“未知城市：中国当代建筑装置影像展”是深圳市坪山美术馆（新馆）的开馆展。本次展览由深圳市坪山区人民政府主办，张宇星、野城和韩晶作为坪山美术馆（新馆）开馆展策展人。

中国当代建筑师群体（广义的建筑师包含了建筑师/规划师/设计师/艺术家/城市研究者等）全程参与了中国40年城市化的高速增长过程。在这个过程中，建筑师们亲手设计了城市，但也被城市所“惑”，因为城市空间正在变得无比含混和复杂。这种物质创造与文化消解的悖论循环，无疑蕴含了深刻的哲学内涵。不论从城市文化还是从建筑学，亦或是从当代艺术或者哲学层面，“未知城市”都是一个值得深入研究的命题。

“未知城市”，既是一种我们对过去、现在和未来城市的模糊定义，也具有无极限的想象空间。城市的确定性将有可能被未来建筑师们彻底打碎。那什么是我们心中真正的“城市本体”呢？对于这个问题的回答也许千差万别，通过空间装置、影像等特殊表现形式来共同讨论上述问题，成为本次展览的主要目标。

展览学术顾问
崔愷：中国工程院院士
王建国：中国工程院院士
孟建民：中国工程院院士
姚大钧：中国美术学院教授

展览学术主持
李翔宁：同济大学建筑与城市规划学院教授
周榕：清华大学建筑学院教授

策展人
张宇星野城韩晶

参展人名单（以拼音字母排序）
冰逸卜冰卜骁骏/张继元陈丹平/杨恒/廖俊程博/李博/于岛崔愷大舍+殷漪董功窦平平/鲁安东费晓华冯路何勍华黎绘造社柯卫蓝冰可/董灝李虎/黄文菁李立刘哥舒/钟祈序/陈磊刘珩刘家琨刘克成/俞泉&何叶&刘蔚&张军刘晓都刘宇扬罗宇杰孟建民/刘杨洋/易豫欧博设计邱慧康隋建国+李丰唐康硕/张淼汤桦/汤孟禅天津市城市规划设计研究院童明王辉王建国/杨俊宴王晶晶王澍/陆文宇/陈立超王昀王子耕魏春雨/胡骉/周柏庆/何闵吴俊勇许东亮杨小荻杨泳梁杨志疆杨之懿/程文杰姚璐姚大钧+蔡宇潇/徐林/翁怡璇野城俞挺袁烽袁顺章明/张姿张斌/周蔚+李丹锋/周渐佳张辰一张达利设计&大象空间张健蘅张佳晶张凯琴张雷/陈英杰张应鹏张永和张宇星/韩晶张之杨周实周长勇朱竞翔朱小地祝晓峰庄慎/任皓/唐煜/朱捷庄子玉

*英文版采访见文章末尾，English version of the interview can be found at the end of the article

_______________________

Interview
gooood x 3位策展人

张宇星 Zhang Yuxing

趣城工作室（ARCity Office）创始人/主持设计师，深圳大学建筑与城市规划学院研究员（本原设计研究中心副主任）。诗人、策展人、建筑/城市/艺术评论人。东南大学建筑学博士，教授级高级建筑师。深圳市规划学会常务理事，住建部城市设计专家委员会委员，中国建筑学会建筑评论学术委员会理事。深圳趣城计划发起人。深港城市/建筑双城双年展（UABB）的发起人、主要组织者和推动者之一，同时还担任UABB学术委员会主任。

1. 未知城市的展览内容与你的城市设计理念在哪些方面相契合？请介绍一下你的城市设计理念在此次展览中的体现。二者之间相互产生了怎样的影响，碰撞出了哪些火花？

未知城市，不仅仅是一个建筑和艺术展，它的主题是“城市”。城市，已经成为我们这个时代最重要的关键词之一。绝大多数人生活在城市中，但绝大多数人对城市仍然是未知。未知城市这样一个命题，不仅仅属于学术界，同时也跟我们每个人的日常生活是密切相关的。

我在之前的“城市设计的未来价值”、“城市设计的当代性：从土地经济到空间经济”、“城中村是来自未来的世界遗产”等演讲中，多次提出了这样一个观点：城市设计不应当退化为一种规划技术工具，而应该成为当代生活方式、生产方式和城市价值的重新塑造过程，这样一个塑造过程既是具有整体的、结构性的宏观行为，又可以缩微到每个人身体对城市的具体感知，它不仅仅是物理空间的塑造，同时包含了社会空间以及知识系统的塑造。

某种意义上，展览就是一个城市，城市也是一个展览。策展&城市设计，它们之间存在着奇妙的同构性。未知城市既是对城市表象之下的“地幔、地心层”的深层探索，又是对城市混杂现象的无限曝光。我们期待在展览中“策展出一个无限复杂的城市”，同时也“策展出一个无限庸常的城市”，从中看到城市表面的差异性与多样化，同时也能体会到城市内核的同一性和单调性。策展以及城市设计，都是在创造一个“未知性的生长机制”，就是让展览和城市自己迭代和生长出来，而不是预设一个终极结果。我们希望借助展览这样一种相对超脱的集体思想实验，来寻找未来城市和未来展览的边界在哪儿。

中国40年的高速发展，已经成为全球城市发展的独特现象，如此大的规模、如此快的速度、如此多的人口，这本身就是在创造一种教科书上没有过的城市状态，比如城中村，就没有出现过，比如高度集聚的科技园，以及类似华强北这样高度密集的物流和工业产品集中交易场所，这样一种状态，都是之前没有过的。当代中国城市的超级复杂性，意味着一个以城市为主题的展览，也应该遵循城市复杂性生长的规则。最好的策展，就是“让展览自己生长出来”，而不是强行控制它。

所以从一开始，我们作为策展人虽然也做了一些主题引导，但更多的是希望参展人能打破自己的身份局限，用一种生长状态来回答未知性这个话题。实际上，未知性是开放的，对未知性的回答也一定是出于参展人内心，不需要如同面对甲方一样，去揣测他的想法。一个好的城市要为市民提供自由的工作机会，同样如此，一个好的展览也要为参展人提供自由的创造机会。“同构镜像和自由生长”，是我的城市设计理念，同时也是我的策展理念。我希望用展览来镜像中国当代城市的原真状态，也希望用展览生长出未来城市的原型机制。

2.策展人请结合自己多年以来的实践经历来谈谈你对“未知性”的思考，什么是未知，它对生活在城市里的普通人有着怎样的影响？它将带我们去往何处？

当代全球社会已经进入到信息爆炸时代，每个人在每一天、甚至每个时刻，都开始产生一种在“已知”与“未知”之间随时切换的困惑感。所谓已知，就是他可以随时用手机移动互联网去搜索，任何他所不知道的，只要百度或者google一下，就知道了，这就是从未知到已知的过程。但是另一方面，站在这个巨大的知识碎片体系面前，他又会感觉到更加未知，这种未知是一种面对“无边整体”所产生的恐慌和无力。他发现搜索的越多，不知道的也越多，不知道的永远比他知道的更多，这种强烈反差往往伴随着整个探知过程，也就是“越来越知道自己的无知”。

于是，我们的日常生活随时从现实态进入到抽象态，这种现实稳定性一旦被打破，就会感觉到无比焦虑，相当于进入一个抽象空间之中，四周望去是没有方向的，同日常生活完全不一样。在日常生活中，我们知道自己熟悉的地点，我们的时空定位是很清晰的，我知道去哪个地方会碰见哪些人，这种已知性给我们带来了安定或者说是安逸的感觉。

人类并不希望进入到未知领域，因为未知领域充满了危险，当然也会有一些新奇东西，所以最好的状态是在已知的日常生活中打开一个窗口、一个洞口，从洞口中看见更广阔的的未知世界。这是一种纠缠态，我们的造物、建造与城市，处于纠缠态的交叉点上。当城市处于已知与确知，我们会感觉到安逸，也会觉得无趣。为什么许多人喜欢大城市，喜欢纽约、伦敦、上海、深圳？因为它们都是充满复杂性的未知城市。城市设计的巧妙方法，是把已知和未知这两种状态高度地融合起来。一方面，给我们每个人的日常生活提供一个稳定环境，可以在熟悉环境里面看到熟悉的人和熟悉的景观；另一方面，我们又需要另一个世界，这是城市的另一面。而且是可以很方便地切换，比如城中村，就是这样一个未知和已知切换的交叉点。很多人生活在城中村外面，每天按部就班上班和下班，当他进入城中村，就如同突然进入另外一个世界，有那么多他不认识的陌生人。反过来，在城中村生活的人们也会对外面世界有一个未知性的探索欲望。

城市多样性就是提供了这样一种多系统并存状态，提供了一个在已知和未知之间自由切换的场景。如果没有这种自由切换，城市会很快趋于单调，这种单调是很可怕的，哪怕城市非常精致、美观和舒适，很多人还是会考虑离开它。因为在这个自由涨落的信息时代，人们对自由信息获取的渴望越来越大，当处于在一个特别稳定的现实环境之中，没有原真性、差异性信息输入的时候，他有可能选择逃离。

3. 参展人身份的多元化和作品呈现形式的多样化为展览带来了哪些不一样的特质？这种多样化实际上是否有其内在的选择标准？谈谈参展作品的选择如何契合本次的策展思路？

我们希望每一位参展人回到本原，回到对未知性这个命题的原初性思考，打破所有束缚和限制，参展作品的多样化体现在观念的多元化和形式的多样化，前提是创造的绝对自由。所以在策展中，我们是反向限制，不允许参展人用标准的、传统的图纸、模型等形式来展示，逼着他们回到艺术创作的原初生产方式。多样化不是靠策展人引导出来的，也不是靠策展人指点和规定出来的。策展人所要考虑的是恰恰是帮助参展人打开束缚、放下包袱，在这种情形下，每个作品都将获得一种爆发性张力。当所有作品一起集中展现出来，展览就会呈现出整体性的差异化和多样化。

于是展览变成了策展人与参展人之间的一个“自由博弈过程”，同时也是一个“共识生长过程”，或者说，展览是一次“共同的换装游戏”。建筑师在展览中需要转换身份，以一个艺术家身份，艺术家也反过来要以建筑师身份来创造城市，而策展人，则需要以观众身份来设定自己。这样一种全方位的身份互换，是希望打破各自的思想束缚，进入自由创造境界。所有人都不再是“为自己代言”，而是“为未知的某种观念代言”，每一位参展人都代表了一种观念，而观念后面又有一个巨大人群，所以参展就是一次观念以及观念背后无数人群的自由汇聚。我们希望参展人的观念是多样化同时也是谱系化的，所谓谱系化，是指这些作品单独看似乎没有什么特别之处，但把它们串联起来就会发现一个内在逻辑系统，这个逻辑系统恰恰是策展人心中最期望、而又不可言说的文本结构。

4. 写作可以说是你的一部分，它对于你在策展、艺术创作、建筑和城市设计等方面有何帮助？

我认为，现在的所有人都是在写作，当然写作的方式不一样。比如建筑师是用建筑在大地上进行写作，是希望留下一个痕迹。写作的本质不只是通过文字来抒发感情，而是留下痕迹，是把思想刻写在人类知识系统里面，这个过程同建造是没有区别的。所以写作的本质是需要留下深刻的、永恒的东西，这样才能留下来。不然的话，没有力度、没有深度，或者材料很劣质，那么过不了几天很快就被拆掉了，就像是一个临时建筑，被别的建筑替代。

写作本质上就是一种建造过程，反之亦然。写作是在人类知识体系中所进行的建造行为。我希望我的写作是有痕迹、有力量、有永恒性，有材料性、有质感的，同时也有坚固性、有体系建构性。写作其实是在搭建一个语言大厦，大厦内部需要有高度稳定、巧妙、坚固的结构，语言结构同建筑建筑结构一样，处于持续演化之中，从过去的砖石、梁架、框架、网架，到更加复杂的3D打印等新的结构体系。另外，语言的大厦对材料要求很高，需要有质感的材料和在地性材料，这些都跟建筑是一样的。

语言叙事与空间叙事也非常类似，都是一种复杂的深度时空体验。好的文字如同空间一样，不是远远地观看的，而是要进去亲身游历，要进入到文字内核之中一步一步探索、发现，这是一个被作者所引导的历险过程。我在试着创作一种新文体，本质上就是一种新的语言结构。正如建筑创新的关键是结构体系创新一样，一种新的结构体系可能会影响整整一代建筑风格，比如勒.柯布西耶的多米诺体系、密斯的钢结构体系等，它们与古典建筑的巴洛克体系、哥特式体系等有很大不同。每一种结构后面都对应了一整套建造体系。我在探索一种适合于信息时代阅读习惯的新型语言结构。这个结构同建筑空间网架非常相似，是用无数小构件来塑造出一个宏大结构，与之前的梁架体系完全不一样，这种新结构的创作其实是与我建筑师身份密不可分的。某种程度上，写作已经成为我存在的一部分。在写作的时候，我会把自己设想成为一个建筑师，在语言世界的无边际空间里面建造一个大房子。

这次未知城市展览的策展方法，与我的写作方法其实非常相似，也是采用了一种开源式体系，没有预设固化框架或者线索去限定观众的体验流线，也没有预设参展人的作品叙事逻辑。我认为，好的展览不应该是用来“表现策展人自己”的，而应该为参展人们搭建一个“共同叙事的网架系统”，如同插座一样，每个作品都可以自由插入。比如在展览空间场景中，我们设置了几组脚手架体系，并采用了黑色网纹布分隔空间，这种场域设计并没有清晰地“定义空间”，只是把空间进行网格化了，形成一个高度可生长的叙事体系，每个参展作品都可以与这个体系自由结合起来，形成一个更大的叙事系统。可以发现，这种展览叙事结构的搭建方法，与建筑网架体系异曲同工，也许，这正是从我的写作经历之中所学习到的新方法吧。

野城 Ye Cheng

旅法建筑师，策展人，艺术家，诗人，评论家，未来学家。野城建筑事务所(Wild City Factory)创始人/主持建筑师。毕业于南京大学地球科学系，赴法考入巴黎建筑专业学院(ESA)。他先后在多家国际前沿建筑事务所工作，曾任巴黎国立高等装饰艺术学院（ENSAD)研究员，法国艺术家协会会员。他是首位获得法兰西学院艺术院士院（Académie des Beaux-Arts, Institut de france）“青年艺术家奖”的中国人，作为年轻一代建筑师和策展人，致力于打破建筑、艺术与设计的界限，并以跨学科、跨疆域的设计比较学方法进行跨界创作与策展实践。

1. 参展作品涵盖建筑、艺术等不同领域，尺度扩越很大，你们是如何确定展览的主题和选定展品的呢？希望通过展览向公众传达什么样的信息？

这些年国内建筑、艺术等领域的跨界大展不是很多。虽然我们常说建筑也是艺术，但建筑学确实是有门槛的，建筑展的策展也是有门槛的。这样的跨界展需要策展人至少同时具有建筑和艺术两个学科的背景。所以在展览主题的选择上，我们也希望这两个领域的创作者可以达成一种创作共识。希望激起建筑师和艺术家的头脑风暴，以同一个主题“未知城市”来进行创作。

这次展览的内容极为丰富，主要以装置、影像等极具视觉冲击力的形式，充分展示建筑师、艺术家们对未来城市的多角度思考。如作品“未知花园”（王澍/陆文宇/陈立超），探讨了自然建造中所呈现的未知性美学问题；作品“寻找帕拉提奥”（张永和），思考了建筑学母题的历史性问题；作品“圆原源缘”（袁顺）以大型沙盘模型来呈现人类和万物空间的融合性问题……作品涉及城市、建筑、艺术、社会、空间等诸多领域，既有对中国高速城市化进程中诸多城市现象的反思，也有对全球城市和建筑状态的普遍性思考，更展望了未来人类生活方式与生产方式的新一代城市空间模型。

“未知城市”展作为一次大型专业主题跨界展，以谱系化的空间思想实验方式，从多领域和多视角，探讨城市本体哲学的未知性，同时也探索城市未来状态的可能性。我们希望作品的表现方式是多样的，通过装置艺术和影像艺术这样的创作形式的限定来挖掘参展人更多的创造性。我们对参展人没有太多要求，只是希望他们能放下各自的职业身份，在体制内进行自我解构，形成了跨界参展人的组合。可以说这是一个专业但不职业的展览。

同时我们希望让公众在“未知城市”这个主题下看到各种未来城市的可能性，让公众觉着建筑师艺术家还可以这么玩，跳出常规的展览面相。这样的方式可以让作品更直接地和看见他的每一个人对话，并产生互动。

2. 布展中最需要考虑的问题是什么？遇到了哪些困难又是如何克服的？

每次的展览都会遇到共同的问题，当然也会遇到不同的问题。共同的问题主要就是对展览理念和主题的建构，对参展人和作品的选择，对作品实施的把控，展览预算的分配，当然还有展览周期的控制，以及开幕活动的策划。策展可以说就是一场赌博。在邀请参展人之前，策展人不知道有多少人会参展。在邀请之后，又不确定有多少作品最终能够落地。有人说这前半段看策展人的人品，这后半段看参展人的人品。而让一个展览能够成功举办，就需要策展人在这场赌博中使尽浑身解数来推动展览的实施。独立策展人这个职业需要在学术、人、资源这三个方面进行综合建构和平衡。

刚开始策划”未知城市“展览的时候，我们原本想控制在50件作品以内。没想到各界参展人的反馈很强烈，不少重量级的建筑艺术大师也是很爽快的确定参展。我们还是希望这样的展览能囊括更多有创见的思想者，所以最后有71组参展作品。这些参展人被分成三组分别由三位策展人亲自对接，这期间有大量的沟通工作。展览中遇到的一般性问题策展人各自处理，重要问题三个人一同商议，确定最终方案。我们三个策展人身处异地，分别在深圳、上海、北京。微信群是主要工作沟通平台。互联网时代的策展人真的是要靠人品，可能甚至开展了你都见不到你的参展人本尊，所有工作都是建立在一个互信的基础上。

这次展览大部分作品都是装置作品，有些作品尺度很大。一部分是在深圳制作，一部分是在其他城市制作，最后都要运到深圳，这中间还跨了年。从制作运输到布展都是相当大的工程。其实展览预算也是相当紧张，为了最大限度地保证展览高质量的实施，这次给参展人的作品制作费相较于同类展览来得要高。展览预算基本上也都用在了作品制作、布展搭建、运输和参展人差旅上，最后连三位策展人的策展费用也砍掉了。

3. 未知意味着有无限的可能，但同时也包含着很多不确定性和失败的可能，你认为建筑师群体如何为这种未知赋予更加理性，使其往好的方向发展？

“未知城市”，是一种对过去、现在和未来城市的模糊定义，也具有无极限的想象空间。城市的确定性正在被建筑师们彻底打碎，而什么是人们心中真正的“城市原型”？这个回答也许千差万别，所以我们希望以反建筑的方式，以装置艺术和影像艺术这些独特的空间表现形式，来探讨上述问题，这也是本次展览的实验性所在。

这些参展建筑师和艺术家全方位地思考了有关人类物质生存空间的体系化状态，以及未来建筑学发展的方向性等问题。某种意义上，这是一次中国当代建筑学的思想碰撞，也是一次泛建筑学的跨界集群反思。这种反思同时囊括了建筑师的理性和想象力，在未知的疆域，拓展出新的建筑学。

我们希望让参展人打破惯常的职业方式去呈现他对城市的思考，同时结合这个人工智能大数据互联时代，回到本体论层面，对城市的本体做一次集中性思考。我们已经到了不得不追问城市本体的境地，科技发展对城市的进化提出新的要求。城市系统、城市文化、城市生态等方面的发展也将进入一个全新的纪元。重新认识城市本体，重新认识人类社会，以及人类自身，是走向一个更好的未来的先决条件。

4. 此次展览对中国未来建筑甚至是未来城市的构建有什么意义？

“未知城市”，提出了面向未来的多维思考角度。未知城市探讨的是一种更加混沌、更加多元、更有个性、更具有不确定性的未来城市的可能性模型。这些参展作品可能是宏观的，但也有不少是从微观的层面去探讨未来城市和未来人类的生存状态。以一种非建筑的方式突破想象的边界，去构筑一种新的世界观。

我们希望通过展览这种“空间思想实验”方式，来探讨城市本体哲学的未知性，同时也探索城市未来状态的可知性。未来，必然会有一个新的城市模型替代100年前的模型，它可能是与虚拟空间完全融合的，可能是更加碎片化的,可能是全新的能源系统和交通系统。无论它是什么？都需要我们从当下开始想象和建构。一战后包豪斯和现代主义建筑对整个建筑艺术和设计领域的影响一直延绵至今。二战后新陈代谢派（Metabolism）、电气派（Archigram）等建筑师群体科幻式的建筑革命给城市发展提供更多想象的空间。这个时代正在发生翻天覆地的变化，无论是思想层面、技术层面还是社会形态。在这个节点上更需要有一批建筑师、艺术家、评论家和策展人敢于突破现实，掀起中国未来建筑的新浪潮。我们希望“未知城市”能成为这股浪潮中的推动者。

当我们跳出狭义的建筑学范畴从更概览的视角来观察城市，以及城市群、建筑和乡村等这些真实的建筑学研究对象时，一种基于全球多样性价值体系之上的具有“中国性”的建筑学已经模糊地呈现出来。它不一定全部来源于职业建筑师的主动创作，也来源于与中国当代城市现象关联的“没有建筑师的建筑”。诸如：超高密度城市街区、非正规建筑群（城中村）、大规模的城市新区&城市更新、杂糅&共生的城乡空间连绵体、都市大院、山寨建筑&山寨城区、集体属性的住宅区、日新月异的科技园区……等等，这些真实发生在中国大地上的空间场景，也许已经蕴含了化解痛点的可能性。

这些迹象，发生在所谓内容上，即空间体系所承载的生产方式、生活方式、审美方式、时空观念等，它们已经以这种未来性的萌芽状态悄然在世界以及中国大地发生。中国当代建筑也许恰恰具有上述边缘优势，因为尚处于现代主义洗礼的中间过程，反而有可能具有某种跨越时代的的机遇。当然这种机遇，需要中国建筑师的整体性自觉，才能把这种中间性与未来性萌芽结合起来，转化为真正的未来性。

当然，一个具有无限创造性的未知城市，需要新的具有高度弹性和适应性的建筑学体系，以及新的时空观察方法与之相匹配，包括新的时空理念、新的表现形态、新的建筑美学、新的建筑材料、新的建筑结构、新的建筑构造、新的建筑设备等，这一切，都在悄然发生之中。

韩晶 Jing Han

趣城工作室（ARCity Office）联合创始人/主持设计师，上海半层书店创始合伙人。独立城市研究者、专栏作家、策展人，同济大学建筑学博士。学术研究领域为城市设计、城市形态、都市文化、消费空间等，研究视角广泛涉及景观社会、现代性、消费以及日常生活，同时对与传统城市文化传承、激活相关的策划设计方法和理论也有浓厚兴趣。

1. 作为城市设计专业的博士，你的城市设计理念是什么？从做设计到开书店，再到做策展人，驱使你不断转变身份的动力是什么？不同的工作对你有哪些启发？与你将来想做的事情有何联系？

我是读建筑学出身，不过硕士、博士做的都是城市设计层面的城市空间研究，自己也做过一些实践，所以对城市设计算是有比较深的理解。我觉得，城市设计，不能简单地理解成为在一张白纸上设计城市，因为城市是非常复杂的，它有自己的运转规律，尤其是当代的大都市，处于全球化和新技术高速迭代的语境里，驱动城市空间演变的因素就更多了。所以，城市设计的重点不是在于视觉要素的设计，比如天际轮廓线、色彩、风貌、中轴线等等，它的精髓之处，是在于处理各种不同要素之间的关系，而且是在三维层面来整合这些复杂的关系。所以，城市设计不是万金油，一个城市并不是到处都需要做城市设计，越是要素复杂、矛盾纠结的地点，比如滨水区、轨道交通站周边、旧城中心、新旧城区结合部这样的地段，越是需要城市设计，像香港的中环，从皇后码头到半山，就是非常典型的地段。另外，和城市规划相比，城市设计是下一个层面，它更加微观一些，所以，城市设计更加关注的重点是“人”，要用“人的活动”作为组织空间的线索。最重要的一点，当代的社会是消费社会，城市空间是作为消费品而存在的，所以城市设计有一个重要任务，就是为城市空间赋予差异性，因为在消费品的体系中，差异性意味着空间的价值。这个差异性，需要在城市设计中敏锐地捕捉空间的资源，然后利用设计手段来将资源塑造成差异性，比如视觉形态的差异性、功能的差异性、活动事件的差异性，它们都和空间形态息息相关。所以，当代的城市设计是非常综合的，它既是技术，也是策划，这算是我个人的城市设计理念。

从做设计到开书店，看起来跨度很大，其实对我来说有点顺理成章，因为在博士期间做了很多消费空间研究，加上一直非常喜欢书，所以开书店实际上是我做消费研究的一种实践。作为设计师，我设计过很多房子，作为研究者，我写了十几万字关于消费空间论文，如果有机会亲自去运营一个消费空间，把自己设计的建筑和自己研究的结论一起付诸实现，那肯定是件很诱人的事情。半层书店是一个独立书店，独立书店和商业化经营的大型连锁书店最不一样的就是它的独立性，包括选书的视角、文化活动组织的逻辑等等。我一直觉得，半层书店不是一个教育的讲台，而是一个交流的平台，让作者和读者有机会互相了解，学术研究才能够有的放矢，并得到大众的接受。交流的媒介除了书、讲座之外，还有一种重要的形式就是展览，因为展览可以把书的内容立体化、形象性地传达出来。当然，专业背景让我会特别关注建筑和城市话题，所以，半层书店这方面的书、活动、微展览就比较多，来来往往的建筑师和学者也很多，慢慢地，书店、建筑与城市研究、展览策划之间也就建立了联系，这好像是自然而然的事情。

说到启发，作为一个成熟的建筑师，有一件很重要的事情就是认识社会。这事看起来简单，实际上我们大部分人都是精英一族，生活在象牙塔里，那些使用建筑的大众是怎么想的，真实的社会是什么样，我们很少有机会了解。开书店、做展览，和设计工作最大的不同就是会接触更多的人，并且是直面大众。不论是书店的顾客还是看展览的观众，他们不一定是专业人士，他们是各种不同的人，他们的想法、他们在我们所设计的空间里的行为，我都有很直接的观察机会，可以和原有的预设相印证。这是一个有趣的过程，让我真正认识了普罗大众，也能够从大众的角度来反观书本的理论和设计手法。学习接地气，这可能是设计之外的工作给我在设计之内的最大启发。从设计到书店再到策展，也许未来还会有其他，身份的转换并不重要，对我来说这些都是思考和实践的过程，都没有偏离建筑和城市的主题，只是思想的呈现方式更加五彩缤纷。

2. “未知城市”策展的初衷是什么？城市设计的背景对你的策展工作有哪些影响？你与其他两位策展人是如何分工的？请介绍一下你的工作以及你认为的展览看点。

“未知城市”策展的初衷是希望探讨城市问题，尤其是中国的城市问题。就像展览宣言里说的，中国当代建筑师群体全程参与了中国40年城市化的高速增长过程，在这个过程中，建筑师们亲手设计了城市，但也被城市所“惑”，因为城市空间正在变得无比含混和复杂。所以，我们提出了“未知城市”这样的命题，希望给参展人一个广阔的想象空间，让大家各抒己见，思考并提出自己的解答，把展览做成一次集群性的探讨。和一般的展览命题不同，“未知城市”其实并没有提出明确的观点，它是一个提问，参展人会如何回答策展人并不能预知，这是有趣的地方，也是给人惊喜的地方。UED的彭礼孝老师在展览开幕那天说，这是策展人设的一个局，参展就是答题，最后这么多参展人用各种方式交了精彩答卷，让展览成为一个很有价值的学术成果，他说得很准、很形象。

说起来，城市设计的背景深深影响了我对策展工作的理解。我甚至觉得，策一次展和做一次城市设计也差不多。作为一个策展人，最重要的当然是对当下和未来一些基本问题的思考，不过，具体到某个展览，策展主题的产生就不仅要有思想，还需要深入地解读展览场地，将抽象的思考和展览场地的空间特征联系起来，才能为特定的场地度身定做一个特定的展览，这一点和做城市设计进行场地研究和提出理念策划如出一辙。再看策展的过程，一方面，策展人需要协调各种关系，比如每一个参展作品与整体的关系，还有参展作品之间的关系，尤其是像这次展览，参展作品非常多的情况下，冲突是不可避免的，这就是需要策展人来巧妙地协调；另一方面，策展人还需要把控展览的场域空间效果，让纳入参展作品的整个展场空间形成视觉上的冲击力和具有感染力的氛围，这其实是策展人和参展人的共同创作，就像城市设计，参展人如同每个地块的建筑师，提交具有个性的作品，策展人如同城市设计师，协调关系和把握整体空间，所以，策划展览，就如同在展览场地做一个城市设计，虽然是临时性的，但逻辑基本相同。

说到分工，我们三位策展人的组合本身就有点特色，大家的年龄、地域、关注领域都不尽相同，所以工作的时候并没有明确的分工，而是自然根据各人的优势与擅长来合作。野城是学艺术出身，常在北京，所以他负责对接北京的部分参展人，也引介了一些艺术家参展；我经常在上海，半层书店来来往往的建筑师特别是80后建筑师比较多，所以我负责对接长三角的部分参展人还有青年建筑师；张宇星在深圳，他负责总体把控和协调，同时也对接了大部分参展人，特别是几位院士还有一些明星建筑师。展览的场域空间设计由张宇星和我来负责，布展的时候，大家都扑在展场上，野城做艺术展经验比较多，他做了很多现场效果的协调，比如灯光的协调，让展场的氛围达到最佳。这次展览时间非常紧张，从开始策划到展览开幕只有3个月，中间还有春节，所以布展只有十几天时间，到开幕前的凌晨张永和老师的作品才安装到位，这样的工作强度让大家都高度紧张，到最后已经是哪里需要哪里上，没有任何分工了。

我认为，这次展览有两个看点很重要。第一个看点，是透过作品来看参展人。因为这次的参展人身份包罗万象，拿建筑圈来说，既有大学的城市研究学者，也有一线的实践建筑师，既有正统大院的建筑师，也有事务所的独立建筑师，还有商业设计公司的建筑师，参展人的所处地域涵盖了北京、长三角、珠三角，年龄也涵盖了50后、60后、70后、80后，可以说是群贤汇聚、四世同堂，而我们要求参展人提交的作品必须是装置和影像，而不是建筑专业常用的模型和图纸，这就让建筑师脱离了自己熟悉的语言，就像用外语来说话，结果是什么呢？每一个参展人的作品都无比真实地反映了这个人自身的年龄和性格特征，这是一个很有趣的看点。透过作品，你可以看到不同地方的建筑师关注的问题各不相同，而同一个问题，不同性格的建筑师所用的形式语言也各不相同。不同年龄段的建筑师思考的东西也很不一样，老一辈建筑师更关注生命和世界的本质，新一代建筑师更关注新技术和未来。仔细品味，每一个作品就像那个参展人自己，栩栩如生站在面前。

第二个看点，是展览场域的空间张力。这次展览的参展人数量很多，有71组，他们提交的装置和影像大部分都是立体的，本身就很有张力，而且性格迥异，作为策展人，我们又在展场中增加了几组脚手架来组织基础设施。坪山美术馆原有的展场空间是素混凝土，这么多各不相同的体块集中出现在展场，空间组织是一个很大的挑战。所以，展览的作品布局调整了无数次，布展现场又调整了很多灯光和细节，还有些背景甚至是作品都是现场设计和再创作，这方面建筑师作为参展人和策展人倒是优势。最终呈现的场域空间，可以说是把每个作品都完好组织进去，并且共同形成了一个具有视觉冲击力和空间张力的氛围，这一点很多参展人尤其是艺术家都很赞赏。

3. 坪山美术馆和坪山文化聚落作为本次展览的根据地有着怎样的特色和优势？

坪山美术馆和坪山文化聚落作为这次展览的根据地，最大的特色和优势是“地理边缘”，这似乎有点戏剧性。坪山新区在深圳的最东面，对于深圳市民来说，它是很偏的地方，按照常理，这样的地点对于做展览而言是不大有利的，但是，有时候劣势恰恰会成为机缘，因为“未知城市”展览的主办方是坪山新区政府，正是由于地处边缘而非市中心，区政府才能够给予策展人和参展作品较大的自由度，让这次展览真正成为一次思想的汇聚和碰撞，非常鲜活。仔细想想，坪山新区在深圳的地理边缘性，和深圳位于中国“最南方”的地理边缘性相当吻合。边缘地点，一向都是新的试验场和新思想火花诞生的温床，而且这一点让深圳和上海、北京有了不一样的气场。记得开展那天，很多参展人都兴奋地来和我讲，这样齐全的“参展人谱系”只有在深圳才会出现，因为北京、上海的展览都太具有地域性，只有深圳，因为它是“最南方”、边缘的地点，反而让所有人都脱离了地域的心理局限，能够很放松地进行创作和交流，于是达到了展览效果最佳。

4. 展览对公众开放以来，目前的反映如何？你个人的感受是怎样的？作为坪山美术馆的开幕展，本次展览是否将会以新的形式在未来继续得到深化和扩展？顺便谈谈未来的计划。

展览是3月30号开幕的，第二天开始对公众开放，当天的参观人数就达到了近两千人，之后每天的参观人数都有近千人，节假日更多，这在坪山这么边缘的位置来说是不常见的。据美术馆的管理方反映，有不少大学院校的师生以及外地的建筑师都会专门来参观，可以说，这次展览在专业圈和社会大众之中的反映都是很热烈、很引人关注的。我个人的感受是相当满意，基本没有什么缺憾，甚至是一份超出预期的答卷。因为就像我之前说的，“未知城市”是一个命题作文，每一位参展人都交上了精彩的答案，作为策展人我们只是把这些答案精心组织起来形成一个完整的展览场域而已。这次展览是策展人和众位参展人共同的创作，有这么多中国最优秀的建筑、艺术参展人，这份答卷一定是完美的，也让我学习到了很多。

作为坪山美术馆的开馆展，这次展览将在9月30号闭幕，但对“未知城市”的思考一定不会就此结束。一方面，我们几位策展人会对参展作品进行系统性的学术梳理，同时对部分参展人进行深度访谈，把这次展览的成果作为一个学术研究对象来深度挖掘，在常规的展后册之外，形成一本关于“未知城市”的学术专著，这又要转回头发挥半层书店的作用了。另一方面，展览现在已经成为激活城市空间、创造事件和关注度的重要手段，所以继续做展的机会很多，“未知城市”作为一个具有延展性的主题，有合适的机缘我们会再次用展览的方式对它进行延展，对这次“未知城市”展的研究成果也许还会成为下一次展览的参展作品呢。

___________________

参展作品全导览
A guidance to the participants

*现场照片由张超拍摄。作品文字说明由参展人提供。
Photo credit to Zhang Chao. Descriptions are provided by participants.

1F

未知花园
An Unknown Garden
王澍/陆文宇/陈立超
业余建筑工作室 Amateur Architecture Studio

我们想为未知城市建一座未知花园。这个花园的基本意思就是怎么样回应未知城市这个题目 —— 所谓未知的含义，意味着我们经常对自己也许是不完全了解的。像红砖，这在中国很多地区，尤其在城市边缘，算是最朴素、最常用、最低廉的一个材料。但红砖还具有一种独特的尚未被发掘的朴素之美，它既能够连接到一点传统，本身又是一个现代材料，它不是传统材料。我们这个想法其实是在生活中通过废墟发现的。而且红砖用传统的空斗砌法，砌出一个新的废墟状态来。我们发现这次的场地基本上就是一个花园的占地，看到这个场地，这件作品就直接浮现了出来。

We wanted to build an unknown garden for an unknown city. The basic meaning of this garden is how to respond to the topic of the unknown cities—that is the so-called unknown implication, which means that we often do not fully understand ourselves. For example, red bricks, one of the simplest, most commonly used and cheapest materials in many parts of China, especially on the edges of the cities, also obtain a unique yet unrevealed plain beauty. At some point, the red brick connects to the tradition, while it is also a modern material instead of a traditional one. Our idea was actually derived from the ruins of daily life. And the laying pattern of the red bricks is a kind of traditional cavity wall, built from a new pile of ruins. We found that the venue was basically a garden area, so this piece of work was slowly polished out of such a feeling. We found that the venue was basically an area suitable to make a garden, and when we saw it, the design of the work arose straightly.

扫描夜空：高山化为流水
Scan Nightscape：Mountains Turning into Waters
冰逸

冰逸扫描了北京夜空中的灯光，将城市的九个不同角度混合为青绿山水。使用点阵云编程的方法让城市流动的灯光渐次雪崩，最后融化为光点。因为着色器编程模式的特点，各个粒子互相永远不知道对方的存在，只能通过自己的过去属性来改变预设的未来。在静止的状态，只有偏于暖色的粒子会发生缓慢的呼吸效果；在瀑布流淌的状态，所有的冷色粒子会根据自己的当前位置判断向下冲刷的程度；在混乱状态，粒子的几个属性参数之间开始发生数学上不合理也不相关的叠加；而最后的收拢阶段，粒子在靠向屏幕中间线的同时，自身的颜色不断互相叠加、冲撞，粒子的透明度则不断减弱，最终全员消失在黑夜里。整个过程是通过数学方法进行描述的，但是却显现出一种随机的运动效果，也预计不到会发生什么事。扫描夜空后出现的随机逻辑，无限靠近了山水哲学中“山变成水”的审美意象。

Bingyi scanned the nightscape of Beijing CBD areaand mixed nine different angles of the cityscape. The digital flow of the city’s light can be read as a complicated spatial structure. Gradually, the light-formed nightscape is turned into mountains of infinite space. Eventually the “mountains” of city lights turn into a waters. The two-dimensional image of a landscape is replaced by 9 different angles of infinite spatial movement, yet each digital dot is turning in different angles and appears to be moving in chaos. Each movement is completely unpredictable but aesthetically intriguing. This piece shows that the internal movement of a magnificent cityscape represented by the movement of lights may just follow the poetics a mysterious shanshui landscape.

引力城市
Gravity
华黎
迹·建筑事务所（TAO）

在引力的作用下，城市不断地制造青春和老迈、丰满与干瘪、幸福与悲伤、希望与回忆、乌托邦与废墟的关系。城市与时间有关，总会有属于当下的表象，城市与时间亦无关，隐藏的密码决定了其宿命。城市与空间有关，总会有局部的虚荣与困扰，城市与空间亦无关，它无所不在的实质是人们的欲望与想象。

Cities, under the force of gravity, constantly manufacture youth and ageing, plumpness and withering, joy and sorrow, hope and memory and the bound between utopia and ruins. Cities are temporal, containing representations only of the present. Cities are timeless, destined by their hidden codes. Cities, relevant to space, suffer local vanity and perplex. Cities, irrelevant of space, exist in ubiquitous human desire and imagination.

另一条出路
Alternative Exit
刘珩 Doreen Heng LIU
南沙原创建筑设计工作室 NODE Architecture&Urbanism

此装置在具体场地，作为主入口唯一楼梯的“另一个可能性”存在：因地制宜，顺势而为，随遇而安。可能比较艰难，但一路“曲折”的风景让这“另一条出路”值得去尝试和体验。

The installation at this very specific site, is addressed as “Alternative Exit” in juxtaposition of the only stair-exit in the lobby: adapting to the local condition, making the best of the situation, and taking things as they are. However, the winding scenery along the way makes such an alternative route worth exploring.

“圆原源缘”
YUANYUAN
袁顺 Yuan Shun

＂圆原源缘＂计划2019，深圳坪山美术馆开馆展《未知城市》。三月初回国开始工作，三月三十日开幕，展期六个月。在深圳做一个8米直径的圆形装置，装置需收集深圳福斯特设计的机场建筑结构细节，坪山的地型图以及当地的高科技产品，收集上海与柏林的先锋建筑图像，做为创作元素和作品的肌䤚，同时参考深圳城市地理等特点为作品注入本地基因。展室空中需有遥空拍摄小飞机来拍摄录像。开幕式做＂转山＂行为表演，为此设计一件T裇衫做为表演服。

此装置作品计划在深圳当地取材与实施，从这个区域的地理、历史、人文以及高科技等为始发点而展开，并揉合成一个开放式的、消解历史特征的、去中心化的全景；一种沉浸式的离心山水。作品选用最基本的沙、土、煤、木等来构建一个模型装置。题为＂圆原源缘＂，以朦胧、谐音的方式陈述，并做压缩处理，删减了天时地利，东西南北以及个人众生之间各异的语境。作品部分图像采集至柏林，上海与深圳等地具有代表性的当代建筑为元素并进行重构。装置布局既象地上的运动场，又象是天体运行的分布糸统。装置本身在空间里突出了虚拟与现实的对比，強调了作品与观众的互动性，在地性是这个装置作品的主要特征。

“Yuanyuanyuanyuan” Project 2019, will exhibit at The Unknown City – Shenzhen Pingshan Art Museum Opening Exhibition. I decided come back to China in early March. This exhibition opens at 30th March, and it lasts six months. I made a circle installer which had a diameter of 8 meters.This installer needed to collect the structure details of Shenzhen Airport designed by Studio Fuksas, Pingshan’s photographic map and local high-tech products. I collected medias of pioneering architecture in Berlin and Shanghai as elements of design. At the same time, I added Shenzhen city geography and other characteristics into this work. There also have robotic aircraft scanning the installer with a camera. I would perform a performance art named “Zhuan shan”, and designed T-shirts for it.

This installer designed and made in Shenzhen, inspired by the geography, history and hi-technology of Shenzhen. These elements knitted into a open, deconstructed historical, decentralized panorama, an immersive centrifugal landscape. This installer is made by sands, earth, coal and woods named “Yuanyuanyuanyuan”. Medias in it show the epic modern architectures taken in Berlin, Shanghai, Shenzhen. It looks like playground as well as celestial map. This installer highlights the contrast between virtual and reality, emphasize the interaction between the work and the audience. Locality is the major characteristic of “Yuanyuanyuanyuan”.

寻找创世遗迹
Seeking Creation Relics
隋建国 + 李丰

比时间更早，混沌之神创造了黑暗与大地，巨手甩落的泥块散留在无名角落。后人类的探测器穿过银河系动力源的黑洞，被抛出室女星云更远处。抵近巨印星云，引力场将穹隆扭转，场极变幻如流水，地表颗粒如水晶闪耀在巨手纹理起伏的山川之间。凹凸块面间迸发出极强射线，探测器被白洞送入深处。无边穹顶下，黑暗中覆掌显形。时间失去节奏，空间失去坐标。随引力潮汐的搅动，视线出现在任何位置。星体内壁布满通向未知的虫洞，探测器竟回到了人类自己建立的“云”。

Earlier than time began, the God of chaos created darkness and the earth, and the mud left by the giant hands was scattered in the unknown corners. Post-human detectors traversed the black hole in the Galactic power source and were thrown further away from the Virgo Nebula. Close to the Handprint galaxy, the gravitational field twists the dome, the field poles change like running water, and the surface particles shine like crystals between the mountains with the undulating texture of the giant hand. Extremely intense radiation bursts out between the concave-convex bumps, and the detector is sent deep into a white hole. Underneath the limitless dome, palmprint appears in the darkness. Time loses its rhythm and space loses its coordinates. With the agitation of gravitational tides, horizons merge everywhere. The inner walls are filled with wormholes leading to the unknown, and the detector has returned to the Cloud created by human themselves.

络绎不绝
Prevailing Winds
杨泳梁 Yang Yongliang

《络绎不绝》是一件作于2017年的视频作品，紧随《川流不息》之后面世。前者引出了一片有关港口城市繁忙交通的景象，后者则集中描写海港的贸易生态。英文标题Prevailing Winds在地理学中指代从同一方向吹来的、主导气流的风；在商业领域中，特指市场的宏观趋势。中文标题“络绎不绝”带有异曲同工的含义，用于描写源源不断的车辆、船舶和骑马的人们赶往集市。

杨泳梁用城市建筑的影像作为画笔，谱写以宋代峰峦叠嶂的山水风格为蓝本的数码影像创作。城市化发展在滋养一个城市的同时也禁锢了他们；正如中国传统文化正因其悠久、深邃，而被固有的思想局限。古人通过描绘山水来赞美自然，而杨泳梁的山水引发人们对当今社会现状的反思。

Prevailing Winds is a 2017 video comes along with Endless Streams. The former picks up on the busy traffic in a port city, when the latter zooms in to the growing trades near the harbor. Prevailing Winds, as in geography, are winds that blow predominantly from a single direction; as a business term, it is used to describe market trends. The Chinese title is a set phrase that tells a parallel story, Luo Yi Bu Jue, depicts restless cars, boats and men on horses on their ways to the market.

Yang Yongliang uses images of architecture as brushstrokes; heavy mountain rocks with enriched details draw a faithful reference to Song Dynasty landscape painting. Urban development makes life in the city flourish, but it also imprisons these lives; centuries-old cultural tradition in China is profound, but it has also remained stagnant. Ancient Chinese people painted landscapes to praise the greatness of nature; Yang’s works, on the other hand, lead towards a critical re-thinking of contemporary reality.

给形态赋予一个观念
Give Form a Concept
王昀 WangYun
东南大学城市设计研究中心

“给形态赋予一个观念”是艺术家王昀长期以来所进行的系列艺术探索之一，本展览从这一系列探索性作品中选取出六个案例，期待由观者从自身的观念中找到“这是什么”的答案，在对形态本身从建筑、雕塑以及空间装置等层面赋予以具体观念的过程中展开观者的自由想象。

“Give form a concept” is one of a series of artistic explorations that artist Wang Yun has carried out for a long time. This exhibition selected 6 cases from this series of exploratory works and It expects the audience to find the answer to “what is this” from their own concepts and endow the form itself with the connotations of architecture, sculpture and space art device. The free imagination of the audience is developed in the process of giving specific concepts.

寻找帕拉迪奥
Looking for Palladio
张永和 YUNG HO CHANG
非常建筑/Atelier FCJZ
点此查看详细内容，click here to check the project on gooood

自透视法诞生于15世纪的佛罗伦萨以来，由意大利建筑师帕拉迪奥（Andrea Palladio）和斯卡莫奇 (Vincenzo Scamozzi) 合作设计的奥林匹克剧场（Teatro Olimpico，1585）首次将一点透视运用到建筑空间中，试图通过舞台上一系列门洞后的楔形空间来阐述剧场中的理想城市。非常建筑的空间装置将这一主题加以拓展，将多种城市空间投射至一组四向延展的透视筒上，试图使每个观察者感受自身在城市环境里迥异、且在时刻变化的空间定位。在我们重构城市空间的过程中，“寻找帕拉迪奥”成为对当今过于扁平化的城市空间的一种反思。

Teatro Olimpico (1585), a theater designed by Italian architects Andrea Palladio and Vincenzo Scamozzi, marked the first time that one-point-perspective was applied into an architectural space since its invention in the 15th century, where the architects sought to illustrate an ideal city with depth through a series of wedge-shaped spaces attached to the rare side of stage. Atelier FCJZ’s installation developed on this idea by projecting different urban scenarios onto monoculars branched off from a central camera obscura, allowing and encouraging the viewers to track their distinctive yet ever-changing spatial positions in the miniature urban environment. Today as we often embrace overly homogenized urban space, Looking for Palladio has offered an alternative thought on how urban environment could be re-constructed.

西村大院
West Village
刘家琨
家琨建筑设计事务所
点此查看详细内容，click here to check the project on gooood

日常生活的欢庆：城市野蛮生长，历史记忆被抺除，公共空间被蚕食，地方精神萎缩，传统生活方式迅速消失，日常休闲被消费异化为固定模式……日常生活的活力似乎只有在犄角旮旯里才能杂乱生长。

项目周边是大片缺乏公共空间的普通住宅小区，而用地原为仅服务于少数人的高尔夫练习场和网球场。为了最大限度的利用街道活力并得到最完整的内部公共空间，西村大院在满足规划条件的前提下，环绕街区沿边修建，围合出一个公园般的超大院落，成为一个外高内低，容纳纷繁杂陈的公共生活的“绿色盆地”，呼应了四川盆地的原风景。大、中、小竹林院落层层相套，自由穿行，再现了当地人民热爱的竹下休闲传统生活场景。“书架”般功能设施式的建筑骨架设计，任由业主自由填充“书本”，最终形成“市井立面”，传达出群体创造的丰富表现力。本地常用材料的创新性运用为建筑带来了既传统又当代的性格。一条架空休闲跑道巡遊大院并攀升至屋顶又环绕一周，为跑步和骑车人们带来了自由兴奋的超常体验，并赋予建筑具有动态能量的鲜活形象。

和外部住宅等高的西村大院从尺度上融入了社区，各个方向的架空入口连接了街道，而在内部则使日常生活获得了具有纪念性尺度的表现，它成为周边社区民众的乐园，也为自身带来了丰沛的活力和巨大的成长空间。

A Celebration of Everyday Life: The city grows madly; memories are vanishing; public space has been slowly eroded; so does the genius loci and conventional lifestyles. People’s leisure activities are no more than a normative by-product of consumer culture. It seems like the energy of daily life is merely thriving on leftover space.

Surrounding the project is a large area of ordinary residential communities lacking public space. The land used to be served as a golf driving range and tennis court for a small group of people. In order to maximize the use of street vitality and get the most complete internal public space, under the premise of specific city planning regulations, West Village adopts a centrifugal layout that encircles the entire block as a vast park-styled courtyard to form a green basin containing diverse public life, which also echoes the original low-land landscape of Sichuan Basin – in both natural and cultural sense. Smaller bamboo courtyards are nested within bigger ones that the public can freely meander. The spatial design carries forward the ever-popular and traditional leisure lifestyle among locals. The functional structure serves as a ‘bookshelf’ allowing customers freely to put on their own ‘books’, and the inner façade eventually becomes a parade of marketplace scenarios. An elevated runway entwined the whole courtyard, connecting each floor from the underground to the roof. It brings excitements of unusual experiences, especially for joggers and cyclists; meanwhile endows the project with a dynamic and vivid image.

With the same height as external residential areas, West Village is integrated into the urban-scape. The daily life of the local residents is commemorated through its multivalent interior courtyards. It is able to sustain and develop itself while revitalizing the public life of its surrounding communities.

美术馆
THE Museum
大舍+殷漪 Atelier Deshaus+YIN Yi

《美术馆》是大舍的主持建筑师柳亦春通过台州当代美术馆和艺术家殷漪合作的影像作品，意在找寻空间、身体和声音之间那些未知的联系。在影像中，空间、声音、舞蹈，以及脱离这画面之外的艺术家本人的“凝视”，它们都各自独立存在，也相互依存。《美术馆》有一长一短两段影像，长影像在本次展览中是连续而完整的，短影像则分置四屏，四个空间，舞者在空间中交替出现。作为配乐的声音都是在现场录得的，所以也必定包含了录制所在空间的听觉特征，还有一些不可预知的甚至令人讨厌的声音，它们闯过了由混凝土浇筑的边界。这些声音指出了美术馆作为一个空间的真实性，或者同时的一种相反面，虚幻性。

This video work The Museum, cooperated with the artist Yin Yi in Taizhou Contemporary Museum by Liu Yichun, the principle Architect of Atelier Deshaus, seeks the unknown connections between space, body and sound. In the video, space, sound, dance, and the artist’s own “gaze” away from the picture, all exist independently yet also interdependent. “The Museum” consist of two parts: a long one and a short one. The former is played in a continuous and complete way in this exhibition, and the latter is played by four screens and is recorded in four spaces in which dancers appear alternately. The sounds that serve as soundtracks are recorded on the spot, so they contain the auditory features of the space, as well as the unpredictable and even annoying sounds that break through the boundaries of concrete. These sounds suggest the authenticity of the museum as a space, or at the same time allude to its opposite – the illusory nature of a space.

东山西园南海北国
East Island, North Country, South Ocean, West Garden
吴俊勇

这件作品包括一组动画影像和现场壁画，壁画根据不同的城市和展场展开即兴创作，同时结合作品主题。动画部分由四个影像组成，对应东西南北四个方位的主题，每个方位揉杂个人臆想和历史记忆，是关于时间和空间的私人图像异志。

还有什么需要腾挪？
What else can be transitional?
朱竞翔 Zhu Jingxiang
香港中文大学建筑学院；香港元远建筑科技有限公司
School of architecture, the Chinese University of Hong Kong；UNITINNO Architectural Technology Development Company Limited, Hong Kong

城市建成区空间高度密集，零星的、闲置的土地资源如何能有效地利用？建筑能不能松开与土地的绑定，为规划者、使用者带来新思维？作为生产生活容器，建筑能否不是拆完即废的一次性产品？空间生产能否按需组织、按需迁移，塑造一座灵活而富于活力的城市？由香港中文大学建筑学院与深圳元远建筑科技发展有限公司统筹的深圳福田梅丽小学腾挪校舍项目完成于2018年11月，它以创新建造系统回应上述议题。校舍采用新型装配技术，标准模块单元组合建造，运输施工高效便利，将能实现建筑的重复拆装与迁置重用。腾挪校舍计划也打破了升级改造过程中场地的束缚，规避传统改扩建工程存在的风险，为城市可持续发展与更新提供了新型参考模式。

Can we well use those empty, fragmental land plots to offer public facility, while the city is growing rapidly and densely occupied?What new possibilities might be found by planners or users, as if a building is not bond to land ownership? Will a new building, as the shelter for living and procession, be able to go beyond the fate of becoming rubbish after a one-round use? Is it possible to produce spaces and locate them according to actual needs, for a sustainable, collaborative and dynamic future cityscape? Meili transition school, completed in November 2018 at Shenzhen Futian central area, designed by teams from Chinese University of Hong Kong and the Unitinno Architectural Technology Development Co. Ltd, provides answers to above questions with an innovative construction system. The system, made of lightweight prefabricated standardized modular unit, brings ease for transportation and rapid assembly. The transition school preventing the risks from the construction of school extension or reconstruction, releasing the tight binding between the heavy building and the site, provides an inspiring paradigm for the nonstop renewal of the metropolis.

拓·映
Rubbings as Reflection
崔愷
中国建筑设计研究院有限公司本土设计研究中心（合作单位：北京宝贵石艺）

碑，一种世代传读的典籍，
碑林，一座记载民族文明的图书馆，
碑拓，一种复制经典的工法，
碑贴，一条历史文化的传播路径。
敬碑、读文、拓印、临帖，代代不辍，
史记、哲理、祖训、名言，口口相传。
大千世界，文明融合，生活万象，与时俱进，
内心世界，文化积淀，生命价值，时有感悟。
人在内外之间变脸，
文化在古今之间交互，
拓·映，一种时空穿梭。

Steles, as time-honored classics, are read by people of all generations.
The Forest of Steles serves as a library of national civilization.
Rubbings of steles present the skill of duplication of classics.
Calligraphy of stele inscriptions paves the path for the dissemination of history and culture.
From generation to generation, people unremittingly honor the steles, read the inscriptions, make rubbings and practice calligraphy.
By word of mouth, people pass on the words of Records of the Grand Historian, philosophic wisdom, family mottos and celebrated dictums.
In the Forest of Steles, we see the diversities of the universe, the fusion of civilizations and all manifestations of life, keeping our pace with the times.
In the Forest of Steles, we perceive the inner world of people, the accumulation of culture and the value of life, inspiring ourselves from time to time.
Across the outer and inner worlds, people show their versatilities.
Between ancient and modern times, cultures present fascinating interactions.
Rubbings of steles, as a kind of reflection, take us on a tour beyond time and space

第三年
The Third Year
张雷陈英杰
张雷联合建筑事务所 AZL ARCHITECTS

生长
成为自然一部分
结局
最好是建筑
和关于未来的猜想
他们以为知道的未来
在过去
这一天
人类消失之后的第三年
阳光灿烂
万物复苏

Growing with the nature
Being part of it
The best to come eventually
Architecture
With other assumptions about the future
They thought they knew
Yet, their unknown future
Is in the past
Another day has passed
The third year after the disappearance of humankind
The sunshine resuscitates it all

钻石村的日与夜
Day & Night at Diamond Village
绘造社

《钻石村的日与夜》表现的是深圳城中村的生活日常。由于在被表现的玉田小区中，正交轴网和45度轴网并存，使绘造社联想到海杜克的作品《菱形住宅》，而他的创作灵感，可被追溯到蒙德里安的荷兰风格派绘画。如果说海杜克是将蒙德里安的平面绘画语言发展成为一个空间形式，绘造社则进一步将它发展成为一个城市聚落。《钻石村的日与夜》共由3张建筑全景轴测图组成，以光栅立体画的形式呈现出多角度的视觉效果。

Day & Night at Diamond Village depicts the daily life of an urban village, Yu Tian Community, in Shenzhen. The co-existence of cross-axis and 45-degree-axis networks in Yu Tian reminds DAS of Diamond House by John Hejduk and his inspiration could be traced to De Stijl paintings by Piet Mondrian. If it is said that Hejduk developed Mondrian’s flat painting language into a spatial form, then in this piece DAS tries to transform it further into an urban settlement. Day & Night at Diamond Village consists of 3 architectural axonometric panoramas and presents a multi-angled visual effect in the form of lenticular print.

“已知”
THE KNOWN
蓝冰可，董灏
CROSSBOUNDARIES
点此查看详细内容，click here to check the project on gooood

求解：未知城市。已知：混凝土、钢铁和玻璃。今天的城市物理空间，越来越成为这些材料模数化重复的产物。作品对城市材料进行高度抽象提炼，邀请观者进入一个由它们构成的、周而复始的镜像，体验真实与幻象、客观与主观、个体与群像间的转化与隔阂。人类如何处理自己和人造环境间的关系、如何安放自身的精神需求，是一个永恒的课题。我们的答案，写在这个互动场景为每人引发的反思和共鸣里。

Solving: Unknown city. Known: concrete, steel and glass. Today’s urban physical space is increasingly becoming a product of modularization of these materials. The work highly abstracts and refines urban materials to invite viewers to enter this mirrored world, experiencing the transformation and separation between reality and illusion, objective and subjective, and individual and group. How human beings deal with the relationship between themselves and the artificial environment and how to place their spiritual needs is an eternal issue. Our answer, written in this interactive scenario, is the reflection and resonance that each person evokes.

后连接
Post-connection
唐康硕，张淼 TANG Kangshuo, ZHANG Miao
MAT超级建筑事务所MAT Office

城市是自由生长的，它不应该被教条的网格所限定；城市是动态发展的，它的内核是流动和互联；城市是多重尺度的，它是由众多关联的个体自下而上形成的共同体。“后连接” 作品是由168片钢板组合而成的多孔装置，从限定的笛卡尔坐标平面转向更加自由的空间平面，其多向度的生长方式带来的连续碎片绽放出不可预测的时空分配，从而共同作用出未知的未来。

City is free to grow, it should not be limited by dogmatic grid system; City develops dynamically, with the core of flow and interconnection; City contains multiply scales, it is a community formed by various associated bottom-up individuals. The porous artwork of “Post-connection” is an installation composed of 168 pieces of steel plate. Moving from limited Cartesian coordinate plane to a free spatial plane, the continuous fragments brought by multi-dimensional growth mode bloom to an unpredictable spatial distribution, and form the unknown future together.

姚璐新山水
姚璐

我的作品是运用传统中国绘画的形式表现当代中国的面貌，中国在不断的发展着，在不断的建设过程中有许多东西产生同时也有许多东西消失了，那些“防尘布”覆盖的土堆和垃圾是一个普遍的现象。我希望：我们所做的一切都使世界形成良性转变。我们必须保护环境，我们努力工作意味着，世界将变得更加和谐。摄影可以理解为非常传统的，它可以记录很多以前的历史，让人们回到了以前的某一个时代；摄影也是非常当代的，它可以非常清晰的把见到的东西重新组合再编辑整理，让人们在作品前产生时间和空间的错觉，可以看到既真实又不真实的影像。在作品的风格上，我主张维护画面的美感，这其中包括画面的构图、线条、疏密等等一切绘画规律，一幅好的作品是由多方面因素构成的，他应该能体现出艺术家的修为和能力，一幅好的作品是有智慧的。摄影的这种延展性为我提供了非常大的表现空间，让我可以有更多的手法去创作。

2F

城中村游戏与未来城市景观
A game of urban villages and future urban landscapes
杨之懿、程文杰
蜗牛建筑工作室 Studio G

这是一款基于城中村研究发展而来的游戏软件。主要是从对影响城中村城市形态的各种个体化搭建要素出发，去分门别类的讨论不同构建方式的形式倾向。现实中的城中村固然包含了这些倾向，但形式仍然迷糊含混。是不是能够依靠类似建筑游戏似的操作来使这些晦涩清晰起来呢？更进一步，是不是这些可能的城市景观中展现了我们对于城市生活的某种特定理解或者观念呢？

This is a game based on the study of urban villages. Its components are mainly the various individualized elements that affect forms of urban villages. We used these components to explore different kinds of tendencies. Since these kinds of tendencies in real life are in disordered forms, we paid closer attention to make it clear through operations like building games. Furthermore, we supposed that these imaginative urban landscapes could show a certain understanding or concept of urban life.

呈型
Poiesis
汤桦汤孟禅
汤桦建筑设计事务所

我们的展品围绕一个在2012年的启动的开发项目展开。项目被置于超越其生命周期的更广阔的时空框架中，从而得以展示科技、经济以及政治等外部力量对建筑项目复杂的塑造作用，持续变化的外力促使项目定位在不同类型和目标市场间阶段性切换，设计也随之体现了持续的不确定性。甚至在某些时刻，多种合理的解决方案如同量子叠加态一般同时存在，使得解答的“唯一性”失去了意义。

类似的复杂性和不确定性在项目所在地大同市今年的发展中得到了尤为显著的体现。作为当代中国城市发展的一个典例，大同市发展的每一步都同时受到帝国时期的历史、民国时期的工业遗产，以及互联网时代后工业化等因素的互相作用。最终大同市近年的城市转型成为了传统文人史观、苏联式的中央规划以及美国式的主题公园思维逻辑共存的矛盾性融合。

经过漫长的设计周期，项目最终在大环境的反复剧烈变化之后落地，从各种复杂业态的排列组合直接“塌缩”成一个住宅开发项目——一个基于财务计算能够达到投资回报最大化的模型。关于城市规划，关于建造，大同市，中国的社会，或者甚至整个人类，现在仍然需要长期的自我探索，以理解我们是谁以及我们要做什么。

Our exhibit revolves around an on-going developer project that began in 2012. By placing the project within a larger space-time framework than its own life cycle, we attempt to reveal the historic disruption caused by technological, economic and political forces onto the architectural project itself. The pace and intensity of the disruptions have forced the project to leap between multiple typologies and targeted markets.

The many different incarnations of the project demonstrate a constant presence of uncertainty. Like the state of quantum of superposition, the project possessed multiple valid solutions until the last moment.

Similar kind of complexity and uncertainty manifested much stronger during the transformation of Datong, where the project is located. The city of Datong is an exemplary case of Chinese urban developments. It had to simultaneously deal with its historic legacy from the imperial era, its industrial past since the People’s Republic, and the uncertain future while going through a de-industrialization process in an internet age. Hence the philosophy behind the solution provided became a fusion of Confucian literati architectural historiography, Soviet planning and Disneyland.

Both the developer and the city of Datong had to face the rapidly changing contexts locally, nationally and globally. The quantum state of the project eventually “collapsed” into a straightforward residential development, when all other possibilities were eliminated over time. Yet that eventuality is based on the simple model of return on investment. The city of Datong, the society of China, or maybe even the entire humanity at the moment, still have a lot soul-searching to understand who we want to be and what we want to do.

呼唤
EVOCATION
冯路
无样建筑工作室

《呼唤》影像系列作品包括8部电影短片，总导演是冯路。影片I号至VIII号分别选取了上海的8个工业建筑改造项目作为场地，由艺术家通过身体语言和声音与建筑空间进行对话。针对每个场地不同的空间特质，舞蹈专门做了不同的编排，而相同的主题音乐在各个表演空间内进行即时播放并录音。这些建筑场地包括大舍建筑设计事务所设计的雅昌（上海）艺术中心、西岸艺术中心、老白渡煤仓改造；无样建筑工作室设计的上海电子工业学校；童明工作室设计的韩天衡美术馆；都市实践设计的现厂；创盟国际设计的五维创意园；直造建筑事务所设计的外马路1178号创意办公改造。这些建筑改造后被用于各种新的功能，而空间使用的日常性和建筑内在的工业形式之间隐藏着各种各样的张力。作品让艺术家以非日常化的方式介入到建筑中，试图以此来探索、唤醒和呈现空间内在的戏剧化冲突。

The video series of Evocation I-VIII include eight short films, which select eight architectural projects separately as the place where artists intervene through body and sound language. The General Director is FENG Lu. According to different characters of eight architectural projects, different dancing languages are designed, and the sound are recorded when it is played on sites. The architectural projects are all the transformation of industrial buildings, selected in Shanghai. They include Artron (Shanghai) Arts Centre, West Bund Art Centre and Laobaidu Coal Bunker Reconstruction designed by Atelier Deshaus, Shanghai Electronic Industry School designed by Wuyang Architecture, Hantianheng Art Museum designed by TM Studio, Now Factory designed by URBANUS, Archi-Union J-office designed by Archi-Union Architects, and 1178 Waima Road Warehouse Renovation designed by Naturalbuild. These buildings are transformed and given new programs, but containing hidden tensions between the general usage in daily life and the inherence of industrial forms. The video project aims to bring artists intervene in the architecture in a strange way, to explore, evoke and present the drama of spatial confliction.

城市化石
Urban fossil
庄子玉
RSAA/庄子玉工作室

我们对城市和自然的态度是从二元对立到逐渐融合的，类似于一座山，一块石或者任何看似牢不可变的事物，在超长的时间维度之下都有一种从相对永恒的静态呈现出动态的流动感。现代城市是当今认知体系下能够介入自然的最大体量的人造物。作为建筑师，我们一直在探讨人工和自然的关系。然而建筑师的主体操作模式，使我们在主观的选择中多数时候站在了前者一边。故而不论我们多么努力，那不过是“人工的自然”。

而站在更宏大的维度去谈城市时，作为最大人造物的城市，不论是从时间上还是从空间上，会非常轻易的被自然所裹挟。便如琥珀和化石般，成为永恒乐章中的一个小楔子。即我们创造的人工状态最终将会被自然包裹，当有朝一日敲碎封印，城市的信息会被重读。内里的结构是人工化的抽象物，他可能是过去或未来的某个可能的城市的原型的演绎：如历史中的庞贝或者长安，如当今的纽约抑或深圳，抑或未来的某种存在的可能的都市。

所以装置是关于城市未来的考古，我们在自然的包裹下寻找人工的痕迹；它是对回归自然的隐喻，我们在浩瀚的宇宙中是如此渺小的存在，而在更长的时空维度下，自然一定是最终的获胜者；而这恰恰是城市对于我们的意义，从未来城市化石的缝隙中，我们重新窥视“自然的人工”的可能。

Our attitude towards cities and nature is from binary opposition to gradual integration. Under the long-time dimension, there is a dynamic sense of flow from a relatively permanent static, such as a mountain, stone or anything that seems to be immutable. Modern cities are the largest man-made artifacts that can intervene in nature under today’s cognitive system. As an architect, we have always been exploring the relationship between man-made and nature. However, the architect’s main mode of operation makes us take the former side when making most of the subjective choices. So, no matter how hard we work, it is just “artificial nature”.

When talking about the city in a grander dimension, as the largest man-made object, it will be easily wrapped by nature, whether in terms of time or space. Like amber and fossils, it becomes a small wedge in the eternal movement. In short, the artificial state will eventually be wrapped by nature. One day the seal is cracked and the information of the city will be reread. The inner structure is an artificial abstraction. It may be the interpretation of the prototype of a possible city in the past or future: such as Pompeii or Chang’an in history, New York or Shenzhen at the present, or some existence of possible cities in the future.

Thus, the device is about the archaeology of the city’s future, and we are looking for artificial traces under the wrap of nature. It is a metaphor for returning to nature. Human beings are so small in the vast universe, and under the longer space-time dimension, nature must be the ultimate winner, which is precisely the meaning of the city for us. From the gaps in the fossils of the future city, the possibility of “natural artificial” can be re-explored.

10+1海报空间
10+1 Poster Space
张达利/鲁晓勇/刘成科
张达利设计&大象空间

“未知城市”本身是一个具备强烈哲学意味的命题，很难用图形语方去解读，“未知城市”海报创作设计，可以说是在无形之中去勾勒有形，在未知之中去描绘有知，是需要耗费大量无图性思考方能创作出具象图形，受邀的这10位国际海报设计顶尖大师，他们不负全球海报双年展金奖、银奖获得者的荣誉，在较短的时间内用不同的视角，创作出如此高品质的作品，为本项展览锦上添花，让展览内容和形式都有了升华，实为难得。

“Unknown city” itself is a strong philosophical proposition, it is hard to use graphic language to interpret “unknown city” poster design, can be said to be in the invisible to draw the outline of tangible, knew, from the unknown to describe is requires a lot no PIC can create representational graphic sex thinking. We invited the top 10 international poster design master, they shall not be held poster biennale gold medal, silver medal winner of the world’s honor, in a relatively short period of time, from the different perspective, to create such a high quality of work, the icing on the cake for this exhibition, exhibition content and form have sublimation, it is rare.

网城市
Net-City
野城 Ye Cheng
野城建筑事务所 Wild City Factory

深圳经过改革开放四十年的发展，从一个小渔村发展成为一座超级大都市。从渔村到城市的高速迭代呈现了中国现代城市高速发展的重要面相。不只是深圳极速扩张，整个大湾区犹如一张巨构之网，在向未来不断蔓延，成为比城市更大尺度的巨型聚集形态。深圳也将在这张大网之上发展出新的城市形态。

这件装置借用了渔村最基本的生产工具——渔网，来塑造一种网状的未来悬浮城市的模型。巨大的渔网装置铺满通高20米的美术馆中庭空间的上空。一条条倒置的柔软可折叠的摩天楼从巨网中伸出，探向大地，以地为天，成为“摩地楼”。这些高低错落倒挂在空中的楼宇，犹如海洋生物的触角，在失重的状态下探知地壳的起伏，根据环境来调节长度。亦可根据空间和悬浮的高度进行生长或收缩。

物质与信息以一种全新的方式在这张巨网上动态聚集和消散。悬浮,轻透,折叠,穿越,虚构,互联，不再局限于地表，人类由地心引力主导的向心状态转变为更加自由的多向漂浮状态。

这是一座动态的城，一座漂浮的网城市。

After 40 years of reform and opening up, Shenzhen has developed from a small fishing village into a super metropolis. The high-speed iteration from the fishing village to the city presents an important aspect of the rapid development of modern Chinese cities. Not only Shenzhen’s rapid expansion, but the Guangdong-Hong Kong-Macao Greater Bay Area is like a giant network, which is spreading to the future and becoming a giant gathering form larger than the city. Shenzhen will also develop a new urban form on this big net.

This installation borrowed the fishing net, the most basic production tool in the fishing village, to create a mesh-like model of the future floating city. A huge fishing net is spread over the atrium space of the 20-meter-high art gallery. These inverted soft foldable skyscrapers stretches out from the giant net, explores the earth, and becomes the ” earthscraper “. These buildings are hung upside down in the air like the tentacles of marine life. Under the weightless state, they detect the ups and downs of the earth’s crust and adjust the length according to the environment. It can also grow or shrink depending on the height of the space.

Matter and information are dynamically gathered and dissipated on this giant web in a whole new way. Suspended, light, folded, crossed, fictional, interconnected, no longer confined to the surface, human beings are transformed from a centripetal state dominated by gravity to a more free multi-directional floating state.

This is a dynamic city, a floating net-city.

球形都市
Spherical City
张辰一
梊坔工作室：大地数字景观 Atelier Di·Digit

人类设计和制造事物。有些被创造之物难以移动，在空间的博弈中堆积、聚集、更替，遂成城市。城市和人是无法分割的：人越聚集，城市的生命力越强；无人的城市将化为废墟，不再能被称为城市。鸟瞰城市，人类在单个城市中的活动，和人类在整颗星球上的活动，有高度的相似性，呈现出某种分形的结构。本作品是对人和城市关系的一个隐喻。或者也许，城市本身就是人类本质的一种巨大而复杂的隐喻。

People design and create things. Some of the created are so hard to move that in the game of space, they accumulate, gather, change. And then, city lives. City relies on people: the more people, the more vitality a city will have; conversely, it can only be called ‘ruin’ if nobody was there. From a bird’s eye view, people’s activity in a city and which in a whole planet have some kind of similarities, presenting a fractal structure. This work is a metaphor of the relationship between people and city. Or maybe, city itself is a huge and sophisticated metaphor of the human nature.

黑色玛丽
Black Maria
王子耕
PILLS

甜美的梦，
醒来是更甜美的梦，
从出生的那个刹那，
被造物主囚禁在这黑色的囚车。
被雪掩埋的瞭望酒店里，
是找不到红线的迷宫。
在靡菲斯特的赌注里，
春天的绿色，
才是一切真实的摇篮。

Sweet dream,
A sweeter one is waiting when waking up,
From the moment of birth,
imprisoned in this black maria by the creator.
Inside the snow-covered Overlook Hotel,
A labyrinth without Ariadne.
In Mephistopheles’ wager,
Green in the spring,
Is the cradle of all truth.

陆家嘴
Lujiazui
周长勇
致正建筑 + 冶是建筑/Atelier Z+ + YEAS

数字化的“当代雕塑”：周长勇是中国当代数字雕塑的领军人物。他凭借自己在中央美术学院的学习和在海军系统工作从事软件开发的经历，积淀了多年的软件、编程和艺术思考的能力，创作了一批将数字技术独有的算法特性充分运用和展现出来的当代雕塑作品。我所以称之为“当代雕塑”作品，是因为，这些作品尽管是在虚拟的数字环境中生成的，但它们的基本或核心表现语言仍然诉诸于造型、空间和材料，并以此为前提完成其内置的观念呈现。比如这件最新创作《陆家嘴》，它将上海陆家嘴方圆2公里中所有建筑非常精准地建立了数字模型并联结在一起（其中的工作量是惊人的，长勇为此几乎工作了一年）；然后，他为这个模型设置了一种柔软而略带弹性的材质；最后，他把这个模型交给一种类似重力的算法。于是一个奇迹在数字的世界发生了：经过大约两个星期的运算，这个规模庞大的建筑群模型像一张皮一样松软地悬垂下来。它的形态是如此的逼真和触目惊心，是任何传统的雕塑方法都根本无法实现的！它将迫使每一个面临它的人感受到一种中度的茫然：人类在自己的巴别塔式的情结中搭建起来的建筑丛林，从天地的视角来看，其实仅仅是地球表面一小块面积上的一张薄薄的表皮而已。这件作品把数字技术的造型、材料转化、算法和观念性表达完整地嵌合在一起，并以一种极致性的规模，标记了中国当代数字雕塑的新里程。——唐尧，《中国雕塑》执行主编、著名策展人、艺术评论家

Digital “contemporary sculpture”: Zhou changyong’s digital sculpture creation is at the forefront of Chinese contemporary digital plastic art. By virtue of his study in the central academy of fine arts and his experience in software development in the navy system, he has accumulated years of software, programming and artistic thinking ability, and created a number of contemporary sculpture works that fully apply and display the unique algorithm characteristics of digital technology. I call it “contemporary sculpture” because, although these works are generated in a virtual digital environment, their basic or core expression language still appeals to modeling, space and materials, and on this premise, they complete their built-in concept presentation. For example, the newly created “lujiazui” connects all the buildings in a 2-kilometer radius of Shanghai lujiazui with digital models with great accuracy (the amount of work is amazing, for which Zhou changyong has been working for almost a year). He then applied a soft, slightly elastic material to the model; Finally, he gave the model to an algorithm similar to gravity. Then a miracle happened in the world of Numbers: after about two weeks of calculations, the model of the massive building complex hung limp like a sheet of leather. Its form is so realistic and shocking that any traditional sculpture method is simply impossible to achieve! It would force everyone who faced it to feel a kind of moderate bewilderment: the architectural jungle that man has built in his tower of Babel complex is, from the point of view of heaven and earth, only a thin skin covering a small area of the earth’s surface. This work fully integrates the modeling, material transformation, algorithm and conceptual expression of digital technology, and marks a new milestone of contemporary digital sculpture in China with an extreme scale. -Tang Yao (Chinese Sculpture executive editor, famous curator and art critic)

云集城市
SWARM CITY
祝晓峰
山水秀建筑事务所

云集城市是一个高密度城市原型。其根本目的是消灭城市地面机动车及其道路，取消乡村地面80%的农田和养殖场，把地表还给自然，把健康还给人和地球。100米标高的轨道交通网络是城市基础设施的主干，可以自行搭建的居住结构单元位于轨道上下各100米的范围内，在平面上形成社区庭院，以步行和骑行方式连接。呈触角放射状的城市里，社区级的公共设施、4个市级生命设施综合体（包括食物、能源和回收循环）、4个云集MALL（公共活动、文教、行政、医疗）都设置在轨交站点或交汇处。每个人都可以从自己社区底楼的共享空间出发，享受和探索回归自然的、连续的地表环境。

Swarm City is a prototype of high-density city. The goal of Swarm City is to eliminate all ground-level urban roads & vehicles and 80% rural fields and farms, in order to return health and majority of ground surface back to human and earth. The air-track network on the level of 100m is the main infrastructure of the city, from which the structural cells for apartments and self-building houses spread vertically 100m above and below, and horizontally as community courtyards linked by pedestrian and biking lanes. With an outline of radial antennas, the city owns 4 vital facility complexes for food, energy and recycle, 4 Swarm Malls for public activities, education, administration and health, and other community services, all set at the air-track stations and intersection transfers. Everyone can depart from the ground-level common space of his or her own community to enjoy and explore the continuous natural environment on the surface of the earth.

共享瓢虫
Shared Ladybird
罗宇杰
LUO studio 罗宇杰工作室

共享单车为城市人们带了生活的便利，同时也有可能带来巨大的资源浪费。通过对废弃共享单车和废弃汽车部件重新再造，化城市工业化垃圾为自然感、艺术性的再利用“希望”。城市发展中创造物善恶的未知，新事物的创造可能是希望，也可能带来巨大的失望。面对未知的发展，我们仍然应该保持希望，化废为宝，见招拆招，关照城市，关照地球。共享瓢虫，就像行走在“城市叶片”上的“益虫”，它可以是一个移动的书屋、一个儿童创客课堂、一个便利摊… 或者，它只是带给人们对城市未知进程的一次善意思量…

Shared bikes can facilitate urban people’s daily life, but may also cause enormous waste of resources. Through transforming discarded shared bicycles and abandoned car components, we explored the possibility of reusing industrial waste in a natural and artistic way. Urban development constantly creates new things, which may bring hope or cause great disappointment. Facing the unknown development, we should stay positive, strive to change waste into treasure and tackle changing situation responsively, so as to better take care of the cities and the earth. The Shared Lady Beetle, is like a “beneficial insect” walking on the “urban leaf “, which can be used as a moving bookshelf, a stall, or an example in children’s creativity cultivation class, etc. Or, it is merely well-meaning reflection on unknown urban development…

过客
Passers-by
李立
若本建筑工作室

这是一组城市切片，汇集当今中国8座典型城市的天际线，这是一座九经九纬的中国式“围城”，从那个著名的洞口进入，有进，有出，十个洞口，对应十种姿态，完成城市的宏大愿景与身体之间的一次对话。

This is a container of profiles that brings together the skylines of 8 major cities in China. This is a chinese “besieged fortress” with nine lengthwise and nine crosswise avenues. Through the famous entrance, there are people coming in and going out. Ten entrances define ten body postures, establishing a dialogue between urban visions and the body.

看不见的城市
Invisible City
欧博设计
法国欧博建筑与城市规划设计公司 深圳市欧博工程设计顾问有限公司

“我们如何才能不再生活在模型中？”这被设定为本次“模型实验”的“最重要的问题”。对于“问法即答案”这一“模型”的持有者而言，这个“问题”中对模型的敌视和不快，是显而易见的，就如同“以展开模型实验”的方式“对模型加以克服”的矛盾一样，是显而易见的一样。我们会笑着问，“我们为何不愿意生活在模型中？”“我们如何继续生活在模型中？”“什么算是模型？”“模型的诞生史、发展史如何？”“作为人，我们能逃出模型吗？”“（无）意识模型是什么？”“价值模型是什么？”“知/未知之间的/是模型吗？”“语言（谎言）这一模型能被突破吗？”“你真能想出办法对抗‘想象象征实在’这个拓扑模型吗？”“模型，模糊又巨大的型制，它应该显现吗，它如何显现呢？”作为坪山美术馆 “都市实践直向OPEN”之设计模型的阅读者和漫游者，我们似乎比观众多知道一些背后的故事，这种被省略了的“不为人知”应该也算是“未知”的一部分，如同展馆以及本次展览中的诸多产品，也算是“城中市”的一部分。回到“阅读者漫游者”的身份里，我们把书市开在了美术馆的过道上，柯布模度书箱装满几千本书，整齐划一，贴在墙上，密密匝匝，内嵌窗台。地上的书箱呈现为本店售卖的同一本书名之盲文，《看不见的城市》，购买者可使用的唯一货币，是你自己写下的一则信笺，即，你对本次展览作品中最钟爱或最憎恶者的寄语或判语，长短不限，一笺一书，等价交换，无人监管。走道上的箱子，你若觉得碍事，可以随意挪动，甚至摆成拉康的沙发，只是不知道，若是卡尔维诺躺在上面，这个天儿将如何聊起，他们能隐藏什么，他们能看见什么？

“How can we escape from life in model ?” It is the most important question we seek to answer in this model experiment.Such question represents visible hostility and displeasure toward model in the eyes of people who believe that the way of asking indicates an answer. Such visibility is shared by the contradictory effort in seeking to overcome model by means of model experiment. We would ask with a smile, “Why are we unwilling to live in a model ?” “ How can we survive in a model?” “What can be regarded as a model ?” “What is the history of model’s birth and development ?” “Can we escape from a model as human being ?” “What is conscious model ?” “What is value model ?” “ Is the boundary between man and heaven a model ？” “ Can we disrupt the model of language, which is also sometimes told as a lie ?” “ Can you figure out a way to resist the topology model which says imagination symbolizes reality ?” “Should model – an gigantic and imaginary building type – appear or not ? In what form it should appear ?” We seemingly know more backstories than audience in the capacity of reader and rover of this design model of URBANUS Vector ArchitectsOPEN at Pingshan Art Gallery. Such being unknown to people – which is omitted – should be also regarded as part of unknown. Similarly, many objects in this exhibition and gallery can be also seen as part of market in city. In the capacity of reader and rover, we open a book fare on an aisle of he gallery. Thousands of books fill L.C.Modulor boxes, which are pasted on the wall in a uniformed and close manner. You can see windows among the densely-dotted books. Books on the ground take the shape of Braille alphabet of the book named Invisible City, which is sold in the book fare. It will only cost you some written words about exhibits on a letter paper – either positive or negative – to get a book. One paper for one book. Self service and no seller. You are free to move boxes on the aisle if you think they are standing in the way. You can even assemble a Jacques Lacan sofa with boxes. It’s hard to tell how a conversation would start between you and Italo Calvino if he was sitting on the sofa. What can be covered and what can be seen ? Life should be trusted although it is a challenging task. It takes us to be born as a liar and incline to be an artist. We are living on a stage dominated by lies, which compete with each other. In his Six Memos for the Next Millennium, Italo Calvino shows civilized human beings how to lay bare cultural lies in front of the chessboard between Marco Polo and Mongol khan. Can we perceive essence in lies and languages even when they are exposed in the sunlight?

符号：两个人的欲望都市
Symbol: A city for two
俞挺
Wutopia Lab

这是一个6米x6米的微形城市，她浓缩了城市里面会出现的门廊，房子，水池还有花坛。用大地的土黄，森林的墨绿构筑空间的基色。某个时刻，这个两个人的城市对于你们好像是全部，没有任何欲望会失落，你们也是其中的一部分。某个时刻，你们或许在这里看见了自己的一生或者一个瞬间，这个一生或者瞬间便属于这个城市了，她从你们的记忆和欲望获得形态，浓缩成隐喻。她在不同的你们面前好像在不断重复着一切隐喻，似乎是为了让你们记住自己，但事实是这些夸张的隐喻只是肯定她自己确实存在过。

The city of two it’s a 6 meter x6 meter micro city, and it encapsulates the porches, the houses, the pools and the flower beds that would be found in the city.With the earth’s yellow, dark green forest to build the space color.At some point, this city of two is all to you, no desire to lose, you are part of it.At some point, you may see your life or a moment here, and that life or moment belongs to the city, and she takes form from your memories and desires and condenses them into metaphors.She seems to be repeating all the metaphors in front of different people, as if to make you remember her, but the fact is that these exaggerated metaphors only confirm her existence.

二分之一亭
One-Half Pavilion
刘宇扬
刘宇扬建筑事务所 Atelier Liu Yuyang Architects

“二分之一亭”是一个游牧空间装置。设计采用不同截面尺寸及倾斜角度的胶合竹钢杆件作为主体结构，半透明的Tyvek防水透气纤维纸材料作为表皮，包裹出一对柔软而轻质的“帐亭”，并借此探索场域的临时性与使用的不可预见性。装置内容的呈现回应了当下建筑与城市所面临的三重困境：策划-规划-媒体。通过十组版权关键词、“场景之城”从建筑场景的重构反讽市场策划的无效；通过一组高密度城市原型、“感知之城”从建筑剖面的显露反击总体规划的无感；通过一系列的网红图像拼贴，“羽量之城”从建筑装置的迁徙反思媒体传播的无所不在。最终，希望观者能通过这个装置，与未来保持对话、对未知产生想象。

The ‘One-Half Pavilion’ is nomadic spatial installation. The design utilizes laminated bamboo frames of various dimensions in oblique angles as structure and semi-translucent Tyvek fiber-fabric material as skin, a pair of soft and ultra-light “tent-pavilion” was wrapped into shape, in order to explore the temporality of place and the unpredictability of use. The content of the installation responses to a trio of predicaments facing architecture and urbanism today：marketing, planning, and social media. Through ten copy-righted words, “Scenario City” with its reconstructed scenes mocks the ineffectiveness of marketing . Through a set of high-density urban prototype, “Conscious City” with its sectional models strikes against the disengagement of master planning. Through a series of collage images of architectural projects that have gone viral, “Feather-weight City” with its migrating installation re-thinks the ubiquitousness of architectural image-making by social media. In the end, the project hopes to maintain a dialogue with the future and to inspire imagination of the unknown.

环秀山庄–虚拟再现与二次重构
Huanxiu Mountain Villa – Virtual Representation and Secondary Reconstitution
刘晓都
都市实践

苏州古典园林的堆山是对自然山水的概括和抽象性的再现，而假山堆造的最高水准公认为环秀山庄的假山。我们则试图用现代的材料制作像素化的模块对它进行再次抽象和模拟复制，在异地搭建重构，嬗变为新的建筑装置。让观众体会实体形态与抽象空间之妙处，同时形成对中国古典园林的当代诠释。

In Classical Gardens of Suzhou, “Mountain Piling” is used as an abstract representation of natural landscape, and the highest level of this technique is recognized in the Huanxiu Mountain Villa. By using modern material and pixelated modules, we build this installation in a different location to reconstitute the Piling, transmute it into a new architectural installation. This will provide the audience with a look into the subtle relation between the physical and the abstract, also a contemporary interpretation of Chinese Classical Gardens.

3F

Architect
人工智能建筑师
杨小荻 YANG Xiaodi
深圳未来建筑工程咨询有限公司 Shenzhen Future Architecture Construction Engineering Consulting Co., Ltd

城市规划、城市设计和建筑设计一直以来被认为是不同尺度上关于物质空间的设计。近几十年来，随着物质环境的日益复杂和多变，新唯物主义哲学思想获得了更广泛的认同，那种基于物质空间和美学的设计得到越来越多的质疑：设计是否只关乎物质性的空间感知或意识性的美学感受？事物背后隐藏的系统性逻辑是否也应该是设计的范畴？不少建筑师和设计公司已经在积极探讨这些关于学科本质甚至学科未来的反思。

传统的设计途径基于建筑学中有着悠久历史的“功能与形式”二分概念，在优先定位功能或形式的逻辑下展开设计，虽可能顾此失彼，但这种设计方式在节奏较慢的传统社会中直接有效，然而，面对工业革命以后的世界，却逐渐暴露了其难以满足多元变化的环境与需求的问题。

如果反思原有设计途径并且承认，设计不仅是关于功能与形式的二元关系，而是更多地关乎“背景”（milieu），和对其进行的结构架设、系统设计，以及在此基础上的形式表达——甚至表达也不再是端对端难以适应变化的“硬码”（hard-coding）——那么，传统的设计方式、设计途径、设计工具都不再能满足这些需求。原有学科体系中没有可以将社会行为系统、环境性能、多变需求等在同一语境中进行多重逻辑相互作用的范式，然而，这种多重逻辑的相互作用实际上每天都在发生：在复杂多变的现实世界运转中，在建筑师思考问题的大脑里……

而我们此次展览的装置，则是对以上问题的一次批判性反思与重新思考，也是充分体现本次提议主题 – 基于背景（milieu）的人工智能建筑设计可能性的一个好例子。该主题为一个宏观性课题，所以我们此次的装置聚焦在生成过程这一部分。根据我们的主题，我们选择了人工智能技术中的生成对抗神经网络（Generative Adversarial Neural Networks）作为我们的模型基础。该模型能让我们在大量的建筑模型中捕捉到更多的复杂性，并逐层逐步分解这些复杂性，进而得以理解、重现并展示建筑设计的部分流程，最终实现人机交互。

Urban planning, urban design and architectural design have long been considered to be the design of material spaces at different scales. In recent decades, due to the increasingly complex and ever-changing material environment, the neomaterialism philosophical thought has gained wider recognition, and design based on material space and aesthetics has been increasingly questioned: whether design is only related to material spatial perception or conscious aesthetic experience? Should the systematic logic hidden behind be the scope of design? Many architects and design companies have been actively exploring reflections on the nature and even the future of this discipline.

The traditional design approaches are based on the binary concept of “functionality and form” in architecture with a long history. The design basing on the logic that prioritizing functionalities or forms may not reach every aspect of a matter, but it was directly effective in the slow-paced traditional society. However, in the face of the world after the industrial revolution, those approaches have gradually exposed their problems that they are not able to adjust to the fast-changing environment and meet the diverse needs.

Reflecting on the traditional design approaches and admitting that design is not only about the binary relationship between functionality and form but more about the “milieu”, on which the structure construction, system design, and formal expressions are based – even expressions are no longer “hard-coding” that is end-to-end and difficult to adapt to changes. Thus, traditional design methods, design approaches, and design tools no longer satisfy modern demands. There is no paradigm in the original disciplinary system that can interact with multiple social logic systems, changing environmental performance, and variable needs in the same context. However, the interaction of multiple logics is already happening every day: in the complex ever-changing real world, in the problem-solving brain of architects…

The device displayed in this exhibition is a critical reflection and rethinking of the above problems and a good example of the proposed theme – artificial intelligence architectural design possibilities based on the milieu. This is a macro topic that our device currently focuses on a part of it: the generation procedure. According to our theme, we chose one of the AI technologies – Generative Adversarial Neural Networks (GANs) as the basis of our model. This model allows us to capture more complexity in a large number of building models, and gradually break down these complexities layer by layer. Furthermore, parts of architectural design procedures can be understood, reproduced and demonstrated, and human-computer interaction is achieved ultimately.

年轻人的微城市
Micro-city of Young
王辉
URBANUS都市实践建筑事务所

整个装置的设计是体现“年轻人的微城市”这一未知城市的理念。通过利用城市里公交站场这一空间上闲置的用地，把年轻人固着在城市里。同时用微城市的类型学，设想有年轻人活力的空间，来激活城市，也为旧城市的更新带来一种新的契机。本装置由四面展板构成。内侧展板上柱网旨在表现这个微城市是公交场站上盖；外侧展板上通过体块的叠加象征着年轻人的微型城市空间。

The installation is designed to demonstrate the concept of the “Microcosmic-city of Young people”, the future of the unknown city. By using the air-right of the bus parking lots in the city, it is possible to retain young population living in the inner city. The typology of such a space not only helps to activate the city, but also benefits the urban renewal. The installation mainly consists of two display boards of four sides. The inside panels with arrays of columns screen stand for the bus parking lots beneath the micro-city. The outside panels with stacking boxes represent the new model of the youth settlement telling the stories of the microcosmic city.

BEFORE/AFTER
李虎+黄文菁 Li Hu + Huang Wenjing
OPEN 建筑事务所 OPEN Architecture

BEFORE/AFTER 记录了方家胡同在2017年4月至9月的整改前后，所发生的物质与精神的转变。这些照片启发人们产生对于自由与控制、发展与守旧、包容与排外、集体与个体等一系列主题的反思，最终引向对于城市未来的思考。

BEFORE/AFTER documents the drastic changes, both physical and psychological, which took place during the renovation of Beijing’s Fangjia Hutong in the months between April and September 2017. These images encourage reflection on a number of critical themes and questions – of freedom and authority, progress and nostalgia, inclusivity and exclusivity, collectivity and individuality, and ultimately, the future of our cities.

数字·城市·设计
DATA·URBAN·DESIGN
王建国
东南大学城市设计研究中心

城市空间形态的解构与重构：“算法时代”城市设计发展大趋势。以数字信息为标志的“算法时代”浪潮扑面而来，大数据、越来越快的移动互联网、人工智能、物联网、智慧城市等正在深刻改变人类社会发展的方向和进化路径。基于多源大数据和人工智能，城市设计已经可以开始对城市空间形态要素的基本构成、社会和人群关系的整体性解释、特别是可以对跨专业、跨领域、超出个体认知能力的城市设计客体，做出越来越接近真实和规律性的认识。我们为大家所呈现的，就是“算法时代”城市设计发展给我们带来的“万物皆数”和“个体即主体”城市环境的新认知和空间形态建构的新途径。数字·城市·设计展主要包含三个部分：1 山雨欲来风满楼——中国城镇化的下半场：万城皆数；2 众里寻他千百度——重新认知我们的城市：数字读城；3 柳暗花明又一村——重新设计我们的城市：数字营城

Deconstruction and Reconstruction of Urban Spatial Form: The Development Trend of Urban Design in Algorithmic Era. The wave of “algorithmic era” marked by digital information is coming. Big data, the increasingly fast mobile Internet, artificial intelligence, Internet of Things, smart city and so on are profoundly changing the direction and evolution path of human social development. Based on multi-source big data and artificial intelligence, urban design can begin to form the basic composition of urban spatial form factors, the overall interpretation of social and crowd relations, the integration of urban vital elements and their dynamic distribution and regularity, especially urban design objects that are cross-professional, cross-disciplinary and beyond the individual’s cognitive abilities can be described more and more realistically and regularly. What we present to you is the new cognition and new way of spatial form construction of “everything is data” and “individual is subject” urban environment brought to us by the development of urban design in the “algorithm era”. Digital Urban Design Exhibition mainly includes three parts: 1. The storm is coming—The Second Half of Urbanization in China: Every City is Data; 2 But in the crowd once and again, I’ve been looking for you forever—Recognizing Our City: Digital Reading City; 3 A sudden glimpse of hope in the dark mist of bewilderment—Redesign Our City: Digital Building City.

城市大脑
Urban Virtual Brain
张之杨
事务所、工作室名称 深圳市局内设计咨询有限公司

传统城市规划体系的失效以及被互联网急速扩张引发的撼动，往昔城市结构内在聚变从不可预测导致未来的城市完全不可预测。理想城市应该是多种社会角色与力量博弈妥协的总和，它是持续动态的过程。未知城市的展览本身就是一次集结了社会精英，各种视角对未来城市的想象。它犹如一个对未来城市的预演，我们用所熟悉的城市监控系统，在我们的展览中将对另外49个作品的呈现进行实时影像的投射，使得我们的展位成为这个未知城市的大脑，时时展现这种虚拟的持续的博弈与聚集以虚拟的方式呈现，以一种看似永恒无解的状态展示。半球形的空间穹顶创造出看似是一个虚拟的“城市大脑”，观众将自己对身体置身于其中与这个大脑嫁接，在观展的片刻，观众既成为城市的决策者，体验未来城市的模样。

The future of cities might be completely unpredictable, due to the failure of traditional planning systems and the internal crumble of former urban structures shaken by the expansion of the Internet. An ideal city pattern reflects the negotiation and compromise between multiple social roles and forces, formed in a constantly dynamic process. It’s not static, but constantly dynamic.The exhibition of “Unknown City” in itself assembles the imaginations of future cities from a variety of social elites with multiple perspectives – like a rehearsal of the future city. With this in mind, we use the all-too-familiar urban monitoring system to project real-time images of the other 49 works onto our exhibition, making it the brain of this “unknown city”, in which the never-ending negotiation and assembling of different stakeholders are shown in a virtual way and in a seemingly never resolved situation. The hemispherical dome can be seen as a virtual brain of a city waiting to be connected to its users – whoever stepped under this dome – to create a moment, in which the audience can be both a decision-maker and an experiencer of the future city.

城·池
City and Pond
张应鹏
九城都市建筑设计有限公司

近几十年来，城市经历了经济的飞速发展，同时也承受着环境的急剧恶化。城市居民在雾霾、噪声、尾气的裹挟下，麻木而又无奈地日复一日为生活奔忙。何不在天上另建一座城池，带着人类逃出生天？田田莲叶以旧城市作为土壤，穿越被污染的大气，摇曳升空，在空中建立起未来城市的新秩序。“莲，出淤泥而不染。”这一片片飘摇的莲叶，代表了我们对于城市的态度——将来城市将去向何方我们未知，但是我们充满希望。

In recent decades, cities have experienced both rapid economic growth and serious environmental pollution. City residents struggle for survival in the pollution of haze, noise and car exhausts day after day. Why don’t we build another city up in the sky and escape with the whole mankind?Lotus leaves take the old city as the soil, swaying into the air through the polluted atmosphere, establishing the new order of the future city in the air. “Lotus, out of the mud without dye.” It is an old Chinese saying from an ancient poem. These floating lotus leaves represent our attitude towards the city — we don’t know where the city will go in the future, but we are full of hope.

城市 2101
City 2101
姚大钧+蔡宇潇/徐林/翁怡璇
Open Media Lab

步入二十二世纪的未来城市，眼前是一幅动人的科幻场景：天空浮起的大批机械肺，通过气体输送管连接彼此，并将气体输送到石狮装置，这些机械肺成为了城市最独特的景观。肺的巨响，同时也成为城市最独特的声音现象。交通景致也发生巨变：胶囊型共享电子车取代大部分私家车，电子高架车道释放了交通压力。电子高架控制中心的人工智能管制，杜绝了交通事故。城市治安及电子垃圾，则由中央巡逻机器人来维护。在城市的某个角落，就有全息投影的机器人广告，全息投影广告、四维透明材质建筑体等已经成为新城市繁华喧闹的一部分。站在商业区高楼上放眼望去，会看到和听到该时代最前沿科技的视觉景观与声音景观。彼时，如果你正站在一座 2101 年摩天高楼上，眺望这座伟大城市，请仔细聆听天空巨肺的轰响，它正伴随各种奇象，塑造未来。

临界
Critical State
朱小地
朱小地工作室 ZXD Architects
点此查看详细内容，click here to check the project on gooood

中国改革开放的四十年间，到处都是边规划、边建设、边调整的“三边城市”，传统被新的记忆替代，而新的记忆又很快被不断变化的现实覆盖，对于城市本体的关注则淹没在不断呈现的纷杂的物质世界之中，似乎混乱就是当今城市发展的主题。没有人知道城市的未来将会是什么结果，或者说没有人能够明确地预测未来。这也许就是人类面对诸多不确定性所给出的答案。然而，对于未来的思考与追求始终是艺术活动的方向，永远不可磨灭。新的观念、新的技术为我们提供了出路，在此基础上聚集着人类对未来城市的各种遐想。在数字化与物联网的时代，一切将无所不能，极大地扩展着人们的视野与境界。城市将被格式化，重构生活模式与幸福感受，这就是未来城市的责任与竞争力所在。我们期盼着更多维度的空间向人们展现无限的可能！

Over the four decades of China’s Reform and Opening up, there were plenty of cities that have undergone constant planning, constructing and adjusting. Tradition has been replaced by new memories, and then the new memories were quickly covered by the constantly changing realities. Therefore, the focus on the city itself was submerged in the intricate material world that was changing continually, as if chaos being the theme of today’s urban development. No one knows what the future holds for these cities, or can predict the future with certainty. That might be the answer to the many uncertainties facing humanity. However, pondering and creating the future has always been the direction of all artistic activities, indelibly. New ideas, new technology offers a way out, based on which are the human daydreams about the city’s future. We are looking forward to more dimensional space to show people the infinite possibilities!

未来穴居
Future Troglodyte Dwellings
孟建民、刘杨洋、易豫
深圳市建筑设计研究总院

信息技术和生物技术的交融发展正在给人类社会带来突破性的变革，硅基的人造物和人工智能在逐步补充替代碳基的自然细胞体，赛博格式的混合也正逐渐从科幻成为普遍的生命构成形式。人类作为建筑服务的主体，其自身或将在不远的未来经历颠覆性的改变和重构。

我们试图利用自然的泥料，通过手工塑形的方式来一反关于未来建筑惯有的冰冷锋利的想象，为未来人类畅想一种类原始却后未来的建筑：像细胞生命体般可以自我更新的生长修复，又像超级计算机般有着多层多维的信息互联，并终将打破建筑作为永久凝固的构筑物存在的传统思维局限。

The exponential development in information and biological technologies have caused many breakthroughs in human societies today, the silicon-based artificial devices and artificial intelligence have gradually supplemented and replaced carbon-based natural organisms. Cyborg-like amalgamations are no longer sci-fi fantasies but prevalent life forms. As the subject matter that architecture serves, the human body is facing an imminent transformation and restructure in the foreseeable future.

In this work, we try to use natural clay material and crafting methods to re-imagine a quasi -primitive yet post-future kind of architecture that would challenge the stainless and relentless vision when conceptualizing future architecture. The result resembles a life organism that could self-update and repair, it is also like a super computer that would allow multiple connections among layers and dimensions. This defies architecture as the permanent and solid structure in the traditional architectural thinking.

上城下村
Up-town Down-village
张斌、周蔚 + 李丹锋、周渐佳
致正建筑 + 冶是建筑/Atelier Z+ + YEAS

城市空间是已知的，城市空间中承载的⽣生活却是未知的。作品通过记录与拍摄陆家嘴与其脚下的新村生活，试图发现这两种差异巨大的城市空间背后的关联。居民、家庭、街道、高楼……这些发生在不同高度、不同空间中的场景如同碎片一般交织在一起，最终形成一座陌生的未知城市。

The space is known, and the life carried in urban space is unknown. The work seeks to reveal the connections behind the two drastically different urban spaces by documenting Lujiazui and the new village life under their feet. Residents, domestic spaces, streets, high-rises… These scenes that occur at different heights and in different spaces are intertwined like fragments, eventually forming an unfamiliar unknown city.

出·入
In &Out
魏春雨/胡骉/周柏庆/何闵
地方工作室

建筑、环境与人的行为间的互动关系是建筑学所关注的永恒问题之一，区别于经典建筑学所述求的空间永恒性，当代建筑有机会借助数字技术，对建筑的界面、形式、空间诸要素进行调节。本装置运用摄像头捕捉人的行动，基于Arduino电子原型平台，控制五百多个微型舵机旋转，以偏转角度的椭圆形薄木片矩阵实时回应人体的动作变化。由于人的数量和行为均具随机性，故本装置及时回应所呈现的界面形式永远无法去预测。

The interaction between architecture, environment and human behavior is one of the eternal issues of architecture. Different from the permanence of space as described by classical architecture, contemporary architecture has the opportunity to use digital technology to interface and form the building. The elements of space are adjusted. The device uses the camera to capture people’s actions. Based on the Arduino electronic prototype platform, it controls more than 500 micro-rudder rotations, and the elliptical thin wood chip matrix with deflection angle responds to the human body’s motion changes in real time. Since the number and behavior of people are random, the form of the interface presented by the device in time can never be predicted.

4F

平凡的我对无限的世界充满好奇
I, An Ordinary Person, Am Full of Curiosity of the Infinite World
刘哥舒/钟祈序/陈磊
成都基准方中建筑设计有限公司

人类城市的进步始终在创造和建造之上。我们不停的建造现实世界，对城市和建筑有着强烈欲望。几千年来，现实城市因为种族、地域、信仰和文化而被独立建立。它就像矩形盒子的四个正面，客观独立却又相互关联。这是封闭且向心的世界；同时，另一个虚拟世界也在被创造。它的扩张在于创造了一种共识化凝聚力，以共识规则跨种族、地域、信仰和文化，建立起无数交叉线的扁平化“新城市”，网络ID即是这个“新城市”的名字，不追求实物，开放，离心的一体化世界。未来，新的城市，会由跨区域的现实和虚拟世界联合，在超扁平状态下多元共生，有限与无界，规则与自由，去中心，模糊，永续逸代。

The progress of human cities is always built on creation and construction. We will never stop building the real world and have an intense desire for cities and architectures. Thousands of years, the real city has been independently built up on account of races, regions, religions and cultures. It is like the four positives of a rectangular box, objective and independent but correlative with each other. This is a sealing and centripetal world; Meanwhile, another virtual world is being created as well. Its expansion lies in creating a consensus cohesion for the interracial, regional, religious and cultural rules. Its expansion establishes the flattening “new city” with numerous crossing lines. The network ID is the name of this “new city”, an integrated world that never pursues real assets and is open and centrifugal. In the future, the new city will be united by the cross-regional reality and virtual world. In the super-flattened status, the new city is with multiplex symbiosis, finite and infinite, regulation and freedom, decentralization, vagueness and sustainable generations.

旋转木马·城市寓言
MERRY-GO-ROUND: AN URBAN METAPHOR
窦平平 鲁安东 Pingping Dou, Andong Lu
Lana工作室 LanD Studio

旋转木马的故事是一则城市寓言。从骑兵的训练装置到孩童的游戏设施，旋转木马发端于社会的需求。从人力驱动到蒸汽动力，从机械化到全自动化，旋转木马不断吸纳技术的革新。旋转木马见证了贵族的奢侈和商埠的繁华，也书写了民众的融洽和生产的高效。演进中透着机智，变革中带着幽默。浪漫又讽刺。

旋转木马/城市井然有序，周而复始。
旋转木马/城市让人欢愉，让人眩晕。
旋转木马/城市只有规则，没有尽头。
旋转木马/城市繁华而又空洞。
旋转木马/城市中的人既是观众也是演员。
旋转木马/城市创造了极端人工化的奇观体验。
旋转木马/城市是不断融入新技术的大型机器。
旋转木马/城市是持续旋转的网络。
The story of a merry-go-round (carousel) is an urban metaphor. From the training equipment of the cavalry to the children’s play facilities, the merry-go-round originated from the needs of society. From manpower to steam power, from mechanization to full automation, the merry-go-round continues to absorb technological innovations. The merry-go-round witnessed the luxury of the nobility and the prosperity of the merchants, and also wrote the harmony of the people and the efficiency of production. The evolution is witty and the change is humorous. Romantic as well as ironic.

Merry-go-round / City is well organized and recurring.
Merry-go-round / City is pleasing and dizzying.
Merry-go-round / City has rules, but no end.
Merry-go-round / City is bustling and empty.
Merry-go-round / City hosts people that are both audiences and actors.
Merry-go-round / City creates an extremely artificial and spectacle experience.
Merry-go-round / City is a large machine that constantly incorporates new technologies.
Merry-go-round / City is a network that continuously rotates.

三秒钟的超现实主义都市
Surreal City in 3 Second Pauses
卜骁骏 张继元
时境建筑 Atelier Alter

时间和空间的压缩让这座城市变得超现实，奇点的各向异性在空间和时间上发生的碰撞、并列甚至相互渗透，我们试图找到城市文脉中的弗朗西斯·培根。围绕我们的是超现实的还是真实的?当物体出现了形而上的“空缺”、建筑出现了实用需求的“空缺”时，便会出现异质乌托邦的“另一个空间”，此时戏剧时刻在我们的日常生活中开始上演。因为我们可能永远不会以这样一种分析的方式看待自己，这些贯穿城市或生活的剖面可以使城市或我们的生活变得超现实。生活的真相可以出卖它的外表，那么生活的曲折便塑造了城市虚幻的物理空间。当天空下沉、奇点时刻升起，一个超现实世界的矩阵便形成了。

The temporal and spatial compression makes the city surreal. Moments of singularity collide, juxtapose or even permeate into one another accidentally in space and time. We try to find the Francis Bacon in urban context. Is our reality surreal or real? As the metaphysical “space out” from the physical, and the architecture “space out” from its pragmatic needs, “the other space” of the Heterotopia appears, and the theatrical moments unveil in our daily life. The section through the city or the section through life makes the city or our lives surreal, as we might never see ourselves in such an analytical way. The truth of life betrays its appearance. The twist and turn in life craft the illusionary and physical space of the city. As the sky fells down, moments of singularity rise up and form a matrix of the surreal world.

城市游牧工作室
Urban Nomadic Office
庄慎/任皓/唐煜/朱捷 ZHUANG Shen,/REN Hao/ TANG Yu/ ZHU Jie
阿科米星建筑设计事务所 Atelier Archmixing

改变，是如此吸引我们。
行动，是最直接的方法。
2009年开始，
尤其在2014开始了“一年一工作室”的计划至今，
阿科米星已在工作城市上海轮换了6处工作室，
最初的目的是尝试空间实验与就地城市研究，
逐渐这一行为也改变了我们。
这次我们将对此经历做一个迄今最完整的回顾与记录，
用影像的方式，记录十年来与此相关的众人的口述历史，
展示这一过程的城市建筑改变与在这过程中的人。

Change, attracts us so much.
Action, is the most direct method.
From 2009, especially ever since the start of the plan “ New Year New Office” from 2014,
Atelier Archmixing has accommodated in 6 different offices in Shanghai,
Starting from a test for spatial experiment and local urban study, Gradually, this action changes ourselves.
In this exhibition, we will use video to do a thorough retrospection and record. Through the narration of people involved in this urban nomadic plan, the change of people as well as urban built environment in the passing ten years is clarified.

生产游离
Production Bifurcation
袁烽 Philip F. Yuan
创盟国际建筑设计有限公司 Archi-Union Architects

对于城市的未知感和想象力，往往建立在现状的暗流之中。在大数据、人工智能、数字化笼罩的现代社会里，城市运行的熵值也在不断增加。它们在一定范围内发泄自我意识，蠢蠢欲动着突破那层行将炸裂的膜。而城市再生产，给这种在突破重构之前剧烈震颤的临界状态慢慢注入一针镇定剂，人们开始冷静地盘算，还能做些什么。塑料作为现代生活中可见频率极高的物质，恰恰串联起了城市运转逻辑的开放循环。建筑师在寻求现代科技加持的道路上与塑料不期而遇，带来了意外之喜。在生产-制造-回收-设计-再生产的循环构建中，我们收获了无穷的可能性。

The “unknown” and imagination of a city is often built onto the undercurrent of the status quo. In the modern world that is full of big data, artificial intelligence (AI) and digitalization, the entropy of urban operation is also increasing. They vent their self-awareness within a certain range, and they are eager to break through the bursting film. Urban reproduction is slowly injecting a dose of sedative into this critical state of violent tremor before the collapse. People began to calmly calculate what to do. As a daily material, plastic connects the logic and cycle of urban operation. Architects encounter plastic during the process of seeking technological advantages, bringing unexpected surprises in the loop of Production. – Manufacturing – Recycling – Design – (and) Reproduction, we have found endless possibilities.

马赛克乌托邦
Mosaic Utopia
童明
梓耘斋建筑事务所

“马赛克乌托邦”是由众多参与者们通过网络平台参与制作完成的照片拼贴。参与者在不同的时间地点加入线上制作团队，用自己身边的生活场景，丰富着“理想城市”的内涵。这些碎片化的景象在电子科技的串联与统筹下，最终呈现出现代建筑运动主将勒·柯布西耶所畅想的理想城市（Plan Voisin），映射出人们为完美理想付出的所有努力与想象。作为一个始终变幻、没有终点的项目，“马赛克乌托邦”是动态的、可参与的。它希望在一幅静态的理想图景中，如何通过暂时性、可变性的图景拼贴，去兼容精彩纷呈的日常生活；或者反过来，在新的社会经济范式背景下，如何通过非正统化、去中心化的工作，营造一种另类乌托邦的图景。

The Mosaic Utopia is a photo collage completed by participants through online platforms. The participants joined the production team with their computer in various places at different times. Each of them enriches the meaning of an Idea City with the life scenes in the vicinity. These fragmented images are coordinated by Information technology. They together constructed Plan Voisin, the ideal city prototype conceived by the Modernism Pioneer Le Corbusier. It is also the plan that mirrors all the endeavors for Idealism in human history. As a project that always changes and never ends, The Mosaic Utopia is dynamic and participatory. It tries to present an ideal picture through an ever-changing collage of mundane scenes which reflects the fascinating daily life. It also discusses how we can, in a new socio-economic context, create an alternative utopian image through unorthodox and decentralized production methods.

“丘陵”城市
The City of Hilly Land
章明/张姿 Zhang Ming / Zhang Zi
同济.原作设计工作室 ORIGINAL DESIGN STUDIO / TJAD

“未知”的“已知”——城市，是各类资源的集合体，其运作的核心在于各种人与人、组织与组织之间的合作机制。而这种机制正在趋向前所未有的复杂状态。复杂性虽然同时催生了多元、多义与趣味，但在社会学和心理学的角度上看，这也意味着人们要处理更为复杂性的问题，也使得城市的演变更加不稳定和充满未知。在当下乃至未来城市的“未知”的混沌表象与臆测之下，我们仍能嗅到源自城市脉络的某些气息，沉潜于既有的城市骨血之中。我们一贯提倡的“在城市中建造城市”，就是寻找“未知”中的“已知”，并探索“已知”之中孕育着的“未知”的可能向度。“丘陵城市”的雏形就源自这种思考。

‘Unknown’ in the ‘Known’—City, as an agglomeration of various sources, operates on the basis of a cooperative mechanism between man and man, and between institution and institution. This mechanism now is approaching unprecedented complexity. Multivalent, ambiguous and interesting as it might be, from the aspect of sociology and psychology, this also means people are forced to face complicated situations, which drive the urban transformation more unstable and uncertain as well. However, under the chaotic ‘unknown’ phenomenon in the contemporary or even in the city of tomorrow, some clues that originates from the veins, that remains silent in the blood and bones of the city, could still be felt and grasped. This is ‘building upon the built’ that we always propose, which implies searching the ‘unknown’ in the ‘known’ and exploring its possible dimensions. ‘The City of Hilly Land’ comes from this piece of thinking.

水岸城市，宁波
City of Waterfronts, Ningbo
卜冰
集合设计 One Design

这是一个试图碎片化写照城市的主观地图。我们对城市的正式解读通常建立在地理空间连续完整的脉络之中，这个宁波的水岸空间的模型则试图突破这样的客观性，以建立起一个主观的地图，去反映当下都市人群在更加碎片化的思维状态下对城市空间的理解和使用方式。这个模型是宁波规划局于2017年至2018年委托的《宁波城市特色研究》项目成果的一部分，由100多个模块构成，每个模块为一处在城市中采样的200米乘以200米的水岸空间，以1:2000的比例制作。不同于上世纪情境主义者的巴黎心理地图，这个水岸地图不再需要时间线索和可能路径的指引，因而更加具有同时性：借助于各种通讯工具，包括微信，地图，网络搜索等等，这些空间都是已发生的，已了解的，已进入的。这样我们在其中的漫游不再局限于身体的移动。

This is a subjective map trying to represent city in fragmented narratives. Our formal interpretations of city are usually constructed in a geographically continuous context. With this model of Ningbo waterfronts, we try to break away from such objectivity, and to construct a subjective map to reflect the fragmented nature in contemporary city dwellers’ way of comprehending and using urban spaces. This model is made of more than 100 modules, each represents a segment of waterfront area of 200 meters by 200 meters sampled from the city of Ningbo, in a scale of 1 to 2000. It is an output from a commissioned project by Ningbo Urban Planning Bureau, Ningbo Urban Identity Studies, in 2017 and 2018. Different from the psychogeograpic maps of situationists’ Paris, this map of Ningbo waterfronts is rather simultaneous. It doesn’t require any guidance for accessibility or suggested routes. It’s in nature fragmented and already happened, known, and accessed, with the help of contemporary communication tools such as mobile phone maps, internet images, WeChat, or Instagram. Our roaming in city is now no longer limited to the walking of physical means.

城市之门
Gate of the City
杨志疆
艺合境建筑设计事务所

随着信息技术和互联网的发展，人们获取信息的途径越来越不需要面对面的交流。虽然在当今的城市设计中会有很多的绿化平台、共享及交往空间的考虑，但其使用效果却未必乐观。即使有人在场，人们也大多会紧盯着自己的手机。

所以未知的城市一定是一种“双重之城”，外在之城是我们可见的城市外壳，内在之城则是生活于其中的人以及通过人产生的大量信息交流。因此在未来，人与人身体的疏离一定会越来越大，就如同齐泽克认为的：互联网不会将人们聚在一起，而是会把我们分散溶解成众多微小的他着，或者单独的部落式的身份认同。

“城市之门”计划就是对这一现象的思考和批判。
“城市之门”装置两侧可代表实体的城市，内壁及顶部用镜面不锈钢刻有大量的数字和代码，它们代表城市中的信息流。当人穿过城市之门时，人在镜子中的影像和大量的数字及代码就重叠在一起，一个生物学层面上的人，瞬间被异化为一个城市中的“信息的人”。人们在获得信息的同时，也同时被这些信息所控制。这是城市和城市中人的真正状态。
“城市之门”还可以解读为某种信息的监控，其实在城市中监控无处不在，身份证号码、人脸识别以及随处可见的监控探头等等，而这正是城市生活的本质特征之一。
“城市之门”在城市中还往往代表了所谓的象征性和标志性，该装置也是对这一现象的某种批判和揶揄……

With the development of information technology and Internet, people’s access to information increasingly does not require face-to-face communication. Although many green platform and shared space are taken into consideration in today’s urban design, the effect of use is not necessarily optimistic. Even if people are present, most of them will stare at their mobile phones.

Therefore, the unknown city must be a kind of “double city”. The outer city is the visible shell of the city, and the inner city is the person who lives in it and the large amount of information exchange generated by people. Therefore, in the future, the alienation of the human beings will become more and more obvious, just as Žižek believes: the internet will not bring people together, but will disperse us into many tiny ones, or separate tribal identity.

“Gate of the City” is a reflection and criticism of this phenomenon.
The sides of “Gate of the City ” can represent the physical city. The inner wall and top are engraved with mirrored stainless steel with lots of numbers and codes that represent the flow of information in the city. When people pass through the gates of the city, the images in the mirror overlap with a large number of numbers and codes. A person on a biological level is instantly alienated into a “information person” in a city. When people get information, they are also controlled by this information. This is the true state of cities and people in cities.
“Gate of the City” can also be interpreted as the monitoring of certain information. In fact, monitoring is everywhere in the city, such as ID number, face recognition and monitoring probes etc. this is one of the essential characteristics of urban life.
“Gate of the City” also represents the so-called symbolism and iconic in the city. This installation art is also a certain criticism and teasing of this phenomenon …

古树发新芽
Building Renovation Design of Bao’an 1990
费晓华
迹·建筑事务所（TAO）

宝安老三馆街区，空间使用指南

这是一处政府策划、投资和实施，雅本建筑师与合作团队共同参与的项目。通过保留、改造和升级既有公共文化艺术设施群，留存了历史印迹（原建筑），扩建了新空间，注入了新功能，滋生了新气息。达到了修补城市、积淀城市历史和诱发城市活力的目的。

为此，我们创作了该街区城市生活的情景剧，试图通过街区物理模型（舞台布景）和动画影像（演员、道具）的结合，配以背景音响，展现该街区可能的城市公共生活的便民、丰富、无界互赏（沉浸式体验）和地标辐射作用——另类城市公共空间使用指南。

Spatial Usage Guide

This is a government-funded public works project commissioned to X-URBAN and 9 other collaborative agencies. Conserving, renovating, and upgrading Bao’an 1990’s cluster of cultural buildings breathes new life into a site of historical significance by creating new spaces and expanding functionality. Besides patching the urban fabric, this joint effort across three important institutions adds to the layers of Shenzhen city history and reinvigorates the lives of its citizens.

As such, we have created a vision of the new daily life by animating a model of the finished project–combining light projection with sound art. The many scenes comprising our “city symphony” attest to the unknowable potential of this future landmark as the generator of a vibrant, limitless spectacle and pinnacle of Shenzhen public life for generations yet to come.

5F

数字大院
Digital Courtyard
许东亮 Xudongliang
栋梁国际照明设计中心

媒体建筑的起始于具有媒体意义的构建或者构件。“数字大院”的构成取自于著名建筑的形体作为建筑构成构件，使建筑自然具有媒体的意义，并形成前所未有的超尺度。原型建筑高234米，面积为50万平方米。取此单元800个，叠8层，则高度为1873米，总面积为4万万平方米，高度与规模为人类工程前所未有。作品构思之初为对原有建筑形态在文化意义上的不认同，不平衡不稳定不规则不喜闻乐见导致不当的联想和歧义，新作品为方形院落式，起名“数字大院”

Media architecture begins with the construction or components of media significance. The “Digital Courtyard” is derived from the shape of famous buildings as the components, which makes the building naturally present the media significance to reach an unprecedented scale. The prototype building is 234 meters high and has an area of 500,000 square meters. With 800 units and 8 layers, the height is 1873 meters and the total area is 40,000 square meters. The height and scale of this unit are unprecedented in human engineering. The concept of “Digital Courtyard “at beginning was dissident the cultural sense of the original architectural as imbalance, instability, irregularity, improper imagine and ambiguities. The new art work is square and courtyard style, named “Digital Courtyard”.

装置/新长安城
Installation/ new Chang’an City
刘克成/俞泉&何叶&刘蔚&张军
刘克成工作室

唐长安城曾是中国古代规模最大的都城。城市象天法地，由宫城、皇城、和外郭城三重城构成。城中以朱雀大街为中轴，对称分布两市一百零八坊，寓意一百零八位神灵的一百零八颗星曜。南北排列十三坊，象征着一年有闰。皇城以南东西各四坊，象征着一年四季。唐代伟大诗人白居易描述唐长安城: “百千家似围棋局，十二街如种菜畦”。然而时至今日，一切皆归尘土，昔日盛唐辉煌仅存大小雁塔的残影。在高速城市化背景下，西安城市规模也在新世纪超越唐代版图。作品按照考古学家勘查唐长安城一百零八坊遗址方位，历时半年，现场拓印一百零八个现代城市水井盖，按照唐长安城里坊图重新排列，形成新长安城。

Tang Chang’an city was the largest capital city in ancient China. It was composed of three parts: palace, royal city and outer city. 108 residential blocks distributed symmetrically along the central axis of the city which symbolized 108 stars and gods. The thirteen residential blocks in the north and south stood for leap month. The others in the east and west of the Imperial City symbolized the four seasons of the year. The layout of the whole city was described as a chessboard.However, everything is buried in dust today. The glory of Tang Dynasty can only be traced in Big and Small Wild Goose Pagoda now. The scale of Xi’an city has also surpassed the Tang Dynasty in the new century because of the high-speed urbanization. According to the archaeologists’ investigation of the site, 108 well covers rubbings of modern city were rearranged during half a year according to the layout map of Tang Chang’an City to form a new Chang’an City.

灯·迷
Light Maze
宇星/韩晶
趣城工作室 ARCity Office

“灯迷”，寓意了城市基础设施和知识系统的快速迭代，以及这种迭代给人类带来的巨大未知性。在美术馆五楼展厅中间，有24个暴露在地面上的气体灭火系统末端接口，它们作为展柜消防系统的一部分，暂时裸露在外（将来会与定制展柜融合在一起）。为了不对布展造成障碍，我们选择城市中极为常见的PVC路锥（雪糕筒），罩在每一个气体灭火系统末端接口上，来保护这些末端，避免参观者触碰到它们。进一步，我们将更多的雪糕筒与之拼接起来，形成一个大型装置系统。在这个系统中，约200个雪糕筒以6-9个一组构成24个串联单元，它们在三维空间中展开，形成可以进入的“灯迷”矩阵，犹如巨大的红色灯笼迷宫。在每组雪糕筒的串联节点上，我们印刷了一些符号（数字符号、语言符号、技术符号、货币符号等），使这些雪糕筒转化成为新的语义系统。在这个语义系统中，人类知识系统如同城市中的抽象灯光，它们与具象灯光系统一起，共同构筑了一个“未知城市”的巨构景观。

Light Maze symbolizes the quick innovation of urban infrastructure and knowledge system, as well as the huge unknown it brings to human beings. In the middle of the exhibition hall on the fifth floor, there are 24 end devices of gas fire extinguishing system for cabinets. They are temporarily exposed on the ground, waiting for connect with the custom-made furniture. In order to prevent these end devices from being obstruction of the exhibition and protect them, we choose PVC traffic cones, the most ordinary things in the city, to cover them. Then, we use more cones to connect with the previous ones, so as to form a large installation. Composed of 200 red cones, divided into 24 units, and 6 to 9 cones connecting with each other in every unit, the installation spread from ground to ceiling, just like a giant light maze in three-dimensional space, asking visitors to explore. On each node of the cone units, we put lots of printing symbols, including digital symbols, text symbols, scientific symbols and currency symbols, to transform the ordinary traffic cones into a new semantic system. In this system, the knowledge of human beings can be seemed as the abstract light system in the city, working with the real light system. They together construct a huge landscape in Unknown City.

盒子城市
Box city
邱慧康
深圳市立方建筑设计顾问有限公司/深圳市库博建筑设计事务所有限公司

食品、书籍、药品、电子产品、快递……包装盒是我们生活在消费时代下的证据。它们密密麻麻、铺天盖地，塑造我们的生活，改变我们的城市。我们的城市正在被各种“盒子”占领…参观者可利用回收的包装盒随意建造“未来”城市。每个人可在前一个人的基础上继续“建造”，直至展览结束。其中，若干CUBE“用建筑策略回应城市问题” 真实作品随机放置，将与自发的盒子建造形成对比，也融为一体。最后，展览结束，而“建造”却不会停止…“城市”被一天天建造的同时，通过摄影机实时记录，投影机播放前一天同步时间的“建造”。

Food, books, medicines, electronics, express delivery…… boxes are evidence that we live in the age of consumption. They are dense and pervasive, shaping our lives and changing our cities. Our cities are being overrun by boxes. Visitors can use recycled boxes to build the“future” city as they wish . Each person can continue to “build” on the basis of previous person until the end of the exhibition. Among them, many CUBE “Respond to urban problems with architectural strategies”. The real works are randomly placed and will be in contrast with the spontaneous boxes that have been installed by visitors. Finally, the exhibition will over but the“build” won’t stop. As the “city” is built day by day, it is recorded in real time by the camera, and the projector plays the “build” of the previous day synchronously.

你究竟住在哪里?
Where are you living?
天津市城市规划设计研究院

从远古的石洞、茅屋，冲刺到光辉城市伴随着技术、社会乃至文明的更迭推进。人类的居所总是以一种集体的面貌展现，那么在未来，当技术支撑人类有更多的可能性的时候，人类还是不是要聚集在一起？城市还是不是多数人的选择？地球还是不是我们唯一的居所？站在智能时代的门口，我们或许可以不再向地球索取而以更平和的方式与自然共生，安心做自然的一部分在自然里找到新居所方式。当然，也可能我们持续这种高需求模式，直到地球毁灭，我们被迫流落他乡。

From the ancient caves, thatched houses, we sprint all the way to the glorious city. With the change and impel of technology, society and even the civilization, the human habitations have been always presented as a collective form. So, in the future, when there are more possibilities for technology to support the human beings, will human beings still need to gather together? Is the city still the choice of the majority? Is the earth still our only home? Standing at the gate of the era of intelligence, we may no longer take from the earth but coexist with nature in a more peaceful way, being a part of nature and finding new ways to live in nature. Of course, we may continue this high-demand mode, until the destruction of the earth, and we are forced to wander far from home. Standing at the gate of the era of intelligence, we may no longer take from the earth but coexist with nature in a more peaceful way, being a part of nature and finding new ways to live in nature. Of course, we may continue this high-demand mode, until we are forced to wander far from home in the event of the destruction of the earth.

无路城
Roadless City
程博/李博/于岛
「丘」建筑设计

「无路城」是一套基于道路及建筑改造的全新城市开源系统。车行道路作为城市血脉，沿现有路网从地表进入地下，如血管般交织于看不见的地下空间，公共及共享载具以最极端高效的方式承担着城市的血液循环。血管不再占用皮肤的表面积，「无路城」彻底释放了现有城市系统中最完整的地表面积（城市总用地10-25%），并转化为公园和公共空间。架空的立交桥作为线性空间，变身成为跑道、集市、露营、动物园的所在地。而以框架为结构主体的建筑也褪去定式，还原为容纳个体空间的城市柜子，建筑单元按需插入及替换，未来人类的多样个性和快速更迭的空间需求得以满足。花园城市、广袤城市、光辉城市、垂直城市，历史中的众多城市设计模型均基于这个前提：阳光的地表投影面积是城市的绝对零和资源。「无路城」将公路网彻底从地表剔除，将交通的血液放回隐藏的血管中，宝贵的阳光地表投影资源悉数还给市民。这一城市系统底层逻辑完全基于对现有城市系统的改良而非重构，其建造过程也是针对现有人造构筑物的修补改造而非重建，她看似超前，却可能是城市大跃进后发展时期的可行进化路径。

Roadless City is an open source urban system based on the restructuring of current traffic network and architectural system. As the urban circulatory system, the roadway network moves from surface to underground, interweaving like blood vessels. Public and shared vehicles undertake the urban circulation in its most efficient way. The blood vessel no longer occupies the surface area of the city’s skin. Roadless City completely releases the largest ground area of the existing urban system and transforms it into parks and public space. As linear spaces, flyovers are transformed into jogging tracks, open air markets, camping place and zoo. Buildings with framework structure are peeled and work as urban shelves that contain insertable architectural units, which meet the diverse and rapid changing need of the future. Urban design models in history such as Ebenezer Howard’s Garden City of To-morrow, Frank Lloyd Wright’s Broadacre City, Le Corbusier’s Ville Radieuse and Ludwig Hilberseimer’s Vertical City, most of them are based one single fact: the ground area is set and the usage ratio optimization is thus a zero-sum game. Roadless City completely removes the motorized traffic from the surface so that the valuable land resources are given back to the public. It is a radical yet realizable thinking, because it’s based on the restructuring of the exiting.

无形的城市：形式之外的城市维度
UNKNOWN CITY: URBAN DIMENSIONS BEYOND FORM
周实
深圳市十间设计咨询有限公司 Studio 10

视觉与形态是城市设计普遍最先也是最终的考量，也是一切问题最常见的解题手段。在城市设计中，“形式”成为了设计城市模型的主要语言，也是人们感知城市生活的最重要渠道。在我们生活的城市中，形式更多的是作为一种‘空间’的静态产物，人们只能通过这种静态的空间来体验碎片化的时间——形式与其背后固定的“城市模型”成为日常生活的一种集权。如果城市可以摆脱固化的、自上而下的、静态的品味与范式，那么空间将可以成为一种连续的体验体。城中村是城市和社会生活中自下而上形成的一种空间和社会形态，其本质是反范本、反形式、反模型的。而马赛克作为城中村最具特色、广泛使用的一种外墙建筑材料，与城中村中和村里的人形成了一种奇妙的关系。城中村建筑外墙经久侵蚀、脱落的马赛克，总是自然形成独一无二的图案；村里无所不在的脱落马赛克图案本身也构成了城中村独一无二的身份认知。脱落后露出的底色经时间冲刷，逐渐被污渍染色，越来越深。每块污渍的明度和其对应的马赛克已脱落时长形成某种联系 ——脱落时间越久，暴露的时间越长，其被污渍染色的程度也越深。我们在深圳大大小小的城中村中漫步，记录了一系列脱落马赛克的图案，提取了32个样本。在本装置中，我们通过对于这一些列样本中脱落马赛克染色程度的图像识别和处理，进行二维信息和三维的转换，形成一系列固化的“马赛克脱落时间轴”。我们希望以一种全新的维度来发现、记录、展示城市中细微处常被人忽略的时间暗示和印记，也希望探索时间维度与城市空间体验的全新结合方式。本研究也是Studio 10关于“城中村马赛克”系列研究的第二篇。第一篇2017深港城市建筑双年展上围展场参展作品 “镶嵌工坊”，从建构角度研究了城中村及城市中旧社区外墙马赛克脱落这一现象。

Visual and formal aspects are usually the first (and ultimate) considerations of urban design, as well as one the most common solutions to all problems. In the discipline of urban design, “form” has become the most prevailing language for generating urban prototypes as well as the most important perspective from which people perceive the city. In the city we live, form is more often than not a static product of space through which people can only experience fragmented pieces of time – form and the set urban prototypes from which it was generated has become the autocracy in our daily life. If the city can get rid of the fixed, top-down, static tastes and paradigms, space can then become a continuous, unfragmented experience. The urban village is a kind of urban space and social form formed from the bottom up. Essentially it is against any paradigm, form or prototype. Mosaic, as the most characteristic and widely used exterior wall material in the urban villages, has formed a subtle relationship with the villagers and the villages themselves. The mosaic on the exterior walls of buildings in urban villages has been eroded and fallen off through time, forming various unique patterns. The ubiquitous mosaic patterns in the villages itself also constitutes a unique identity of the villages. The surface exposed after shedding of mosaic tiles has been gradually stained through time. The brightness of each stain pattern indicates a correlation with the duration of time of the corresponding mosaic that has fallen off—the longer the duration is, the longer the exposure time, and thus the deeper the stain has become. We strolled through the urban villages in Shenzhen and recorded a series of patterns of shedding mosaics , which has latter been extracted into 32 samples. In this installation, by processing the degree of stains in these samples, and through the transformation between two-dimension and three-dimension, a series of “mosaic shedding time-lapse mapping diagrams” have been generated. We meant to explore, record, and display the most subtle cues and traces of time that are often overlooked in the city with a new dimension. We would also hope to explore a new way of associate the dimension of time with the spatial experience in the city. The study is also the second chapter of a series of researches on the Mosaic in Urban Villages by Studio 10. The first Chapter, Inlay Workshop, Shangwei, 2017 SZHK UABB approached the topic of deteriorating exterior mosaic walls in urban villages as well as developed, older communities in the city from a tectonic perspective.

消失的城市（观念装置）
Disappeared City
王晶晶
深圳市一乘建筑设计事务所有限公司
SHENZHEN ONEXN ARCHITECTS LTD.

城市是一套为人类提供各类服务功能的生态系统，借助着当下技术手段（钢筋混凝土等外壳）生成了一个又一个的建筑和空间，为人类所使用。无论技术手段如何变化，系统的本质并不会改变，技术手段只能改变外在的形态。反观当下的城市状态，仍然有许多“服务功能”有待改善，让生活在其中的人们更适得其所。然而改善“服务功能”极有可能占用更多的实体空间，势必会让城市系统的荷载过度。为了避免系统瘫痪，需要开发其他维度的空间来为人类提供城市服务——比如虚拟网络空间，类似这样的技术最终会改变城市的形态，也许城市不再需要实体的“城市五要素–道路、边界、区域、节点、地标”，那么我们今天的城市形态是否会消失？

The city is an ecosystem that provides various services for human beings. With the help of existing technology (for instance, reinforced concrete as shells), buildings and spaces one by one have been created, and used by human beings. No matter how technology develops, the essence of the system would not change. The technological tool can only change the external form. In contrast to the current state of the city, there are still many “service functions” that need to be improved to make the people live in more suitable place. However, improving the “service function” is likely to occupy more physical space, which will inevitably lead to overload the urban system. In order to avoid the system paralysis; it is necessary to develop other dimensions of space to provide the urban services for human beings – such as virtual cyberspace. Technologies like this will eventually transform the shape of cities.

集·合
Aggregation
陈丹平，杨恒，廖俊
深圳厘米制造设计有限公司

集合是一个数学概念，指具有某种特定性质的具象的或抽象的对象汇总而成的集体。之于城市，我们试图从集合的角度去理解城市存在的未知性。城市作为一个集合体，它是否有边界？若定义为集合我们认为城市是有边界的.将“城市”放在时间和空间的维度中，这样的边界就存在无数种可能。装置用120CMx180CM虚拟了一个城市集合的边界，它像是从集合中抓取的某个时间片段，有了一定的唯一性。边界以内的称之为“城市”。在这个“已知”的城市中，每一个被纳入的个体，形质各异。它们可以是经济、政治、文化、宗教、艺术等等我们已知的个体，也可以是目前某个我们未知的个体。在我们假定的边界内它们独立的存在，不应重复。只有当异于所有体块的新的体块出现，这个城市集合就更逼近我们虚拟的“已知”边界。装置中，我们希望为这样新的体块预留更多的位置。当装置中的体块越来越多，我们试图用某种规律将它们“秩序”的排列，使它更像我们已知的“城市”。而所谓的排列“秩序”在各异的个体集合中，却以一种“无序”的状态呈现。装置意图呈现城市的某个“已知”状态，用“已知”的边界去容纳各种独立的个体，而这样的“已知”集合在渐近到我们虚拟边界的过程中，更多“未知”产生，终会被吸纳。

Aggregation is a mathematical concept that refers to the collection of concrete or abstract objects with a specific property. As for cities, we are trying to understand the unpredictability of cities from the perspective of aggregation. As a aggregation,does it have any border? We consider it have the border if we defines it as aggregation.The “city” in the dimension of time and space, the boundary has numerous possible. The virtual boundaries of a collection of cities presented by the installation size of 120cmX180cm.It’s like catch a certain of time from the aggregation, and it has a certain of uniqueness. Those within the boundaries are called “cities”. In this “known” city, each individual which included is different in shape and quality. They can be the individual in economic, political, cultural, religious, artistic that we know and it can be the individual that we don’t know.They exist independently within our assumed boundaries and should not be repeated. Only when a new block emerges that is different from all others . The city come closer to our virtual “known” boundary.In the installation, we want to reserve more space for such a new block. We try to arrange them in some sort of order when the blocks get more and more in the installation and make them more like the “city”we know.The so-called permutation “order” in the different individual collection, but presented in a “disorder” status. The installation intended to represent a certain “known” status of the city and accommodate various independent individuals that has been known. And such aggregation of “known” will eventually be absorbed as more “unknown” is generated in the process of asymptotically approaching our virtual boundary.

城市DNA
City DNA
柯卫 James Wei Ke
Chiasmus 建筑设计事务所

今年我们参加了北京宋庄艺术区的改造项目，该区域以其对艺术的高度包容性和环境的混乱而闻名。“改造”这个词很微妙。它不是在拆除后重建，而是保留其内容特征的同时，整理凌乱的部分并且协调整体的基调。我们认为构建城市的砖块和石头就像构建了我们的骨骼与血液一样。当涉及到基本要素时，我们都是一个复杂但精确操作的机器，每个细胞和器官在自己的位置正常运作，当出现问题时，就会出现疾病。有时疾病并不意味着外部细菌入侵，而是一种不受控制的内在生长，如同一张图片的像素被打乱后随机重组，复制。本次展览中使用的所有图像资料均在调查过程中取自宋庄;它们是组成这片区域的像素，是该区域的DNA，而这件作品仅仅是该区域 DNA的提取。

This year we participated in the transformation project of Songzhuang art district, a district in Beijing known for its high inclusiveness of art and its messiness. The word “transformation” is tricky in a delicate way; it is not rebuilding after removal, but keeping all the characteristics of the individual contents while cleaning up the mess and harmonizing the tone of the whole. We like to think that the same bricks and stone that constructed cities are just like the same blood and bones and cells that constructed every human being. When it comes to the bare essentials, we are all a complicated but precisely operating machine where every cell and organ functions properly in their own position, and when something goes wrong, illness appears. Sometimes illness does not mean an outside germ intrusion, but an uncontrolled inner growth, like scrambling up the pixels in an image, randomly reorganize and replicate them.All the imagery materials used in this exhibition were taken from Songzhuang during our investigation; they are the pixels that form the district, the DNA of the area, and this piece of work is merely the extracted DNA sample of the district.

浮图
Floating Paradise
张健蘅 Jane JH Zhang
张健蘅建筑事务所 Jane Z Studio

气候骤变，海面上升，陆地沉沦，人心依旧。作品以悬浮状态的木桨象征未知的生存环境变化。近观木桨上精致呈现的微型社会场景，上演着经久不息的人生百态：人类怀揣着梦想，复制着自己，延续着征战也精心保护着脆弱的精神世界，恍如股掌间之浮世绘。

Climate changes, sea level rises, land disappears… nonmatter what is ahead for the unknow future, human’s desire never changed. A set of suspended oars are used as metaphor for the unknown change of living environment. On the oars, there are scenes formed by delicate toys, which presents the viability of human society. Human beings carry their dream by replicating themselves; they wage wars and in the same time protecting their fragile spiritual world elaborately. The installation brings spectator to a Ukiyoe like image of mini-society.

有其母必有其子
Like mother, like son
何勍
IDS理想空间工作室 Ideal Space Studio

如果没有钵子菜博物馆
就不会有这红色的盒子这被撕裂
的花
偶然绽放在四月南方潮湿的雨季
关于孕育的神奇
关于花开的惊喜
水滴下或者溅落或者缺席
在最窄的缝隙里储存一缕光阴
在无常的日常里楔入片刻游弋
听天籁
听自己心跳或者呼吸的声音
南方北方Agra
那些苔藓时过境迁的际遇
白衣飘飘的年代如若咫尺废墟
苍凉无尽
多少喧嚣尘上
多少语言抵达不了的地方你我交错交集
遇见你
仿佛遇见失散已久的灵魂知己

If there is no Red Hot pot Museum
There’s no red box here
The torn flower
Once blooming in the wet Southern rainy season of April
On the magic of Gestation
On the surprise of flower blossom
On water dropping or splashing or absolutely nothing
Store a ray of time in the narrowest gap
Wedge for a moment from boring daily
Let’s listen to sounds of nature
Let’s listen to our heart beating or breathing
Something here about North and South
Something about Agra
Something about those died dry mosses
Those old days with white clothes drifting will never come back
Those endless of desolate
Now it’s the time of all noises
Now that languages can’t reach where you and I intersect
Here u are as we meet
Like finding a soulmate a long lost friend

蔓延
Sprawl
张佳晶
上海高目建筑设计咨询有限公司

本装置作品采用预先固定的不锈钢金属网帘，兼顾土壤环境、自然光照等初始参数，让种植的爬山虎、常春藤、风车茉莉等不同藤曼植物不加人工干预地自然生长。在整个展出周期内，利用延时摄影记录其或共生或冲突或消亡等等不可知的变化，以蔓延阐释“未知城市”的主题。展出完成后形成的影像资料及布满未知形态藤曼的金属网，可供留藏或以期续展。

The work uses pre-fixed stainless steel mesh, taking into account the soil environment, sunlight and other initial parameters. With the installation,the planted boston ivy, Windmill Jasmine and other kinds of vines plants will naturally grow without human intervention. Throughout the exhibition, the unknowable changes such as symbiosis or annihilation or other conflicts will be recorded by time-lapse photography will give the theme of ‘Unknown City’ the interpretation of ‘Sprawl’. The image record and the metal mesh with vines plants unknown are available for conserve and prosper after the exhibition.

冇用花园
Useless Garden
张凯琴
握手302

城市里的植物总是让我着迷，它们是介于人工和自然之间的一段模糊，即非人造，亦非自然。城市景观中的植物是人工造景的一部分，它们的生命状态是被计划和被控制的，但杂草常常是“设计”中的不速之客，它们的顽强和茂盛也让人头疼。作品希望借展览的机会为这些“没用”和“多余”的植物做一个暂住空间。这是一件与时间相关的作品：是将美术馆屋顶“正式”花园里随机冒出来的杂草逐步移植到“临时”花园里的过程。6个月后展览结束时，“冇用花园”才会最终呈现。

The plants in the city have always fascinated me. They blur easy distinctions between the artificial and the natural, as well as between the non-artificial and non-natural. Plants in urban landscapes are part of artificial landscaping. Yet even though their state of life is planned and controlled, nevertheless weeds flourish uninvited despite these “designs,” their tenacity and lushness an ongoing headache. This work takes the exhibition as an opportunity to make a temporary space for “useless” and “excess” plants. This is a time-related work: the process of gradually transplanting weeds randomly found in the “official” gardens of the museum’s rooftop into the “temporary” gardens before you. “Useless Garden” will be displayed when the exhibition closes in six months.

GB50016-2014 6.4.5-3
董功
直向建筑

用地属性，红线，限高，日照间距，消防……建筑规范影响甚至决定着我们的城市生活空间的肌理和形态。而它永远是一个矛盾体——在提供着规则和保障的同时，冗余的安全系数和僵化的照本宣科，往往又导致资源的过度消耗和针对智慧设计的束缚。规范永远是必须的，但多“规范“才算规范？规范又怎样避免过度教条，更具针对性、切实性，从而更好地与未来城市文明与时俱进？

“GB50016-2014 6.4.5-3”是针对建筑材料耐火等级的规范条例编号。这个装置的原材料是坪山美术馆项目在消防验收时因为不符合这条规范而被替换下来的竹木地板。我们将其表面火烧碳化之后堆叠而成。这是一次废物利用的简单操作，但我们希望借此能再次唤起针对建筑规范和城市发展关系的一点点思考和讨论。

Interview
gooood x Zhang Yuxing

1. In which aspect does the “Unknown City” exhibition content match your urban design idea? Please describe the embodiments of your urban design idea in this exhibition. What influence did your urban design idea and the exhibition have on each other and what result did they yield?

The “Unknown City” is not just an architecture and art exhibition. Its theme is about “city” which has been one of the most important keywords in our era. Most people live in cities, but most of them don’t know their cities. The “Unknown City” topic not only belongs to the academic sector, but also is closely related to everyone’s daily life.

In my previous speeches, such as “the Future Value of Urban Design”, “the Contemporariness of Urban Design: from Land Economy to Space Economy”, and “Urban Villages Are World Heritages from the Future”, I have mentioned a point of view that urban design should not be reduced to a planning tool, instead, it should be a remodeling process of modern life styles, production modes and urban values. Such remodeling process features macroscopic behaviors with holistic and structural properties, and is the miniature of each people’s perception to the cities. It is not only a remodeling of the physical space, but also a remodeling of the social space and knowledge system.

In a sense, an exhibition is a city, and vice versa. Curation and urban design have a fantastic isomorphism. The “Unknown City” is an in-depth exploration of the “mantle and geocentric layer” beneath the city surface, as well as an unlimited exposure of the mixed phenomena of the city. We expect to showcase “an infinite complicated city” and “an infinite mediocre city” in the exhibition, from which we can see the difference and diversity of the city surface, and experience the oneness and monotony of the city core. Both curation and urban design are about creating an “unknown development mechanism”, which is to make the exhibition and the city iterate and develop by themselves, rather than preset an ultimate result. We intend to figure out where the boundary of future city and future exhibition is by exhibition, which is a relatively detached collective thought experiment.

Leveraging 40 years of rapid development, China has become a unique phenomenon of urban development in the world. The large scale, fast speed and large population have created an urban state that has never existed in textbooks, for example, urban villages which have never appeared before, highly clustered science and technology parks, and highly dense logistics and industrial products trading places, such as Huaqiang North Commercial Area. This is a state that has never existed before. The super complexity of contemporary Chinese cities means that an exhibition that takes city as its theme should also follow the rule of urban complexity. The best way to curate an exhibition is to “let the exhibition grow on its own”, rather than force and control it.

Therefore, we, curators, provided some guidance on the theme, but we still hoped the exhibitors could break their own identity limitations, and answer the topic of “Unknown” with a growing state. In fact, the “Unknown” is an open-ended topic, and the answers to the “Unknown” must be the real reflection of the exhibitors’ mind. We do not need to speculate on their ideas as a contracting party. A great city should provide its citizens the opportunity to work freely, likewise, a great exhibition should provide its exhibitors the opportunity to create freely. “Isomorphic Mirroring and Free Growth” is my urban design idea, as well as my curation concept. I hope to mirror the original and real state of contemporary Chinese cities and incubate the prototype mechanism of future cities by exhibitions.

2. As a curator, please talk about your thoughts on “Unknown” based on your own experience over the years. What is “Unknow”? How does it affect ordinary people living in cities? Where will it lead us?

The global society has witnessed the arrival of the information explosion era, in which every human being begins to feel confused about the switch between the “known” and the “unknown” every day and even every moment. The co-called known is a process that one searches in Baidu or Google with mobile internet whenever one encounters things that he/she doesn’t know. However, on the other hand, one feels the world is more unknown in front of the huge knowledge fragment system. The “unknown” is about the panic and helplessness when facing a “boundless body”. The more one explores, the more one does not know. What one does not know is always more than what one knows. This sharp contrast always accompanies the whole exploration process, i.e. the process that people find themselves being increasingly ignorant.

In that case, our daily life switches from reality to abstract state at any time. Once this kind of realistic stability is broken, people will feel extremely anxious, just like entering an abstract space in which there is no direction, and which is completely different from the daily life. In our daily life, we know our familiar places, we are clear about our space and time positioning, we know where to go and who to meet. Those known matters bring us a sense of stability and ease.

Human beings are reluctant to enter the unknown world, because it is full of dangers, though there is something novel. The best state is to open a window and a hole in the known daily life, from which people can see a wider unknown world. This is an entangled state, in which our creations, constructions and cities are at the intersection of entanglement. When cities are known and certain, we feel comfortable yet bored. Why do many people like metropolises, such as New York, London, Shanghai and Shenzhen? Because they are unknown cities full of complexity. The ingenious approach of urban design is to highly combine the known and the unknown. On the one hand, it provides a stable environment for our daily life, in which we can see familiar people and familiar landscapes. On the other hand, we need another world, which is the other side of the city and very convenient to switch. For example, urban villages are such a place which is situated in the intersection of the unknown and the known. Many people live outside the urban villages, and they go to work and get off work every day. When they enter the urban villages, it is like entering another world where there are so many strangers. In turn, people living in urban villages have a desire to explore the outside world which is unknown.

The diversity of a city provides a coexistence state of multiple systems and a scene to freely switch between the known and the unknown. Without this free switch, the city will become monotonous soon, which is terrible. Even if the city is very exquisite, beautiful and comfortable, many people will consider leaving it. Because in the free information era, people have increasing desire for free information access. When they are in an extremely stable real environment, they may choose to leave if there is no input of original and diverse information.

3. What kind of characteristics did the diversity of the identities of exhibitors and the presentation forms of exhibits bring to the exhibition? Were there any selection criteria for this diversity? How does the selection of exhibits match the curation idea of this exhibition?

We hope each exhibitor can go back to the original intention, i.e. the originative thinking on “Unknown”, and break all constraints and restrictions. The diversity of exhibits is reflected in the diversity of ideas and forms. Of course, the premise of absolute freedom of creation made the diversity become possible. Therefore, we imposed reverse restriction during the curation, that is, exhibitors were not allowed to display their exhibits by standard and traditional drawings and models. Instead, we made them return to the original production mode of artistic creation. Diversity is not the result of curators’ guide, direction and requirement. What the curators should consider is to help the exhibitors to break restrictions and get rid of burden. In such case each exhibit gained an explosive tension. When all exhibits are displayed together, the exhibition will present the overall otherness and diversity.

In such case, the exhibition has become a “free game process” between the curators and the exhibitors, and also a “consensus growth process”. In other words, the exhibition is a “joint dressing-up game”. Architects need to change their identities, and serve as an artist in the exhibition. In turn, artists need to build cities as architects, while curators need to set themselves as an audience. The comprehensive identity exchange aims to break exhibitors’ thought restraints, and realize free creation. Exhibitors are no longer “speak for themselves”, but “speak for some unknown idea”. Each exhibitor represents an idea, and there is a huge crowd behind it. Therefore, the exhibition is a free gathering of ideas and countless people behind the ideas. We hope exhibitors’ ideas are diversified and systematized. The so-called systematization means that those exhibits have an inherent logic system when putting them together, though there is nothing special when studying individual exhibit. The logic system is exactly the text structure that curators expect most yet cannot reveal.

4.Writing is a part of your life. How does it help you in curation, art creation, architecture and urban design?

In my opinion, everyone is writing yet in different ways. For example, architects use buildings to write on the earth, hoping to leave a mark. The essence of writing is not just to express feelings by words, but to leave marks and to place thoughts in the knowledge system of human being. The process is no different from construction. So, the essence of writing is to leave something profound and eternal in order to be remembered. Otherwise, the thing with no strength and depth, or whose material is very poor, it will be removed soon, just like a temporary building which will be replaced by other one.

In essence, writing is a construction process and vice versa. Writing is to build within the knowledge system of human being. I hope my writing is something that can leave marks, have strength, be permanent, and have material property and quality, as well as soundness and system constructiveness. In fact, writing is to build a language building which needs a highly stable, ingenious and firm structure. Like the architectural structure, the language structure is in constant evolution. It changes from the brick, girder frame, case frame and net frame in the past to the new structure systems such as the more complex 3D printing. In addition, the language building imposes high requirements on materials. Like the architecture, the language building requires high-quality materials and local materials.

Language narration is very similar to space narration, both of which are complicated and deep spatio-temporal experience. Good language, like space, should not be appreciated from a distance, instead, we should appreciate it in person, and enter the core step by step to explore and discover it. This is an adventure guided by the author. I’m trying to create a new literary form, essentially, a new language structure. Just as the key of architectural innovation is the innovation of structure system. A new structure system may affect a whole generation of architectural style, such as Le Corbusier’s domino system and Mies’s steel structural system, which are very different from the baroque system and gothic system in classical architecture. Each structure corresponds to a set of construction system. I’m exploring a new language structure which matches the reading habits in the information era. This structure is very similar to the architectural space network. It uses numerous small components to create a huge structure, which is completely different from the previous girder frame system. The creation of this new structure is inseparable from my identity as an architect. To some extent, writing has become part of my existence. I may imagine myself as an architect who builds a big house in the boundless space of the language world when writing.

The curation method of the “Unknown City” exhibition is very similar to that of my writing, with both adopting an open-ended system in which there is no preset fixed framework or clue to limit the audience’s experience, nor there is no preset narration logic of exhibitors’ works. In my opinion, a good exhibition should not be used to “showcase the curator”, but to build a “common narration network system” for the exhibitors, just like a socket, where each exhibit can be combined freely. In the exhibition space venue, we set up several groups of scaffolding, and adopted the black checkered cloth to separate space. The venue design did not clearly “define space”, but put a grid in the space, forming a highly expanded narration system in which each exhibit can be combined with the system freely, thus forming a larger narration system. It can be found that the construction method of this exhibition and narration structure is similar to the architectural network system. Perhaps, this is a new method I learned from my writing experience.

gooood x Ye Cheng

1. What was the concept on defining the theme and choosing the participants for the exhibition?

There are not many cross-border exhibitions in the fields of architecture and art in these years. Although we often say that architecture is also art, architecture does have a threshold, and curation of architectural exhibitions also has a threshold. Such cross-border exhibitions require curators to have at least the background of both architecture and art. Therefore, in the choice of the theme of the exhibition, we also hope that the creators in these two fields can reach a creative consensus. I hope to inspire the brainstorming of architects and artists to create with the same theme “unknown city”.

The content of this exhibition is extremely rich, mainly in the form of visual impact, such as installations and videos, which fully demonstrates the multi-angle thinking of architects and artists on the future city. For example, the work “Unknown Garden” (Wang Shu/Lu Wenyu/Chen Lichao) explores the unknown aesthetics in natural construction; the work “Finding Palladio” (Yung Ho Chang), thinking about the historicality of the architectural motif; the work “Circle，Start，Source，Reason” (Yuan Shun) presents the fusion problem of human and the universe with a large model. . . . . . These works involve cities, architecture, art, society, space and many other fields. They reflect on the many urban phenomena in China’s rapid urbanization process, as well as the universal thinking about the state of the world’s cities and buildings, a new generation of urban models for production methods.

As a large-scale professional theme cross-border exhibition, the “Unknown City” exhibition explores the unknown nature of urban ontology and explores the possibility of the future state of the city from a multi-disciplinary and multi-perspective view. We hope that the works will behave in a variety manifestation mode and that the creatives of the installation art and video art will motivate the creativity of the exhibitors. We don’t have too many requirements for exhibitors, just hope that they can lay down their professional identities, self-deconstruct in the system, and form a combination of cross-border exhibitors. It can be said that this is a professional but not vocational exhibition.

At the same time, we hope to let the public see the possibility of various future cities under the theme of “unknown city”, so that the public can feel that architects and artists can also play this way and jump out of the regular exhibition. This way can make the work more directly dialogue and interact with everyone.

2. What was the most important considerations when organizing an exhibition? Did you meet any difficulties, and how did you cope with them?

Every exhibition will encounter common problems, and of course, different problems will emerge in endlessly. The common problems are mainly the construction of the exhibition theme and theory, the choice of exhibitors and works, the control of the implementation of the works, the distribution of the budget, and of course the control of the exhibition cycle, as well as the planning of the opening event. Curation can be said to be a gamble. Before inviting exhibitors, the curator does not know how many people will exhibit. After the invitation, not sure how many works would eventually land. Some people say that the first half depends on the curator’s character, this second half depends on the exhibitor’s character. For an exhibition to be successfully held, it is necessary for the curator to make every effort to promote the implementation of the exhibition in this gambling. The independent curator needs a comprehensive construction and balance in the three aspects of academics, people and resources.

When we first started planning the “Unknown City” exhibition, we originally wanted to control within 50 works. I did not expect the feedback from the exhibitors from all walks of life to be very strong. Many heavyweight architectural and art masters were also very happy to join the exhibition. We still hope that such an exhibition can include more creative thinkers, so finally there are 71 groups of exhibitors. These exhibitors were divided into three groups and each of them was personally docked by three curators. During this period, there was a lot of communication work. The general problems encountered in the exhibition are handled by the curators, and the important issues are discussed together by three to determine the final plan. Our three curators are in different places, in Shenzhen, Shanghai and Beijing. WeChat group is the main work communication platform. The curators of the Internet age really depend on the character, and may even carry out the exhibitor that you can’t see. All work is based on a mutual trust.

Most of the works in this exhibition are installation works, and some works are very large. Part of it is made in Shenzhen, part of it is made in other cities, and finally shipped to Shenzhen, which also spans the new year. From production to transportation, it is a considerable project. In fact, the exhibition budget is also quite tight. In order to maximize the high-quality implementation of the exhibition, the production fee for the exhibitors is higher than that of similar exhibitions. The budget was basically used in the production, installation, transportation and exhibitor travel. Finally, we have to cut all curator’s repayment.

3. Unknown means infinite possibilities, while also leading to uncertainty and unpredictable failures. In which way do you think architects can make this uncertainty a positive thing?

“Unknown city” is a fuzzy definition of past, present and future cities, and also has an imagination space without limits. The certainty of the city is being completely shattered by the architects, and what is the real “city prototype” in people’s minds? This answer may vary widely, so we hope to explore these issues in an anti-architectural way, with the unique spatial expressions of installation art and video art. This is also the experimental nature of this exhibition.

These participating architects and artists have comprehensively considered the systemic state of the human material living space and the direction of future architectural development. In a sense, this is a collision of ideas in contemporary Chinese architecture, and it is also a cross-border cluster reflection of pan-architecture. This reflection also encompasses the architect’s rationality and imagination, and expands new architecture in the unknown territory.

We hope that the exhibitors will break the usual professional way to present his thoughts on the city, and at the same time combine this artificial intelligence and big data interconnection era, return to the ontological level, and make a concentrated thinking on the city’s ontology. We have come to the situation of having to question the urban essence, and the development of science and technology puts new demands on the evolution of the city. The development of urban systems, urban culture, and urban ecology will also enter a new era. A new understanding of urban identity, human society and humanity itself are prerequisites for a better future.

4.What is the significance that the “unknown city” can bring Chinese architecture or even the construction of Chinese cities in the future?

The “unknown city” proposes a multi-dimensional perspective for the future. Unknown cities explore a possibility model for a more chaotic, more diverse, more individualized, and more uncertain future city. These exhibits may be macroscopic, but there are also many from the micro level to explore the future state of the city and future human existence. Break through the boundaries of imagination in a non-architectural way to build a new worldview.

We hope to explore the unknown nature of urban ontology philosophy through the exhibition of “space thought experiment”, and also explore the identifiability of the future state of the city. In the future, there will inevitably be a new urban model to replace the model 100 years ago. It may be completely integrated with the virtual space. It may be more fragmented and may be a new energy system and transportation system. Whatever it is? We all need to start to imagine and construct from the moment. After the First World War, the influence of Bauhaus and modernist architecture on the entire architectural art and design field has continued to this day. After the Second World War, the sci-fi architectural revolution of architect groups such as Metabolism and Archigram provided more space for imagination in urban development. This era is undergoing earth-shaking changes, whether it is the ideological level, the technical level or the social form. On this node, a group of architects, artists, critics and curators are more likely to break through the reality and set off a new wave of China’s future architecture. We hope that “unknown cities” can be the promoters of this wave.

However, when we step out from the narrow architecture field, and look at cities, city clusters, buildings, countries and other real-world architectural objects from a more comprehensive perspective, we may find that architecture with “Chinese characteristics” has developed in an embryo based on the global diversity value system. Such architecture does not necessarily all come from professional architects’ initiatives, instead, it may generate from “buildings without architects”, which is related to Chinese contemporary urban phenomena, such as ultra-high-density urban blocks, informal architectural complexes (such as urban villages), large-scale new urban areas & urban renewals, mixed & symbiotic urban and rural space extensions, urban compounds, emulative buildings in urban areas, collective residential areas, changing science and technology parks, etc. These real-life space scenes in China may provide possibilities to solve those difficulties.

These signs occur in the so-called content, i.e., production modes, lifestyles and aesthetics, and time and space concepts carried by the space system. These changes have quietly occurred in the world and in China, and are in a sprouting state.Contemporary Chinese architecture may perhaps have the above-mentioned marginal advantages, because exposure to modernism may (possibly) provide opportunities to transcend a certain era. However, such opportunities require holistic consciousness by Chinese architects, and only by doing so can the intermediateness combine with the future germination, and truly transform into the future.

Of course, an unknown city with infinite creativity needs a new highly flexible and adaptive architecture system and a space and time observation method to match it, including new space and time concept, display form, architecture aesthetics, building materials, architectural structure, construction and equipment. Everything takes place quietly.

gooood x Han Jing

1. As a doctorate holder in urban design, what’s your urban design idea? You have several identities, from a designer, bookstore owner to a curator, what drives you to change your identity? What kind of inspirations do those different jobs give you? Is there any connection with what you want to do in the future?

I majored in architecture in my undergraduate program, while I engaged in urban space research in the field of urban design in my master’s and doctorate programs. I also made some practices, therefore, I have developed a deep understanding of urban design. In my opinion, urban design cannot be simply understood as designing a city on a blank sheet of paper as cities are very complex, and have their own rules of operation, especially the modern metropolitans which are in the background of globalization and rapid development of new technologies are subject to more driving factors of urban space evolution. The key of urban design is not the design of visual elements, such as skyline, color, landscape and central axis, instead, the essence is to deal with the relationship between different elements, and integrate these complicated relationships in three-dimension level. Therefore, urban design is not a jack of all trades. In fact, urban design is not needed everywhere in a city. The places with more complicated, conflicting and contradictory elements, such as waterfront areas, surrounding of rail transit stations, old urban center and the junction of old and new urban areas needs more urban designs, for example Central, Queen’s Pier and Mid-Levels in Hong Kong are very typical areas. In addition, compared with urban planning, urban design is a sub-category, which focuses on more micro aspects. Therefore, urban design pays more attention to “human being”, and uses “human being’s activities” as the clues to organize space. Most importantly, the contemporary society is a consumer society in which urban space exists as consumer goods. Therefore, an important task of urban design is to endue urban space with differences because in the system of consumer goods, difference means the value of space. It requires to keenly capture space resources in urban design, and then shape the resources into differences by means of design. For example, the differences in visual modalities, functions, activities and events are closely related to spatial form. The contemporary urban design is very comprehensive as it is both a technology and a planning. The above are my urban design idea.

It seems like a huge transformation from a designer to a bookstore owner. But, in fact, it is quite natural for me because I made many researches on consumer space in my doctoral period, and I am keen on reading. Running a bookstore is a practice of my consumption research. As a designer, I have designed many houses, and as a researcher, I have written papers with more than 100, 000 words on consumer space. It would be very interesting to have the opportunity to run a consumer space and put the architecture that I design and my research into practice. Upper Bookstore is an independent bookstore. The biggest difference between the independent bookstore and commercially large-scale chain bookstores is independence which includes perspective on book selection and logic of organizing cultural activities. I think UPPERBOOKSTORE is not an education lectern but and exchange and communication platform which provides opportunities to authors and readers to understand each other, and makes academic research be targeted and accepted by the public. In addition to books and lectures, there is another important communication medium – exhibition. Because the exhibition can give a three-dimensional and vivid presentation of the contents in books. Of course, my specialty makes me pay special attention to architecture and city topics. Therefore, UPPERBOOKSTORE has more books, activities and exhibitions on such topics, and witnesses more visits of architects and scholars. A connection has been gradually developed among the bookstore, architecture, urban research and exhibition planning. It is quite natural.

Speaking of inspirations, as an experienced architect, one of the most important things is to understand the society. It seems simple, but most of us live in an ivory tower. We seldom have opportunity to know what the public who use buildings think and what the real society is. The biggest difference between running a bookstore, doing an exhibition and designing is that running a bookstore and doing an exhibition can reach more people and meet the public directly. The visitors of the bookstore and exhibition may not be professionals. They are different individuals, I have opportunities to directly observe their ideas and behaviors in the space that we designed, and I can verify my assumption. This is very interesting, and makes me really understand the public and review the theories and design means in books from the perspective of the public. Learning to be down to earth is probably the biggest inspiration I get from work outside of design. The transformation of identities doesn’t matter. From a designer, bookstore owner to a curator, I may have other identities in the future. Those are thinking and practicing processes for me, and they haven’t deviated from architecture and city topics. In fact, those are more colorful presentation modes of thinking.

2.What’s the original intention of “Unknown City” exhibition? How does your background in urban design influence your curatorial work? What is the division of work between you and the other two curators? Please talk about your work and the exhibition highlights.

The original intention of “Unknown City” exhibition is to discuss urban issues, especially urban issues in China. As stated in the exhibition manifesto, contemporary Chinese architect group has participated in the whole process of rapid development of China’s urbanization over the past 4 decades. During the process, architects have designed cities, but they also have been “confused” by cities, because urban space is becoming extremely vague and complicated. Therefore, we propose the theme of “Unknown City”, hoping to give exhibitors a broad imagination space, and allow the public to express their own views, think and come up with solutions. The exhibition is a group discussion. Unlike the topics of general exhibitions, “Unknown City” does not actually put forward a clear point of view, instead, it is a question, how exhibitors to answer the curators is unknown, this is an interesting thing and a surprise. On the opening day of the exhibition, Peng Lixiao from UED said, this is a riddle given by the curators. To participate in the exhibition is to answer the question. In the end, many participants give wonderful answers in various ways, making the exhibition a valuable academic achievement. What Mr. Peng said is quite right and appropriate.

My background in urban design has a profound influence on my understanding of curatorial work. I even think that curating an exhibition is almost like doing an urban design. As a curator, the most important thing is to think about some existing and future basic questions. However, when it comes to a specific exhibition, the exhibition theme requires not only thinking, but also in-depth understanding of the exhibition venue. In order to make a tailored exhibition for a specific venue, it requires to connect abstract thinking with the spatial characteristics of the exhibition venue, which is exactly same as conducting site research and proposing ideas in urban design. As for the curatorial process, on the one hand, curators need to coordinate various relationships, such the relationship between an individual exhibit and the whole, and the relationship between one exhibit and other exhibits. Especially in this exhibition, there are extremely many exhibits, and conflicts are inevitable. In such case, it requires curators to coordinate those exhibits exquisitely. On the other hand, curators need to control the spatial effect of the exhibition venue, to create visual impact and appealing atmosphere of the whole exhibition space by exhibits. In fact, this should by completed by curators and exhibitors jointly, just like urban design in which each exhibitor is an architect for a plot whose should present personalized works, while curators are urban designers who coordinate relationship and control the whole space. Therefore, curating an exhibition is like to make an urban design in the exhibition venue. Though the exhibition is temporary, its logic is same as urban design.

Speaking of division of work, the combination of the three curators is a feature. We have different ages and interested fields, and come from different places, so there is no clear division of work. Instead, we naturally cooperate according to our advantages and strengths. Ye Cheng majored in art, and he often lives in Beijing, so he was responsible for coordinating with some exhibitors from Beijing and introducing some artists to take part in the exhibition. I often lives in Shanghai, and there are many architects, especially those from the generation after 1980s visiting Upper Bookstore, so I was responsible for coordinating with some exhibitors from Yangtze River Delta and some young architects. Zhang Yuxing lives in Shenzhen, so he was responsible for overall control and coordination, and coordinating with some exhibitors, especially some academicians and famous architects. Zhang Yuxing and I were responsible for the space design of the exhibition venue. We all engaged in exhibition arrangement. Ye Cheng has rich experience in art exhibition, therefore, he did more on site effect coordination, such as how to optimize the site atmosphere by lighting. The exhibition schedule was quite tight, there was only 3 months from planning to exhibition opening, besides, there was a Spring Festival. So, there was only about ten days. The exhibit of Mr. Zhang Yonghe was not installed in place until the early morning of the opening day. The tight schedule made us in high pressure. Where there needs help, there is us. So, we have no division of work.

In my opinion, there are two highlights in the exhibition. The first one is to understand the exhibitors through their works, because the exhibitors of this exhibition came from all walks of life. For example, in the sector of architecture, there were urban research fellows from universities, architects from front line, architects from public institutions, independent architects from firms, and architects from commercial design companies. Those exhibitors from Beijing, Yangtze River Delta and Pearl River Delta, and from the generations after 1950s, 1960s, 1970s and 1980s. It was like a gathering of talents and four generations under one roof. In addition, we required exhibitors to submit installations and images, rather than common architecture models and drawings, which made them give up their familiar language, just like speaking in a foreign language. What did we get? The works of each exhibitor truly reflected the exhibitor’s age and personality characteristics. This is an interesting highlight. Through those works, you can notice architects from different places have different concerns, and even for a same issue, architects with different personalities used different form languages. Architects with different ages thought different things, the elder architects focused more on the essence of life and the world, while the young focused more one new technology and the future. The exhibits were like the exhibitors themselves that were so vivid.

The second highlight is the spatial tension of the exhibition venue. There were many exhibitors, with 71 groups in total. Most of the installations and images submitted by those exhibitors were three-dimensional, with tension and different characteristics. We, as curators, added several sets of scaffolds to organize infrastructure in the exhibition venue. The exhibition space of Pingshan Art Gallery was plain concrete. It was a great challenge for space organization with so many different installations in the exhibition venue. We made several adjustments of exhibit layout, lighting and details. Besides, some backgrounds and even works were designed and recreated on the site. In this aspect, the architect exhibitors and curators had some advantages. The final venue space perfectly organized each exhibit, and formed an atmosphere with visual impact and spatial tension, which was highly recognized by some exhibitors, especially artists.

3.What are the features and advantages of Pingshan Art Gallery and Pingshan cultural cluster which were the base of this exhibition?

The biggest feature and advantage of Pingshan Art Gallery and Pingshan cultural cluster which were the base of this exhibition is “geographical marginality”, which seems quite dramatic. Pingshan New District is at the easternmost of Shenzhen which is a very remote area for Shenzhen citizens. In general, such a place is not good for an exhibition. However, a disadvantage breeds an opportunity sometimes, because the sponsor of “Unknow City” exhibition was Pingshan New District Government. The venue was located at the edge rather than the city center, so the district government gave more freedom to curators and exhibits, making the exhibition a fresh and alive gathering and exchange of ideas. Think over that the geographical marginality of Pingshan New District in Shenzhen is quite consistent with that of Shenzhen in “the southernmost part” of China. The edges are always the new testing ground and breeding ground of new thoughts. The geographical marginality makes Shenzhen different from Shanghai and Beijing. On the opening day, I remembered many exhibitors talked to me excitedly, such complete “exhibitor family” can only be happened in Shenzhen, because exhibitions in Beijing and Shanghai were too regional. Only Shenzhen can make it happen because it is in the southernmost part of China. The edge makes everyone get rid of mental limitation, and allow them to create and exchange in relaxed manners, thus turning the exhibition a great success.

4. What’s the feedback of the public on the exhibition since it opened to the public? What’s your own feeling? As an opening exhibition for Pingshan Art Gallery, will the exhibition be deepened and expanded in new form in the future? Please talk about your future plan.

The exhibition was opened on March 30^th, and opened to the public on the following day which witnessed nearly 2,000 visitors. Since then, there were nearly 1,000 visitors every day, and more visitors on holidays and festivals, which was quite unusual for Pingshan such a remote place. According to reports of the administrator of the art gallery, there were many teachers and students from some colleges and universities and architects from other places visited the exhibition. The exhibition received close attentions from the professional sector and the public. I am quite satisfied with the exhibition, with no regrets. It is even a wonderful exhibition beyond expectations. As I mentioned above, “Unknown City” was a writing task with given topic. Each exhibitor presented their fabulous works. We, as curators, only exquisitely organized those works and made them into a complete exhibition venue. The exhibition was jointly completed by curators and exhibitors. The exhibition is definitely a wonderful one with so many top architects and art exhibitors in China. I have learned a lot from the exhibition.

The exhibition, as an opening exhibition for Pingshan Art Gallery, will close on September 30^th. However, the thinking on “Unknown City” will never end. On the one hand, we curators will make a systematic academic review on those exhibits, and conduct in-depth interviews with some exhibitors. We will make in-depth researches on the exhibition achievements just like an academic research object. In addition to publishing post exhibition volume, we will publish an academic monograph about “Unknown City”. In such case, the Upper Bookstore will play a role. On the other hands, exhibitions have been an important approach to activate urban space and create events and attention, therefore, there are many opportunities to make exhibitions. “Unknown City” is a topic with good extension, we may extend the topic by means of exhibition if we have appropriate opportunities. The research achievements on this “Unknown City” exhibition may be the exhibit in the next exhibition.

展览信息 | Exhibition Information

展览主办：深圳市坪山区人民政府
展览时间：2019.3.30-2019.9.30
开放时间：上午9:00-下午17:00（下午16:30停止入场，免费开放，逢星期一闭馆）
展览地点：深圳市坪山美术馆（新馆）
展览执行：大象空间
展览视觉设计：张达利设计团队
展览空间场域设计：趣城工作室（ARCity Office）
展览摄影团队：色点传播

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