摘要
2017年深港城市\建筑双城双年展(后文简称深双)的评论,该展于2017年12月15日在南头古城开幕。策展人是本地建筑师刘晓都、孟岩及艺术家侯瀚如。考虑到过去20年中全球各地雨后春笋般涌现的建筑双年展,这篇评论将2017年深双置入一个关于建筑双年展理念发展的较宏大框架之中。它延续了亚历山大·佐尼斯对当今建筑双年展"除提供一个让建筑师交流思想的机会之外"^([1])扮演之角色的拷问。这与深双的出发点尤为相关,因其组织者声称这不是"艺术展柜"式的传统类型双年展,而试图展现与周遭高速城市化进程直接相关的社会、城市与建筑活动。本文包括3部分:其一,简要回顾全球双年展的起源、意图和崛起;其二,深双自2005年-2017年在深圳语境下的发展;其三,评论本届深双的架构、策展思路和执行手段。结论则归纳了2017年深双在建筑双年展世界中的位置。
This report provides a critical review of the 2017 Bi- City Biennale of Urbanism/Architecture （hereafter： UABB）, which opened to the public inside the Nantou Historic Urban Village in Shenzhen on December 15th 2017. This year marked the 7th edition, curated by locally based architects LIU Xiaodu and MENG Yan with artist/critic HOU Hanru. Considering the dramatic increase in architectural Biennales that have been sprouting up all around the world over the past two decades, this review places the 2017 UABB in a larger framework of the development of the concept of architectural biennales worldwide. It continues Alexander Tzonis＇ questioning of what the role is today for Biennales of Architecture, ＂apart from offering a unique opportunity to architects to exchange ideas＂l^l This is partioalarly relevant considering the starting point of the UABB, claimed by its organizers to be conceived not as an archetypical ＂state-ofthe-art-showcase＂ type of Architectural Biennale, but initiated to showcase social, urban and architectural implementations directly related to the rapid urbanization process of its immediate context. The paper is set up in three parts. Firstly, a general overview of the origin, intention and rise of Biennales worldwide. Secondly, the development of the UABB in the Shenzhen context, from 2005-2017. Thirdly, a review of the current 2017 UABB＇s setup, curatorial approach and implementation. It ends with a conclusion that reflects the positioning of the 2017 UABB in the world of Architectural Biennales.
出处
《世界建筑》
2018年第1期141-144,共4页
World Architecture
