联合知识分享会 knowledge sharing meeting

3月2日邵忠基金会的全体成员把知识分享会带到了场域建筑工作室
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以下摘自邵忠基金会博客:
http://www.shaofoundation.org.cn/cn/blog/archives/468#more-468

本周一我们把知识分享会带到场域建筑工作室。邵忠基金会的全体员工,场域建筑,开放建筑的黄文菁,《北京青年报》的赵晓笠,摄影师何政东,还有 ELEV 设计事务所一同展开了知识的交流与碰撞。

知识分享会开始,首先由欧宁向大家介绍知识分享会的背景,其如何从邵忠基金会内部工作人员的知识分享活动逐步扩展到一个不同领域交流的平台。

基金会的潘赫讲述了民主刚果的首都金沙萨的历史和现实,在其中,由殖民过程与反殖民困境所塑造的金沙萨市民矛盾心态是他的讲述重点,金沙萨市民与西方在价值观念与生活方式上的相异点也被强调。潘赫的讲述是对金沙萨精神世界的探索而非对物理世界的复述。这种作为第三者去探索金沙萨精神世界行为是否有问题,且虚伪呢?

接下来,梁井宇代表场域建筑工作室讲述了为深圳双年展准备展览组织计划。他提出的四个展览方向是:「三条主线」,「考古学」,「时间轴」和「虚拟/实体」。「三条主线」模仿深圳城市的主线条,展览成为城市规划缩影——展品根据深圳城市三个特征分成三大类,然后再如同街区般细分类。「考古学」假设我们身处未来讨论深圳与城市性等相关议题,如同发现、发掘城市化石、遗留物后般安排参展作品。「时间轴」设想的是一个按时间排列并在空间上连续的展览,同时,展览里包括一个贯穿着过去、现在与未来的时间机器。最后,「虚拟/实体」从科技重新塑造我们日常生活和城市出发,使参观者穿梭于错落的实体与虚拟展区中。

李如一简单介绍了未来学家亚当·格林菲(Adam Greenfield)即将发表的新书《The City is Here For You to Use》(城市是拿来用的)。作者假设他在上一本书《Everyware》(隐在电脑)中构想的近未来世界已经实现,并以此为基础,从城市学的角度对即将到来的高度联网化生活进行了论述。格林菲发明了「onto」和「ontome」这两个新词,作为对布鲁斯·斯特灵(Bruce Sterling)的「spime」一词的替代,这三个词汇所描述的对象都是能够感知周围环境、并能被准确定位的下一代「物件」。

何政东讲述了他最近一个拍摄单身生活者的家居环境的项目。「虽然这是一个被拍滥了的题材,但我还是想去拍。也许我会拍得不一样?这要做完了才知道。我曾经很执着于「有想法的创作」,但近期开始怀疑这是否有必要。这个拍摄项目就没什么想法,但却会渗入我个人长期的关注与体验。最后效果即使未必出彩,起码我自己会在过程中得到快乐吧!」 从这个项目何政东又接着讲述了一些有趣的项目,虽然都是未实现的想法,但引发了大家对这些项目和对前面知识分享者所讲话题的热烈讨论。

This week we brought Shao Foundation’s knowledge sharing meeting to the studio of Approach Architecture. The entire SF team, members of Approach Architecture, Huang Wenjing from O.P.E.N. Architecture, Zhao Xiaoli from Beijing Youth Daily, photographer Hotzing Tone, and Elevation Workshop had the opportunity to exchange with each other some interesting ideas and information.

The meeting started. First of all, Ou Ning gave a brief introduction of the meeting’s background. It started as an internal staff meeting sharing information from our respective areas of expertise, and has later evolved into a learning platform for people from the outside as well.

Pan He from Shao Foundation presented us the history and the current condition of Kinshasa, the capital of Democratic Republic of the Congo. Pan focused on the ambivalent mentality of the Kinshasa people, a dilemma resulting from the colonialisation and anti-colonialisation in recent years. On the other hand, the differences between Kinshasa and the West in terms of values and lifestyle were mentioned. Pan’s presentation was an exploration of Kinshasa’s spiritual world, rather than the description of its physical reality. Is it problematic — or even hypocritical — for a third-party person to do this kind of exploration?

Liang Jingyu from Approach Architecture outlined four tentative possibilities for the organisation and curation of the Shenzhen Biennale: The Three Paths, Archaeology, Timeline and Virtual / Reality. The Three Paths is a proposal to mimic Shenzhen’s urban condition in miniature, where exhibitions are grouped broadly within ‘districts’ and further subdivided into ‘blocks’. Archaeology explores Shenzhen and issues of urbanity as if we are from the future and have discovered the remains of a city — an incomplete record of ruins, fossils, and remains. Timeline is envisaged as a spatially continuous exhibition that groups works in terms of date, including a ‘time machine’ that explores the ancient past and the distant future. Finally, Virtual / Reality explores the way in which technology pervades our everyday lives and shapes our cities, where exhibits alternate between the ‘virtual’ and the ‘real’, as a tapestry that blurs the distinction between them.

Lawrence gave a brief introduction of the futurist Adam Greenfield and his upcoming book The City is Here For You to Use. Set in a near-future world in which the vision described in Greenfield’s previous book Everyware is realised, the book deals with the imminent über-networked life from the perspective of urbanism. Greenfield coined the neologism ‘onto’ and ‘ontome’ as alternatives to Bruce Sterling’s ’spime’, all of which are used to refer to the context-awared and geo-locatable object of the next generation.

Hotzing Tone told us his current project of photographing single people’s living environment. ‘Although this is an abused subject matter, I still see potential in it. Maybe I can do it differently? I won’t know until I try. I used to be obsessed with conceptual works, but recently I have been thinking whether or not this is necessary. This current project is by no means conceptual, but you can see all my long-term concerns and experiences in the photos. Even if the end result is not satisfactory, I’m going to have a fun ride nevertheless!’ Then he continued and described a few other interesting projects and ideas of his, which triggered extensive discussions (which also touched upon other topics from the meeting).

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