十多个子展项目目前正在紧张制作中，如Rochelle Steiner策划的“6小于60”，这个全球六座新兴城市案例研究将回顾昌迪加尔（印度，1953）；巴西利亚（巴西，1960）；哈博罗内（博茨瓦纳，1964）；拉斯维加斯（美国，20世纪60年代）；阿尔梅勒（荷兰，1976）及深圳（中国，1979）的成败经验。这个展项还有一个由David van der Leer策划的合作项目“然后，它成了一座城: 6小于60”将邀请六位导演用影像来记录这些城市由规划图纸转变成实际城市的演变轨迹。他还计划在深圳开展为期三周的“巴士工作坊”（一个在改装巴士里的公共工作坊），邀请市民在巴士上一道探讨那些将城市从建筑师、城市规划者、政治家和开发商的“理想”转变成一座新城生机勃勃的“现实”所需的潜在要求。 “深圳建造”子展项将展出由国内外顶尖建筑师设计的五个深圳在建或即将建造的重要项目，它将揭示这些建筑师们的设计过程及其对深圳环境、建筑和城市发展上的影响。针对深港两地的规划发展与融合，“对应城市”项目将挑选六组分别来自深港两地的团队对共同的生态环境问题展开前瞻性讨论与探索。其他的展项，如“八个城市项目”、 “双城记”和“自发中国”、“轰隆！深圳”、“再生砖进展2011”等研究将深入的分析中国在区域性和地域性的城市化。
来自香港•深圳城市\建筑双城双年展筹委会的最新消息：香港展部分的执行单位香港•深圳城市\建筑双城双年展筹委会最近已与深圳组委会进行了多次的会议沟通。基于瑞莱先生领导的策展概念，香港展筹委会通过公开征集选定金光裕与李亮聪作为香港展的总策展人，并确定“三相城市：时间·空间·人间（Tri-ciprocal Cities: The Time, The Place, The People）”为策展主题与“城市创造”进行整合的互动扩展。本届双城双年展将努力实现在展品及开闭幕活动安排上的互动。
Curatorial Texts for Guidebook
《导览手册》，关于项目的策展文案，每个项目都由项目策展人撰写了300字左右的项目简介。
1
6 Under 60
Curator: Rochelle Steiner
6 Under 60 is a collaborative research endeavor and interactive multi-media exhibition organized and presented by the University of Southern California (USC) School of Architecture, School of Cinematic Arts and Roski School of Fine Arts. An interdisciplinary team of USC faculty, research associates, and students in architecture, design, curatorial practice, and interactive media have analyzed six cities that emerged or were transformed within the last 60 years— Chandigarh, Brasilia, Gaborone, Almere, Shenzhen, and Las Vegas.
The research investigates the original intentions, goals, catalysts and master plans of these six cities, how their progress unfolded, and the developments that have made these cities what they are today. The presentation includes empirical data about the population growth, quality of life, industrial growth, cultural vibrancy, and economic success of each city. Geographic, natural, social, political, and economic conditions over the past 60 years of their development is also considered, as well as how those aspects have affected the image of and position taken by each city, and both local and global outcomes.
The exhibition is an immersive environment with infographics and visual imagery presented on touch tables that invites visitors to explore the data about each city, while also drawing comparisons between and among them. Available information will include: original planning information and archival documents, architectural plans and maps, historic photographs and media representations, and graphic representations of data related to each of the six cities. The exhibition also includes moving images and sounds projected within the space that reflect the qualities of each city. A website will make a selection of information available to the wider public outside of Shenzhen.
Together the research and exhibition consider such questions as what differentiates planned cities from those that develop more organically; what do these cities have in common despite their emergence and growth under differing geographic, political, and economic conditions; and how do these six cities provide a model for the future of new cities?
Led by Rochelle Steiner, curator and Dean of the Roski School of Fine Arts, the Core Project Team members are: Qingyun Ma, Della & Harry MacDondald Dean’s Chair in Architecture, USC School of Architecture; Scott S. Fisher, Professor & Chair Interactive Media Division; Associate Dean of Research, Director Mobile & Environmental Media Lab, USC School of Cinematic Arts; Stefano di Martino, Director, M. Arch Program, Professor of Practice in Architecture, USC School of Architecture; and Jennifer Stein, Research Associate, Mobile & Environmental Media Lab, USC School of Cinematic Arts.Additional Principle Team members include: Sarah Loyer, Josh McVeigh-Schultz, Jon Rennie, Brettany Shannon and Kevin Tanaka.
Dozens of additional USC students from these disciplines have also been involved in all aspects of this project.
2 And Then It Became A City: Six Cities Under 60 Curator: David van der Leer
Since antiquity, new towns have been developed throughout the world—often as safe havens for rapidly growing populations, as testimonials to political dreams, or simply as places for production and prosperity. These planned cities are among the most ambitious and costly human undertakings realized.
From the middle of the twentieth century onwards, urbanization has increased rapidly, and the number of new planned towns has seen a steep incline in locations expected and unexpected, from Asia, the Middle East and Europe to remote locations in Africa and South America.
As a testament to the volume of new towns built since the 1950s, the multiplatform exhibition and then it became a city analyzes and documents everyday life in six planned cities under the age of sixty: Chandigarh (India, 1953), Brasilia (Brazil, 1960), Gaborone (Botswana, 1964), Las Vegas (U.S., 1960s), Almere (Netherlands, 1976), and Shenzhen (China, 1979).
Six artists—including video artists and documentarians—speculate on what it takes to turn new towns into cities that feel like lively places to both inhabitants and visitors: Is it the number and the size of its trees? Is it the diversity of possible leisure activities? Is it in a multiplicity of architectural languages, or the role of the arts and culture? Or is it in its traffic and commuting times, pollution, or crime rates? Or is it as simple as the patina cities accrue with the passing of time?
and then it became a city examines six new towns through the series of video pieces as well as a 3-week cycle of daily “bus-shops”—public workshops in a converted city bus—that take place around Shenzhen. Join the bus tours and learn about what it takes to make the dreams of architects, urban planners, politicians, and developers into livable, vibrant cities. The observations and speculations of and then it became a city may offer inspiration for the many new towns that are currently being built around the world.
and then it became a city includes newly commissioned works by Astrid Bussink (Netherlands), Wang Gongxin (China), Sam Green (U.S.A.), Cao Guimarães (Brazil), Miki Redelinghuys (South Africa), and Surabhi Sharma (India); and workshops by Mary Ann O'Donnell and Huang Jingjie (A.T.U.).
and then it became a city: six cities under sixty is organized in tandem with 6 Under 60, curated by Rochelle Steiner.
3 8 Urban Projects Curator: Jeffrey Johnson, Xiangning Li (311)
During the past three decades, China's unprecedented rate of urbanization has forever changed the way we think about and engage with the city. The physical and spatial transformation has necessitated radical new forms of urbanism. The contemporary Chinese city remains in perpetual change experiencing cycles of destruction, construction and reconstruction. Existing city centers are transformed overnight and vast rural landscapes are usurped and rapidly urbanized. New cities form where only villages existed a decade ago. What are these new urban models? How do they provide the framework for redefining the urban project?
Through the exhibition of eight contemporary projects, including Shenzhen Eye and Qianhai in Shenzhen, Jiading Ad Base and Rockbund in or near Shanghai, Shan-Shui and Xixi Wetland in Hangzhou, Ordos 20 + 10, and Zhongshan New Information Industry District, we will present a broad snapshot of urbanism in China today. With designs by both domestic and international studios, we hope to illustrate how China’s unique conditions and challenges have generated new urban modalities. Each project has been selected based on a set of critical issues or themes we feel define the urban project in China today, such as community, lifestyle, identity, harmony, ecology, economy, temporality, and preservation to name a few. Additionally, we selected the projects based on their location within a specific spatial condition that characterizes the unique contemporary urban terrain that has emerged over the past thirty years, including the peri-urban, suburbia, satellite cities, the infrastructural and networked, and the existing urban core. Due in part to these perpetually shifting conditions, we feel that each of the projects challenged the conventions of what seems to be outdated and obsolete ways of thinking about the city, yielding exceptional and, at times, radical new urban forms and strategies. Viewed together we hope the eight urban projects construct a conceptual Chinese city that begins to define a new urban paradigm.
Qianhai, James Corner Field Operations
Jiading Ad Base, Yung Ho Chang/Atelier FCJZ
Rockbund, David Chipperfield Architects
Hangzhou Shan-Shui, Steven Holl Architects
Shenzhen Eye, Urbanus and OMA
Ordos20+10, Qi Xin Atelier, FANG Media + 30 architectural firms
XiXi Wetland, WSP+ 10 architects and Woods Bagot Asia
Zhongshan New Information Industry District, Wu Zhiqiang/Shanghai Tongji Urban Planning & Design Institute
通过深圳眼、深圳前海规划、上海嘉定中广国际广告创意产业基地、上海洛克•外滩源、山水杭州（杭氧•杭锅地块国际旅游综合体设计）、杭州西溪国家湿地公园、鄂尔多斯20+10计划及中山信息产业新区（Zhongshan New Information Industry District）这八个当代城市项目的展览，我们将以简要呈现当今中国城市化的概况。借由国内外建筑事务所及工作室的设计，我们希望勾勒出中国特有的境况和挑战是如何产生新城市形态的。对上述每一个项目的选择，都是基于我们认为的与当今中国城市项目的定义有关的一系列重要问题及主题，比如社区、生活方式、身份、和谐、生态、经济、临时性及历史保护，等等。此外，选择这些项目也是基于它们具有特定空间情形的地理位置，这些情形决定了过去30年间出现的独特的当代都市地域，比如近郊城市、郊区、卫星城、基础设施和网络化相关项目，以及现存核心城区。我们认为在一定程度上，由于这些持续变化着的状况，那些可能阻碍我们对城市的设想，或是使全新的城市模式和战略，以及沦为陈词滥调的保守惯例，都受到了此次参展项目的挑战。我们希望八个城市项目可以一起在展览中建构一座概念性的中国城市，这座城市将开始勾勒出某种新的都市范例。
深圳前海规划，James Corner, Field Operations事务所
上海嘉定中广国际广告创意产业基地，张永和/非常建筑事务所
上海洛克•外滩源，戴卫•奇普菲尔德建筑事务所
山水杭州（杭氧•杭锅地块国际旅游综合体设计），Steven Holl建筑事务所
深圳眼，大都会建筑事务所OMA和深圳市都市实践设计建筑事务所
鄂尔多斯20+10计划，齐欣建筑, 方振宁+ 30 architectural firms
杭州西溪国家湿地公园，维思平+ 10 architects and Woods Bagot Asia
中山信息产业新区, 吴志强 /上海同济城市规划设计研究院
4 Chinese Cities in Two Views Curator: Dr. Keyang Tang
A Chinese City in Two Views aims to present the Chinese urban history in two correlated approaches. In one view, a city might be the sum of all its historical fragments and is often represented by its culminating stage. Observers of such cities usually turn to general typological principles that generate 'identikit' of them. In another view, Chinese cities are constantly changing entities with specific causes for their transformation. For such cities the purpose of our show is not only to provide established perspectives of a city but also to examine how it was transformed through time.
To juxtapose the two views is not only to highlight the methodological gaps in examining historical cities but to reveal that the tension between such views constitutes part of the urban histories. For this purpose, two group of cases are tactically selected from a large reservoir of research materials, showing both “canonical” Chinese cities and slices cut into their genealogy. For example, the Chang’an of the Sui and Tang dynasties can be called a 'city of cities', which embodies both a 'typical' construct of classical Chinese urban spaces and a particular moment of transition. Our show visualizes the aforementioned cities in both time and space. The design of the show pays special attention to two aspects of its presentation: how specific socio-historical context makes a certain representation of cities inevitable; and how the convention of representing urban spaces accordingly prescribes the circumstances of our modern practice.
This exhibition presents a multidisciplinary examination of the rapid state of change in China, currently the fastest process of urbanization ever recorded in human history, based on the editorial work of Urban China magazine founded in 2005. Urban China is the only Chinese magazine that researches urbanism in China, which has accumulated an archive of photographs, texts, diagrams, and artifacts to translate the networks, policies, and processes that affect how cities and the people within them grow and change, both formally and informally, as they adapt to multiple influences. Now that more than half of the world’s population lives in urban areas, Urban China aims to be a global think tank for artistic production and urban activism that offers ways of understanding not only China’s sociopolitical conditions but also how individuals can have more influence on where and how we live.
The exhibition Informal China could be taken as a magazine “remixed” in the form of wallpaper, which offers a concise narrative of the history of China’s urbanization, presented as an ongoing struggle between systems of control and laissez-faire, literally “let it be.” The text is primarily two colors—with red representing formal, ordered, or planned governmental decisions, and blue representing informal, organic, or ad-hoc reactions to policies or events. The narrative begins with an explanation of China as an agricultural civilization, an ideal, ordered way of life confronted by threats such as barbarians and the Silk Road, the ancient international trade system, which explains China’s walled-state with designated gates allowing for informal trade. In addition to color distinctions, the wallpaper is organized in three sections from top to bottom, with the top emphasizing national beliefs and policies, the middle highlighting how that impacts city architecture, and the bottom showing the effect on the families and its objects. The numbers correspond to key historical events or ideas that have and continue to shape policies and planning; economic growth; architecture; and unregulated, informal transformation. Informal systems—spatial, economic, and utilitarian—show their abilities in subverting the highly structured nature of planned Chinese.
In contemporary architecture, the scale of certain projects is such that the architect becomes not only a designer of buildings but also a city planner and landscape architect, reflecting this Biennale's theme: Architecture creates cities. Cites create architecture. Each of the projects selected will, when complete, have a transformative affect on the urban fabric of Shenzhen as well as on the lives and habits of millions of its citizens. Beyond Shenzhen, each of the projects also serve as case study in terms of complexity and scale, reflecting Shenzhen's and China's leading position in the world as a laboratory for urban and architectural experimentation.
In many ways, the buildings being built in Shenzhen today are setting international standards for each of their respective building types. Shenzhen Builds presents five major projects for Shenzhen that are currently in progress - either in design or in construction - and includes the work of both international and Chinese architects: the Stock Exchange by OMA/Rem Koolhaas, the Museum of Contemporary Art and Urbanism by Wolf Prix / Coop Himmelb(l)au, Terminal 3 at Shenzhen Bao’an International Airport by Massimiliano Fuksas, Qianhai Metro Plaza by Urbanus, and Shenzhen TV Tower by Atelier FCJZ/Yung Ho Chang. The exhibit focuses on the architect's design process and how it affects environmental, architectural and urban design issues in the city of Shenzhen. The architects have developed their own presentation using models, animations, and drawings, including developmental materials from their offices to demonstrate how these projects were conceived and developed.
In 1979, Shenzhen was a rural area, organized into collective fishing villages, lychee orchards, and oyster farms. From 1979 through 2010, the Municipality’s estimated population grew from 300,000 to over 13 million people, its GDP exploded from $US 308 million to over $US 149 billion, and agricultural land vanished, being replaced by international ports, industrial parks, residential areas, shopping malls, and green space. Indeed, Shenzhen’s boom redefined the scale and intensity of rural urbanization within China and set new standards for developing nations looking to modernize.
BOOM! Shenzhen has five elements, which implode the idea of a timeline to contextualize the lived, environmental, and philosophical meanings of the SEZ’s short, yet volatile history.
Boom! centerpiece mushroom cloud
CAO Taiming (曹泰铭) and CHEN Yue (陈越) playfully literalize the idea of a boom, with thousands of tiny figures scaling a mushroom cloud that takes its silhouette from a graph of the Municipality’s annual GDP.
Family Values bas-relief rendering of Shenzhen’s housing market
Zhang Yiwei (张轶伟) humanizes one of the more controversial of Shenzhen’s booms – the price of housing, giving viewers insight into how millions of immigrants have inhabited the SEZ.
Futures bas-relief of Shenzhen stock market index
Hong Wudi (洪吴迪) maps the abstract structure of market trading and investment in order to track how capital localization has transformed the cityscape.
Meltdowns sculpture based on the SEZ’s expanding urban borders
Wan Yan (万妍) lyrically points to the uncontrolled and unexpected geological affects of urbanization by melting a wax candle map of Shenzhen.
Shenzhen Speed flash video
Zhang Xueshi (张雪石) deconstructs our fetishization of fast track development, by interpreting key dates in the SEZ’s history as a hungry snake that “eats” history.
The modern architecture biennale started in 1980, when Paolo Portoghesi organized the first such an event in Venice. Conceived to alternate with the venerable Venice Art Biennale, the first International Architecture Biennale Venice also marked the public opening of the arsenale, the city’s medieval armory and military shipyard. This Biennale, entitled The Presence of the Past, instantly made the recurring event into the place to understand current trends and achievements in the field of architecture.
For the event’s core, Portoghesi devised a street of facades. Called the Strada Novissima, or Newest Street, it occupied the central nave of the arsenale’s corderia, or rope making factory. Each of the twenty invited architects were asked to design a façade, which was constructed by scenic artists from Rome’s Cinecitta studio, behind which they could display models, drawings, and photographs of their work. Behind the facade, the architects designed individual exhibits of their most current work.
The Street is organized in a similar way. Designed by the 12 architects selected by the curator in consultation with leading critics worldwide, the installations and facades create the “street” even as the “street” provides the structural basis of the architecture. Architecture Creates Cities. Cities Create Architecture. Unlike the 1980 Venice exhibition, however, the architects of the Street have been encouraged to design facades – or, as it has turned out, non-facades – that are spatial and material rather than two-dimensional.
Portoghesi successfully identified those architects – then in their 30’s and 40’s - who would become leaders in the coming decades: Rem Koolhaas, Frank Gehry, and Arata Isozaki amongst them. He did so at a time when the world of architectural innovation was spinning on an unusually unified intellectual axis – or, at least, so it seemed in the late 1970’s. Despite a worldwide common emphasis on sustainability, a renewed interest in what might be called the “presence of the future”, and a deeper bond between the practices of architecture, landscape design and urbanism, it is not clear that the work of the 12 architects featured here can be seen as unified – even loosely - under a single theoretical banner today. Nonetheless, it is certain that – like the 1980 Venice Biennale – a future perspective will see our contemporary architecture in ways that we cannot see ourselves today.
Participating Architects:
Alejandro Aravena, Arquitecto (Santiago, Chile)
Aranda Lasch (New York, US)
Atelier Deshaus (Shanghai, China)
Fake Industries Architectural Agonism (NYC, US and Barcelona, Spain)
Hashim Sarkis Studios (Beirut, Lebanon and Cambridge, US)
J. Mayer H. (Berlin, Germany)
JohnstonMarkLee (Los Angeles, CA)
MAD Architecture (Beijing, China)
Mass Studies (Seoul, Korea)
Open Architecture (Beijing, China)
SO-IL (New York, US)
Spbr (Sao Paolo, Brazil)
9 The Presence of the Past Revisited: The 1980 Venice Architecture Biennale Curator: Aaron Betsky
The success of the 1980 Venice Biennale, The Presence of the Past, was partially the result of the fact that the discipline was transforming into a fully integrated part of the global culture industry. No longer either the technical pursuit of efficient building, or a moral crusade to literally build a better society, architecture was becoming a contested and fractured machine for the production of images meant to be communicated, consumed, and reproduced according to diverse aesthetic, political, and commercial agendas. The year of the first biennale saw Philip Johnson on the cover of Time Magazine holding a model of his AT&T Building design, and the Biennale itself was as much a press event as an exhibition.
As a combination of cathedral, shopping mall, and linear theater, the Strada managed to sum up the central themes coursing through the field of architecture. These included the uses of classicism, the importance of the traditional street and vernacular forms, the ability of architecture to communicate abstract ideas in concrete form, and the power of architecture to evoke mythic narratives in abstract form, color, and geometry.
At this biennale, we will present interviews with most of the surviving participants in the Strada. They will reminisce about the Biennale itself, the meaning of their work, and the relevance their forms still have today. In a period in which Postmodernism, which became the catch-phrase for the various experiments in which they were engaged, is becoming of interest again to many students of architecture, their thoughts will be especially relevant. These ‘talking heads’ from three decades ago, speaking through the still nascent technology of video conferencing, will acts as ghosts inside the contemporary biennale’s machine, reminding us of the continued presence and importance of the past.
List interviewees (To be confirmed)
Frank Gehry
Michael Graves
Allan Greenberg
Leon Krier
Thomas Gordon Smith
Robert Stern
Stanley Tigerman
10 Counterpart Cities
Climate Change and Co-Operative Action in Hong Kong and Shenzhen Curators: Jonathan Solomon, Dorothy Tang
How can the cities of Hong Kong and Shenzhen work together collaboratively to address the vulnerability of their interdependent infrastructure to the effects of climate change? An exhibition organized by the University of Hong Kong for the 2011 Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism brings together six design teams from both cities to research and propose collaborative responses to the systemic challenges of Climate Change in the region.
Hong Kong and Shenzhen are counterpart cities in a single interdependent system. Hong Kong, the former colony turned global trading and finance hub, now a Special Administrative Region of China; Shenzhen, the so-called ‘instant city’ conceived by Deng Xiaoping as an experiment in capitalism, now among the nation’s most dynamic of cities. Joined by the world’s busiest border crossing, Hong Kong and Shenzhen already form a single metropolis—of sorts. While diverse urban systems in the two cities are already highly integrated many barriers to collaborative action between them persist, as do other meaningful links between Hong Kong and Shenzhen and the larger Pearl River Delta Megalopolis including Macau, Zhuhai and Guangzhou.
Climate change, both the local effects of global climate shifts and the results of direct human intervention on the ecology of the delta, will ultimately have profound effects on the region: extreme conditions of drought and rain threaten the steady provision of water for the two cities; escalated storm surges and sea level rise endanger the economic productivity of their ports; and increased flood frequencies, especially along the Shenzhen River, require new infrastructural strategies. These are examples of the systemic nature of the challenge of climate change, revealing the interdependencies between Shenzhen and Hong Kong. The six design teams explore architectural futures for three such systems, freshwater provision, ports infrastructure, and the ecology of deep bay. How can competition over economic productivity, integrated natural resource management, and the physical proximity of the two cities that have created one of the most dynamic urban regions in the world be marshaled to generate collaborative visions for the future of the region?
In exhibitions of architecture, it is typical to represent a structure with drawings, models or photographs. Notable full-scale exceptions to this rule have become more and more integral to architectural exhibitions, recalling Aldo Rossi's Teatro del Mundo at the 1980 Venice Biennale and the temporary summer pavilions built at MoMA PS1 in New York and the Serpentine Gallery in London, including works by Frank Gehry, Zaha Hadid and Jean Nouvel. The Ultra-Light Village offers five architects and/or teams of architects the opportunity to explore their ideas in full-scale within an important civic space. All of the participants have been nominated by noted international critics, curators, and writers from the field of architecture and each of them has demonstrated not only an ability to design innovative structures but the ability to communicate ideas through the process of building. The Ultra-Light Village will be constructed on the upper plaza of the Shenzhen Civic Center.
Unlike permanent architecture, these structures must confront several challenges and opportunities. As the plaza is the uppermost surface of a multi-level structure, no foundations can be excavated and the structure cannot be anchored directly to the ground. Hence, the designers are challenged to conceive of structures using the lightest weight materials and the to use them in the most efficient way. Inasmuch, the structures are conceived in the spirit of the legendary engineer and theoretician Buckminster Fuller, whose famously polemic question: "How much does your building weigh"? pointed to the inefficiencies of traditional construction. As the biennale is addressing themes of sustainability, Fuller's provocation is even more relevant.
The use of lightweight materials provokes other questions about the nature of architecture, specifically ideas about permanent versus transitory construction and how those relative concepts affect the way we think about the cities. In this instance of the Ultra-Light Village, it will become nomadic midway through the Biennale, with each of the structures being re-installed in various parts of the city.
Participating Architects:
Amateur Architecture Studio (Hangzhou, China)
Clavel Arquitectos (Murcia, Spain)
MOS (New York, USA)
OBRA (New York, USA)
Studio Up (Zagreb, Croatia)
Wei Chun Yu (Changsha, China)
超轻村 策展人：泰伦斯•瑞莱
使用图纸、模型和照片表现结构是建筑展中的典型做法。对这一规则做出全方位的并惹人注目的改动则日益成为建筑展不可或缺的部分，回想一下1980年威尼斯双年展上阿尔多•罗西（Aldo Rossi）的世界剧院（Teatro del Mundo）以及在纽约的MoMA PS1DE 短期夏季展馆和伦敦的蛇形画廊，包括法兰克•盖瑞（Frank Gehry）、扎哈•哈迪德（Zaha Hadid）和让•努维尔（Jean Nouvel）的作品。“超轻村”为五位建筑师并/或五个建筑师小组提供契机，使他们能够在一个重要的城市空间内全方位的探索他们的创见。所有的参与者都是由著名的国际批评家、策展人及建筑领域的写作者提名，他们中的每一个人都不只是在设计创新式建造方面显得才华出众，并且也擅长在建造过程中就自己的创意创见与人沟通。“超轻村”将在深圳市民中心的上层广场建设完成。
12 Ghana ThinkTank: Developing the First World. Curator: John E. Wing
The Ghana ThinkTank is a network of Third World think tanks devising solutions for First World problems. The network began with think tanks in Ghana, Cuba and El Salvador, and has since expanded to include Gaza Strip, Iran, Serbia, Mexico, and a group of incarcerated girls in the U.S. Prison system.
Problems are collected in cities in the developed world, then sent to the think tanks to analyze. They devise solutions, which are implemented back in the community where the problems originated. The results are then delivered back to the think tanks, so they can evaluate the success or failure of their proposals. The exhibition consists of stylized displays demonstrating each stage of the process. The audience is invited to submit their problems and to help implement the solutions.
The project has been commissioned in cities worldwide including NY, NY; Cardiff, Wales; Liverpool, England; and Karlsruhe, Germany.
The GhanaThinkTank in Shenzhen is John Ewing, Carmen Montoya and Christopher Robbins.
13 The Favela Painting Project Curator: Jeroen Koolhaas, Dre Urhahn
As people migrate to urban areas in masses, many cities are growing at an unprecedented rate. A majority of these new city dwellers live in informal additions to the urban landscape, often unwanted, neglected or simply forgotten. Our world faces the challenge to find creative solutions to include these areas and their inhabitants into society.
Art is a unique messenger, crossing borders and building bridges. If implemented in an intelligent way it can be powerful weapon to catalyze social change. This is the main objective of the Favela Painting Project, founded by Dutch artists Dre Urhahn and Jeroen Koolhaas. Turning public urban spaces in deprived places into inspiring and monumental artworks.
Offering local youth education- and job opportunities, while making their community a nicer place to live in. A strong social acupuncture that could unlock local potential, boost the pride and self esteem and send a strong positive message to the outside world.
The Favela Painting Project started in 2005 in Rio de Janeiro. A series of projects was set up in Vila Cruzeiro and quickly spread to other places like Santa Marta. Together with local youth they created amazing results that became monuments in Rio’s urban landscape, changed public opinion and attracted massive coverage by international media.
Favela Painting is not about cosmetically ‘camouflaging’ an area but aims at creating lasting effects. Using creativity and imagination to rethink, redesign and thereby rebrand a community as a whole. At the moment Urhahn and Koolhaas are working on a large-scale community project in North Philadelphia while working on several proposals for Rio and other cities around the world.
The Favela Painting Foundation supports the Favela Painting Project and works on funding, education programs and the maintenance of the murals. It also creates extra opportunities that rise from the project like the possibility of setting up small-scale facilities for paint production in the favelas they work in.
As the possibilities are endless the foundation is always on the lookout for partners to help make this dream possible around the world. Please email us on info@favelapainting.com for more information on how to get involved!
The Favela Painting in Shenzhen will take place in the old buildings of Luohu Cigarette Factory.
14 Rebirth Brick Development 2011 Curator: Jiakun Liu
The “Rebirth brick Program” started in July 2008, following after May 12th 2008, Wenchuan earthquake. The plan was originally designed to help local people conduct self-help production and reconstruction work. The basic idea of the rebirth brick is: taking the fractured ruins materials as aggregate, blending the cutting-off straw as fiber, adding cement, etc., and then making light bricks by local brick factories for the purpose of reconstruction work in the affected area. The rebirth brick is not only the ‘regeneration’ of waste materials, but also the mental and emotional 'regeneration' of post-disaster reconstruction.
As reconstruction work unfolded, there emerged problems, such as rearrangement and planning of lands, large-scale and rapid production of construction materials, and small-scale production by individual manual work can not satisfy the reality requirements. Therefore, factories were built in the affected areas for machinery production of rebirth bricks, which featured more stable quality and high-efficiency production. As a kind of cheap and fundamental construction materials, rebirth bricks entered formal and permanent construction material market, and were broadly used in reconstruction projects in villages.
As reconstruction work of the affected areas completed gradually, rebirth brick is not limited to the concept of earthquake emergency relief work anymore. It enters the field of environmental protection — ‘regenerated utilization of waste materials of demolished buildings’. Current products are becoming more diversified, such as permeable base, permeable floor tile, load-bearing standard brick, hollow fender brick, surface brick etc.. Now, these bricks are used in urban public buildings. It is believed that the establishment of rebirth brick factory and research and production of relative products will have a broader future.
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