews, based on the extension of newspaper

观众于展馆内游览，会在栈桥的不同方向看到来自八位专家的十一个话题采访。通过与专家对话的形式，延伸了报纸内容，使观众从专家的视角思考，完成了沟通交流的更进一步，从而最终完成了整场展览的体验。

Visitors visiting the exhibition hall will see 11 topic interviews from eight experts in different directions of the trestle bridge. Through the discussion with experts, the exhibition extended the content of the newspaper, allowing the audience to think from the perspective of experts, completing the further communication, and finally finish the entire exhibition experience.

▼专家采访，基于报纸内容的延伸(示意图) © 直径叙事设计工作室
Expert interviews, based on the extension of newspaper

▼专家采访，基于报纸内容的延伸(装置照⽚)，Expert interviews, based on the extension of newspaper © creatAR Images

顾问与采访专家：
程建、廖虹雷、李庆新、南兆旭、史建、孙霄、杨松颍、张一兵（以姓名首字母排序）其他给予建议的专家们：
符昌忠、刘丽川、李晓龙、马立安、任建敏、饶小军、温春来、杨阡、杨耀林、张卫东（以姓名首字母排序）
项目业主：深圳市南山区建筑工务署
深圳市万科发展有限公司
展览规划：万科城市研究院
展览参与名单
策展设计：直径叙事设计
策展人 | 总设计师：李德庚
艺术总监｜装置艺术家：周文斗
平面设计：STONES DESIGN Lab.
新媒体设计：Signal alpha
动画制作：同创视觉
采访影像：孙立民
灯光设计：广州瑞普照明系统工程有限公司
装置制作：上海建谆景观工程有限公司
展览施工：深圳杰尔斯展示股份有限公司

Collaborative Team：
Curation design：Diameter Narrative Design Studio
Curator：Degeng Li
Installation Art：Wendou Zhou
Graphic Design：STONES DESIGN Lab.
New Media Design：Signal Alpha
Animation Production：Tongchuang Vision
Interview Images：Limin Sun
Lighting Design：REUP
Installation Production：Shanghai Jianzhun Landscape Engineering Co., Ltd
Exhibition Construction：Gies

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