张宇星 野城 韩晶
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
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。
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。
韩晶 Jing Han
A guidance to the participants
Photo credit to Zhang Chao. Descriptions are provided by participants.
An Unknown Garden
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.
Scan Nightscape：Mountains Turning into Waters
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.
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.
刘珩 Doreen Heng LIU
南沙原创建筑设计工作室 NODE Architecture&Urbanism
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.
袁顺 Yuan Shun
“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”.
Seeking Creation Relics
隋建国 + 李丰
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.
杨泳梁 Yang Yongliang
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.
Give Form a Concept
“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.
Looking for Palladio
张永和 YUNG HO CHANG
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.
点此查看详细内容，click here to check the project on gooood
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.
大舍+殷漪 Atelier Deshaus+YIN Yi
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.
East Island, North Country, South Ocean, West Garden
What else can be transitional?
朱竞翔 Zhu Jingxiang
School of architecture, the Chinese University of Hong Kong；UNITINNO Architectural Technology Development Company Limited, Hong Kong
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.
Rubbings as Reflection
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
The Third Year
张雷联合建筑事务所 AZL ARCHITECTS
Growing with the nature
Being part of it
The best to come eventually
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
Day & Night at Diamond Village
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.
点此查看详细内容，click here to check the project on gooood
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.
唐康硕，张淼 TANG Kangshuo, ZHANG Miao
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.
A game of urban villages and future urban landscapes
蜗牛建筑工作室 Studio G
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.
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.
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.
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 Poster Space
“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.
野城 Ye Cheng
野城建筑事务所 Wild City Factory
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.
梊坔工作室：大地数字景观 Atelier Di·Digit
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.
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.
致正建筑 + 冶是建筑/Atelier Z+ + YEAS
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)
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.
LUO studio 罗宇杰工作室
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…
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.
“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?
Symbol: A city for two
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.
刘宇扬建筑事务所 Atelier Liu Yuyang Architects
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.
Huanxiu Mountain Villa – Virtual Representation and Secondary Reconstitution
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.
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
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.
Micro-city of Young
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.
李虎+黄文菁 Li Hu + Huang Wenjing
OPEN 建筑事务所 OPEN Architecture
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.
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.
Urban Virtual Brain
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.
City and Pond
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.
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。
朱小地工作室 ZXD Architects
点此查看详细内容，click here to check the project on gooood
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!
Future Troglodyte Dwellings
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.
张斌、周蔚 + 李丹锋、周渐佳
致正建筑 + 冶是建筑/Atelier Z+ + YEAS
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.
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.
I, An Ordinary Person, Am Full of Curiosity of the Infinite World
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.
MERRY-GO-ROUND: AN URBAN METAPHOR
窦平平 鲁安东 Pingping Dou, Andong Lu
Lana工作室 LanD Studio
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.
Surreal City in 3 Second Pauses
时境建筑 Atelier Alter
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.
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
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.
袁烽 Philip F. Yuan
创盟国际建筑设计有限公司 Archi-Union Architects
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.
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.
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
‘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.
City of Waterfronts, Ningbo
集合设计 One Design
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.
Gate of the City
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 …
Building Renovation Design of Bao’an 1990
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.
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”.
Installation/ new Chang’an City
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.
趣城工作室 ARCity Office
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.
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.
Where are you living?
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.
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.
UNKNOWN CITY: URBAN DIMENSIONS BEYOND FORM
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.
SHENZHEN ONEXN ARCHITECTS LTD.
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.
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.
柯卫 James Wei Ke
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.
张健蘅 Jane JH Zhang
张健蘅建筑事务所 Jane Z Studio
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.
Like mother, like son
IDS理想空间工作室 Ideal Space Studio
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
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.
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.
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 30th, 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 30th. 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