大 型 全 球 巡 展 · 中 国 站 2008年 3月 21日 - 4月 6日 上 海 展 法国动态城市基金会+城市中国+上海证大现代艺术馆+同济大学 IVM + Urban China + Zendai MOMA + Tongji 1 新闻通告 The Street Belongs to All of Us! News Release

本 次 中 国 艺 术 家 的 展 览 部 分 为 《 城 市 中 国 》 杂 志 和 上 海 证 大 现 代 艺 术 馆 在 法 国 动 态 城 市 基 金 会 /PSA标 致 雪 铁 龙 出 品 的 国 际 性 展 览 “ 街 道 是 我 们 … … 大 家 的 ！ ” 的 框 架 下 共 同 推 出 。

This exhibition of chinese artists is presented by Urban China and Zendai Museum in the frame of the international exhibition "The street belongs to...all of us!" produced by Institut pour la ville en mouvement/PSA Peugeot Citroen (IVM City on the Move). 在世界上的每个角落，城市都在扩张。以农村为主体的很多国家，向城镇流动的人口正不断地增长。城市化很高的国家，都市生 活方式正日趋涵盖更广泛的领域。与之并行的是，经济，社会，文化的发展已经渗入互溶到各个不断增多不断发展的专业中，要 求更广阔和更多样化的居住和工作空间。在这个背景下，城市交通延伸得越来越广阔，并且就某方面而言，面临着新的挑战。现 在不再仅仅是为一两个理由而“交通”的问题，而成为通向真实的都市生活的途径，借助交通出行，人们才可以随时接触到城 市物质文化脉搏的各个方面。工作、住房、教育、保健、休闲、消费……这些日常的需求促进了人们在城市空间中越来越多的运 动。我们认为，“机动性”已经成为一种“平等共享”的权利，而人们实现大多数其他权利，都依赖于这一“机动权”所能达到 的程度。城市功能运行在私人日常生活和商业活动中的重要性，也意味着我们需要对城市交通的时间、地点等的质量付出更多的 关注。此外，城市的扩张也引发了关于多峰性、交叉性、可达性、安全性，以及发展、规模和环境等方面的问题。解决这些问题 需要新的方法，特别需要打破城市研究中不同专业和学科之间的屏障。横向的研究方法把原本各自为营的的专业学科连接起来。 教育是为了公众服务，反之亦然。这些方面正是法国动态城市基金会研究的目标。它的学术与战略指导委员会成员的多样性、它 的项目选择以及运作方式及理念也因此而生。

法国动态城市基金会是由标致雪铁龙汽车集团于2000年6月发起成立的。该基金会旨在为城市机动性提出创新性的解决方案。其 汇集了企业界和学术界的代表、研究人员、社会从业人员、文化部门、志愿组织，以及各市政机构，让他们共同为一些研究项目 联合展开工作。为寻求具体的解决方案，其推动国际间的比较分析，找出具有独创性的城市规划建设和建筑设计方式。在亚洲， 美洲，非洲和欧洲的城市，动态城市基金会调动了不同学科的专家学者，传播知识和提高公众意识，以此应对当今城市社会的机 动性挑战。

法国动态城市基金会从2001年就开始对中国城市进行资源投入并开展具体项目。这些项目包括在成都、北京这些在交通和机动性 发展问题上都面临很大挑战的城市，举行大型的国际论坛。而上海、武汉、广东和重庆的城市工作室则将欧洲和中国的专家联合 起来，对这些问题进行探讨并配合举办建筑和城市设计的主题展览。此外，基金会在同济大学设立城市机动性国际教席，每年三 次邀请世界各地的城市规划与交通专家到上海举办讲座；基金会还举办以可持续机动性为主题的国际建筑竞赛，吸引了欧洲建筑 学院和中国大学共约80位在校大学生组队参加竞赛；最后，基金会还与中国的专业期刊杂志合作，合作出版研究成果和专著。

“街道是我们……大家的”大展于4年前开始在巴黎进行巡回展览，它通过视听体验、个人参与、图表呈现、考察研究、建筑及城 市设计项目以及上百张来自大型国际新闻社的图片来解读分布于五大洲的各个城市。它是与街道有关的一系列事件和项目的一部 分，与很多不同的合作者一起合作发展。

2 国际巡展 | 法国动态城市基金会

Mireille Apel-Muller 法国动态城市基金会的总代表。

François Ascher 社会学家，城市规划者，法国动态城市基金会科学与策略委员会的主席，法国城市规划学院的教授。

Bruno Badiche 影像制作者，Malice 图片库的视听设计以及制作工作室主任。

François Bellanger 运输咨询部主任。

Éric Charmes 法国城市规划学院的社会学家、讲师和研究员。

Didier Rebois 建筑师，巴黎卫奈特建筑学校和法国城市规划学院的教师。他是Europan机构的主任，该机构致力于在欧洲为新生建筑师组织 与都市化主题相关的竞赛。 街道是我们行走、生活、工作、游行、挤拥、有时甚至是碰撞的地方。一系列活动在此相交、碰撞，使它成为一个相遇和冲突 的地方。在世界所有的城市，都存在同样的问题：街道是为谁，又是为什么事物而存在？街道属于谁？谁在决定街道？控制街 道？监视街道？我们该如何缓解街道的速度、各种交通、以及居民、路人和店主的需求？我们该怎样使街道变得明了、流畅、 友好？街道被多少广告、交易、自由表达以及艺术占领才不算太多？……

在中国特殊的公共语境以及在大规模城市化进程中所体现出来的机动车优先的街道使用状态下，这些问题显得尤为紧迫。街 道，是现代城市中人流、物流和信息流的主要载体，但在有限的空间里，日趋多样化的功能使街道的使用者之间冲突和矛盾也 随之加深。怎样让今天的城市街道成为聚合的场所而不是分隔的空间？如何改善街道空间的共居、分享？

针对这一问题，“街道是我们……大家的！”全球巡展来到中国。展览由总部设在巴黎的法国动态城市基金会（IVM）发起， 中国展区的内容由国内最先锋的城市杂志《城市中国》主持策划，并联合同济大学和上海证大现代艺术馆共同主办。中国展除 了保留欧洲展的全部核心内容外，还将融入中国本土街道生活的新内容。通过对比观察欧洲与中国城市之间在文化、技术和认 识上的差异，丰富展览传达的信息。这些内容将与法国巴黎街道展首展的内容以对话的方式结合在一起，并按照街道展的不同 板块主题进行内容分类。主题包括“街道管制”、“公共空间”、“街道媒介”和“街道生态”等，其中法国部分的内容侧重 于对全球性的街道问题进行框架性的梳理，而中国部分的内容则侧重于对多样性的街道生活及其质感的描绘。

动态城市基金会成立于2000年6月，是一个由标致雪铁龙汽车集团赞助的非盈利性质的学术组织，其宗旨是通过参与或举办 展览、研讨会、实验项目等多种形式的活动，推动社会各界对城市交通与机动性问题的探讨，寻求革新性的解决方案；《城市 中国》杂志则是中国第一本真正意义上的城市杂志，也是一本结合了深层问题和浅层表述、正统的官方话语和生动的民间叙 事、面向未来的主题性媒体平台。双方都致力于团结企业界和学术界，以及社会各领域的专家、志愿者和决策者，与政府部门 合作，共同开展行动计划。同时，中国巡展的主办方之一——上海证大现代艺术馆——也将在今年推出名为“介入366”的活 动，旨在推动艺术走出美术馆，进入街道社区和公共空间。相信这一有关城市公共空间的合作能够在促进政府和民众交流、缓 解不同使用者之间的矛盾方面起到积极作用。

3 中国展 | 合作策展人

姜珺 1974年生于湖北，设计师与评论家。长期以各种方式从事城市研究和实验创作，2003年下旬在广州成立并主持下划线工作室 (Underline Office)，考察城市动态对设计现象的驱动关系，潜在秩序的显见结构以及自动生成的设计机制；2004年底开始着 手主编《城市中国》(Urban China)杂志，并同时撰写编辑《超中国》一书。现工作和生活在广州、上海、北京三地。

沈其斌 1966年5月7日生于江苏宜兴，2002至2003年期间担任南京圣划艺术中心艺术总监，2003年至2006年担任上海多伦现代美 术馆执行馆长。现为上海证大现代艺术馆馆长，中央美术学院艺术管理系硕士进修班特聘授课专家，生活和工作于上海。

史建 1962年生于天津，长期从事城市/建筑文化评论与研究，以及相关图书、展览的策划、编辑工作。现任北京一石文化传播有限 责任公司策划总监。

朱晔 1973年10月生，1997年毕业于重庆建筑大学建筑城规学院建筑系。2005年7月起任《城市中国》执行主编。2005年12月合 伙创办“嗯工作室”进行城市的可能性研究。同时，以独立艺术家与评论人身份进行文字、影像及艺术创作。

卓健 法国政府许可职业建筑师，曾旅居巴黎7年并为推动中欧在建筑与城市研究领域的交流与合发挥重要作用。2007年获得法国 国立桥路大学城市规划博士学位。他的研究课题与城市机动性空间的规划、设计和管理密切相关，并涉及中欧交通政策比较研 究、城市交通与城市规划关系研究以及交通出行行为分析研究。现任上海同济大学城市规划学院城市规划系副教授、法国动态 城市基金会驻中国首席代表。 街道属于我们大家吗？对这个问题的回答可以转换为：街道是否具备公共性？我们不妨以街道的私密作为公共性的对立面，通 过对街道私密性的考察来探讨街道的公共性问题。

一、功能私密与景观化 街道空间由其两旁的不断延伸的建筑物限定，这些建筑物大量的是非公共建筑，它们的空间属性决定了其使用功能、内部结 构、使用权属、土地状况等呈现为非公共状态。哪怕我们进入了建筑物并且与之发生诸如公务、居住、消费等空间行为关系， 建筑物空间的生产方式与权力关系也不属于能够体察的范围。这些非公共建筑物大多由城市规划及空间政治与经济权力所决 定，其空间生产方式上的隐蔽性，使得公众对于它们所属的街道大多停留于视觉观察，此时街道仅以其围合建筑的功能之态呈 现为连续的立面景观。

二、机制私密与权力化 如果街道两旁的建筑是公共建筑呢？比如政府公共机构、美术馆、博物馆、医院、书店等等。我们可以根据这些公共建筑的属 性及其与公众的关系，划分为权力公共建筑和非权力公共建筑，或者赢利性公共建筑和非赢利性公共建筑。这样一来，大量的 公共建筑就又掉入了向权力倾斜的单极模式。官僚制、技术权力、信息与供需的不平等，使得这些建筑的公共性仅呈现为一种 姿态，它们不用接受公共审视，进而得以在公众视野之中招摇过市或秘密隐退。因为现实社会中造就这些不平等的机制本身就 以科层制的方式进行结构，并且以职能和技术垄断的权力，隐蔽于公共视野之外。

三、行为私密与技术化 在经济流、交通流、信息流作为城市首要需求的时代，技术成为城市生活方式改变的推动力量，海德格尔说，机械向这个时代 “展示了一个明确的通知特征，一种明确的规训和独特的征服意识”。柯布西耶则在《光明城市》（The Radiant City）中以 现代主义的激情欢呼一个新巴黎的诞生，这样的巴黎以高楼和马路的大尺度带来现代化的光明，现代交通的功能被赋予了时代 精神的象征意义，他说：“我们的街道不再起作用，街道是一个过时的观念，不应该存在街道这种东西，我们应该创作一些新 东西来代替街道。”这创造的新东西就是以汽车为核心的机器美学和技术崇拜。

策展人前言1[Curator's Prologue1] 4

街道的公共性与看不见的私密 － 朱晔

汽车首先改变了街道的公共特征。中国的城市化进程伴随着私人汽车数量的猛增，一方面是城市路网体系的等级不断递增，城 市肌理不断疏松化；另一方面，因为安全需要而隐蔽在车辆之内的驾驶行为，拒绝了其行为在城市空间直接呈现，取而代之的 是车辆轨迹；更关键的是，当城市以人车分流的方式规定出车行路径之后，车辆获得了路径的特权，它们可以从地下停车场直 接出入，能够观察其行为的只有更为隐蔽的摄像头。每一辆私家车都是可以实现自我移动的独立空间体系，它们从被投入使用 的那天起就以速度和路径的方式拒绝了公共性，它们主要通过三种方式与街道的公共性发生关系：一、拥堵；二、碰撞；三、 侵占并使用街道公共空间。另一项改变街道公共性的技术是移动通讯。电话的普及使得通话代替了日常见面，而手机则使得通 话可以随时伴随着日常行为的全程随时发生。通话行为在街道的发生与通讯内容的私密性使得个人的街道行为更趋向私密。

四、生活私密与虚拟化 居住生活方式的改变，直接导致了人们对公共性需求的变化，在家庭内发生的私密行为转化成为公共社交行为，而公共性则以 更为虚拟的方式进入了家庭生活，前者主要体现为洗浴和餐饮。随着中国城市住房的商品化，住宅内普及的独立卫浴使得公共 浴室消逝，又催生出桑拿、洗浴中心等具备社交与身体消费双重功能的新空间。厨房的衰落则使得吃饭这一行为成为了日常社 交的仪式。另一方面，电视机取代了传统的会客聊天，电视屏幕内的信息取代了事件的真实发生，电视成为了公共性在真实与 虚拟之间的介质和转换器，而实际上，它仅仅是介质而远非实际生活本身。互联网技术的普及一方面使得个人生活更为私密， 另一方面因为其技术和用户的庞杂，权力与管制无法完全渗透，虚拟世界得以以草根和公共舆论的数量优势实现对真实生活公 共性的影响和干预。需要指出的是，互联网公共意志实际上也是趋向于精英化和可操纵的。

通过上述分析，我们发现，如果我们把街道的公共性当作一个开放系统构成的机器，这一巨大机器的内部实际上由大量自我封 闭的自循环系统进行结构。自循环系统的结构方式包括如下可能：权力机制、生产机制、技术机制、功能机制。当各个自循环 系统内部及其之间的能量流动越来越多地以指令、货币、信息、技术取代并规训人的行为时，各个系统仅仅以系统间溢出的能 量构成了街道公共性的假象。这并非说传统街道的公共性因为更多直接地与人们的日常生活行为发生关系就更为真实，当代街 道公共性的变化就是社会结构方式与生产方式演变所导致的日常生活方式变化的直接后果。 虽然古代中国城市受传统的建筑与规划格局的影响，而具有某种“特异”的东方性，如平展的都市空间、整体规划及快速营造 （如明代北京，在十五年内迅速规划并建成），但是与世界上绝大多数历史城市一样，“街头文化”同样是中国传统城市民间 文化、地方政治和城市活力滋生的主要公共空间。“街头文化”发生的空间并不仅仅在街道/胡同/里弄，也可以是茶馆酒肆、 地摊庙会，街头作为公共空间，是民间文化生发、汇聚和表达的“场所”。

1949年10月，中华人民共和国在北京天安门广场北面的天安门城楼宣告成立，从此“人民”二字成为中国城市的公共空间中 使用最为频繁的词汇，几乎每个城市最重要的广场（政治集会之用）、公园（政治节日之用）、道路（政治游行之用）、会堂 （政治会议之用）都会以此命名；但是毫无疑问，在进入市场经济以前的“政治至上”的岁月里，这些以“人民”为标榜的公 共空间都是官方控制的政治场所，在那些超大尺度的空间里，“人民”完全变成了一个抽象的虚拟词汇，它不可能对应每一个 具体的、活生生的“人”。

但是值得注意的是，在“政治至上”的岁月里，由于社会的普遍贫困和对意识形态的执迷，包括北京在内的传统城市的格局和 肌理都未曾受到根本性的“搅扰”，这也是传统街头文化后来得以迅速“再生”的重要原因。

近几十年来，同样以政治的方式和目的调动起来的全社会的“发展欲望”与“消费欲望”，是在原有城市规划和管理机制下运 作的。商业/公共建筑的退红线规则的坚守、道路快速交通功能的强化、绿化和公共项目的政治/传统/现代乌托邦诉求，以及对 传统历史街区城市/建筑格局的无视或过度商业化，都使得传统“街头文化”极度丧失。

而超速城市化中匆忙建设的超大新区，更有如一个个孤岛，街道（公共空间）完全缺失。目前中国城市居住社区的日益超大 化，已经型塑出一个个以地产企业的臆想和趣味为主导的、异化于都市语境的封闭的微型城市，在这里，“人民”被迫成为无 奈和弱势的居住空间的消费者。

策展人前言2[Curator's Prologue2] 5

街头文化与街道城市 － 史建

我曾经说过，我是以一个文化上的精神分裂者的状态看待中国城市（尤其是北京）的，一方面哀戚它的历史的衰亡，一方面亢 奋于它的剧变；一方面记录正在逝去的旧城，一方面欣赏那些崛起的空间；一方面无情地批评都市疾速蔓延中的问题痼疾， 一方面暗自欣赏活体一般的空间演化现实——在这里，表话语与潜规则之间巨大的张力的呈现，民间的绝望抗争与强旺的生存 智慧的并现，新都市空间的自戕与修补策略的游戏……这一切都是比城市未来、本土定位等问题更有趣，或者，中国都市空间 与建筑现实的演化都不是按照国际已有的模式发生和发展的，它绝对有自己的“一定之规”，那么发现、研究、批评进而修整 之，正是我们现今最迫切要做的事。

当城市与个人的生存空间极度疏离，就给艺术注入了无限生机，法国的“新浪潮”、柏林的1920年代，以及整个20世纪的纽 约……毫无疑问，在当下的中国，艺术界确实比建筑、规划和文化批评界更为敏锐、犀利、果敢，但是中国不应仅仅是“妖魔 化”空间的创造者和描述者，也应该是它的创造性的“使用者”。

面对迅速蔓延的、平庸而畸形的城市空间，“人民”已经表现出惊人的生存智慧，在全新的意义上再生、营造和创造着他们的 街道（公共）空间。从北京的798、宋庄、草场地到上海的莫干山路50号，从日益古罗马浴场化的洗浴中心到超速蔓延的网 络，“人民”在街道悬隔的地方再造着他们的街道空间。

当街道从刚性的社会空间转化成个人与社会间的模糊/灰色空间，从通道和表演性空间转化成住民的客厅和依附，才是有活力和 魅力的，到那时才会出现“街道城市”——属于我们大家的城市。 街道，是一个众所周知而又语焉不详的概念。法国城市规划学家F. ASCHER认为，街道是最富有城市特征的公共空间，它集中 囊括了城市的各项功能。街道首先是一个当地居民的生活空间，是日常生活与社会交往的场所，并因此带有明显的地方文化特 征；其次，它又是开放的，具有交通和信息发布的功能，为穿越的外来人员提供可达性和相关城市信息；在此基础上，它吸引 了商业、办公、公共服务设施等，既为一部分人提供了工作空间，也成为城市居民进行购物、交易与休闲活动的场所。从这个 认识出发，我们可以将“街道”与以单一交通功能为主的“道路”从概念上区别开来。

由于道路以交通功能为主，所以道路管理的主要目的在于保障交通安全，为此，政府职能部门为道路的设计建造和日常养 护制订了技术规范，并通过“道路交通法规”（Road Code）规范道路使用者的行为。在道路管理上，政府基本采用管制 （regulation）的方式行使公共权力，即依据技术标准和法律规章，对不同的相关人员的行为进行监督和裁判。在这种情况 下，管理的能力与效果，取决于这些技术标准与法律规章的详细与严密程度。

然而，不加区别地将这种道路管制方式运用在城市和非城市地区，近年来受到许多欧洲国家的普遍质疑。全国交通事故调查显 示，发生在城市道路上的交通事故大约占全部交通事故的七到八成，尽管这些事故的严重程度较发生在非城市地区的要低。 一个普遍的观点是，改善全国交通安全状况首先要从城市交通安全入手，而城市道路的管理方式必须与非城市地区有所区别。 因为在城市建成区内的道路，除了单纯的交通功能外，通常还作为其他社会活动的场所，潜在地具有城市街道的性质和功能。 对城市道路简单地采用一般的安全管制方式，无形当中等同优先考虑城市道路的交通功能，城市道路管理以机动车为中心，结 果破坏了城市道路不同功能之间的平衡，片面强调速度和流量，从而造成安全隐患。为此，许多欧洲城市为了改善城市交通安 全，提出“回归街道”的口号，重新推动对城市街道空间的研究兴趣。2005年，比利时率先在欧洲推出《街道法规》（Street Code），补充既有的“道路交通法规”，对城市建成区范围内的道路，实施更严密的管理。它一方面通过设置限速区，抑制机 动车交通的优先地位，同时，确定城市道路空间的各使用者（行人以及自行车、摩托车等驾驶员）的平等地位，并对他们的行 为进行规范。《街道法规》的颁布，为强化政府管制提供了更为详细和完善的法律依据。

策展人前言3[Curator's Prologue3] 6

街道管治（节选） － 卓健

在我国，城市道路的建设与管理同样是以道路交通安全技术规范和法规为基本依据，近年来随着小汽车进入家庭，各城市竞相 扩建城市路网，由此导致的一个共同的趋势是，原来一些富有地方特色的传统的城市街道空间“道路化”，被功能单一的交通 空间取代。广州的人民南路就是一个典型例子，原本富有地方特色的骑楼商业街在高架路建设后，商业服务功能迅速退化。

而另一方面，许多地方政府又很重视街道空间的建设，因为街道对展现城市风貌、推动地方经济作用明显。很多城市曾一度热 衷于编制街景规划，通过政府行为，统一规划统一建设蓝图式的城市“窗口”，典型的例子如上海的浦东世纪大道和北京的平 安大街。由于我国土地所有权国有，一定程度上造成公共和私有空间之间的界限模糊，表面上看政府似乎什么都可以控制，但 结果往往是什么都没有控制好，尤其是单体建筑和街道空间之间的相互关系。与此相反，西方国家公私空间的意识明确，在街 道空间界面的控制上，政府采用通过公共空间控制私有空间的办法，其严密程度足以对属于私有范畴的建筑单体设计形成引导 和制约。此外，发展各种各样的“一条街”：美食街、服装街、电脑街、家具街、装潢街……也是许多城市竞相使用的手段。 与前者的纯政府行为不同，一条街往往是“政府搭台，市场唱戏”，因陋就简，自生自灭。因为它们的功能单一化，商业目的 明显，与传统的多功能的街道概念相去甚远，得不到城市居民的认同，而往往在短暂的热闹之后迅速衰败下去，甚至成为城市 新的问题街区。

由于政府不具备对整个城市的所有街道直接实行规划建设的能力，而市场开发模式也只会选择那些有利可图的地点，在一定时 间内，发展有利可图的商业类型。因此，无论是政府统治方式还是市场开发方式，对发展街道空间的作用都具有很强的选择 性。保持和发展城市街道空间有赖于新的管理方式。 7

“街道是我们……大家的!”中国展海报（设计：刘治治）Poster of "Street Belongs to All of Us!" Exhibition in China (Designed by LIU Zhizhi) 录像[Video] 8

北京·长安街沿线－艾未未

《长安街沿线》是艺术家对45公里的长安街沿线的分段定点静态拍摄，每个静止镜头的单位长度为1分钟。作品通过严谨、平静、无选 择的概念方式记录分析了首都城市的东西轴线完整和详尽的视觉信息。呈现出北京的复杂社会现实和城市形态，社会主义集体经济、资 本主义市场化、政治权力中心、商业楼市和重工业基地等真实现状。（曾参加2005深圳城市/建筑双年展）

BEIJING - Along Chang'an Road Along Chang'an Road is the static shooting of the 45-miles-long Chang'an Road with every scene lasted for 1 minitue. A compelete and elaborated visual image of the city was recorded in a precise,quite and non-selected way. The complex social reality and the urban conformation of Beijing were recorded, as well as the socialist collective economy, the capitalied market, the political power center, the comercial real estate and the heavy industry.(once exhibited in the Shenzhen Biennale of Urbanism and Architecture in 2005)

艾未未（北京） 1957年生于北京，1978年就读北京电影学院。1983年就读帕森设计学院。1998—2006年任“中国艺术文件库”艺术总监，并从事艺术、 设计、策展等领域的工作。

AI Weiwei (Beijing) Born in 1957 at Beijing, studied at Beijing Film Academy in 1978, and Parsons School of Design in 1983. He is the Art Director of CAAV (Chinese Art Archives and Warehouse) from 1998-2006, working on a wide range of fields covering art, design, curating and so on. 摄影[Photograph] 9

广州·流动的风景－陈启智

为缓解人员与货物流动需求的上升态势，中国的众多城市必须开展新的基础设施建设，包括地铁与高速公路的铺设。在一个成熟的城 市，老的市中心空间极其有限，而汽车行驶区域的不断扩张则意味着需要建起许多人车两用的高架桥，这些桥通常并不美观。这样一种 新局面催生了今日混杂的城市景观，也使车辆与行人在交通问题上彼此对立，行人只能绕道而行或铤而走险地抄近路。这就是我在作品 中对广州道路情况的回应。

GUANGZHOU - Flowing Landscape To improve the growing need for mobility of people and goods, Chinese cities are bound to build up new infrastructures. Those include metros as well as motorways. In the context of a mature city, with limited space in old centers, the growing place of cars induce that a lot of bridges, seldom beautiful, be risen up to support either motor or pedestrian ways. The new conditions give birth to nowadays hybrid urban landscapes, and create a rivalry regarding mobility between cars and pedestrians bound to detours or dangerous shortcuts. That is what I would like to echo with my work on the passageways in Guangzhou.

陈启智（布鲁塞尔） 1972年生（父亲为中国人，母亲为法国人），法国籍，现居布鲁塞尔（比利时）。斯特拉堡大学（法）哲学硕士，摄影师。关注建筑、 城市住宅以及变革对于城市景观的影响。

Yves CHAN YOU (Brussels) Born in 1972, (chinese father, french mother), French, lives in Brussels (Belgium). Master in philosophy in Strasbourg (France), photographer. Focuses on architecture, urban dwellings, and the way urban lanscapes are affected by changes. 杂志[Magazine] 10

街道生态－城市中国

街道是容纳流动的公共空间，城市中的人、物、资本、信息和能量在这里相遇、分离、交易、合作或转化；街道生态则是通过政府管治 的政策力量、城市的空间分类和民间的自发力量等多重作用，对这些流动力量的制衡。与自然生态一样，街道生态中的物种都并非孤立 存在，而是相互联系、相互制约的统一综合体；它们尽管位于城市食物链的不同层级，却通过千丝万缕的关联而互动共生，从而演化出 复杂的矛盾与多样性。《街道生态》是对这种多样性的探讨：街道作为城市公共空间会所受到怎样的管治？因为街道内容的复杂化，城 市能够给出怎样的空间策略？这种复杂化如何孕育出这里特有的街头文化和街道生活？……

Street Ecology Street is the public space of flux, where people, goods, capital, information, activities and energy meet, separate, transit, exchange, cooperate or crash. Street Ecology is the balancing of these fluxes by means of governance, urbanization and informalness. Similar to Nature Ecology, the species in Street Ecology are not isolated, instead, they are inter-related and inter-restricted as an integrated synthesis. Albeit they locate in different strata of the urban food chain, they are interacted and mutual benefit to each other through countless relationships, in which complicated contradiction and diversity is generated. Street Ecology is an exploration into this diversity: What governance will be brought to street as an urban public space? Because of the complexity of its content, what kind of space structure could be given as a strategy of urbanization? How is the street culture and street life gestated by the complexity?

《城市中国》杂志 《城市中国》是中国第一本真正意义上的城市杂志，也是一本结合了深层问题和浅层表述、正统的官方话语和生动的民间叙事的多向度 文本。通过整合性的框架，《城市中国》以新闻、故事、评论、法规、引文、对话、辞典、图纸、漫画、图解等不同的文本类型，渲染 多样化的城市语境，融合工具说明书式的图解、侦探小说式的推理、商业广告式的台词和娱乐八卦式的流行元素，将深层问题可读化； 通过专业性的分析和转译，对上传递民间声音，向下阐释政府政策，从而通过资源驱动、面向事件的主题性媒体平台，形成政府和民众 之间的建设性的议事平台。

Urban China magazine Urban China magazine is authentically the first magazine on urbanism in China, and also a multi-dimensional medium which integrates deep-level problems with the popular expression, orthodox official discourse with vivid folk narration. With an integrative framework, Urban China romances the diversified urban context in different typologies of text including news, stories, reviews, regulations, quotations, dialogues, dictionaries, drawings, cartoons, diagrams, etc.. Urban China also makes the deep- level problems more readable by means of amalgamating illustrative diagrams, reasoning in whodunit styles, commercial advertising stage lines and entertaining popular elements as well. Through the professional analysis and interpretation, Urban China delivers the civilian voices from bottom up and translates the governmental policies from top down as a constructive platform between the government and the people. 杂志[Magazine] 11

城市图文－城市中国+下划线工作室

《城市图文》[《城市中国》10期]通过对中国公共空间中的图文体系和策略的分析，展现在平面背后，作为驱动力的政治架构、消费倾向 和潜在规则；它不仅是《自发中国》[《城市中国》9期]的“喧嚣的信息”的延续，也是《街道生态》[《城市中国》11期]的开始——城 市图文如何利用、并加剧了街道作为公共媒介空间的传达作用，而街道立面如何成为了城市中各种声音及其背后的意志的载体。

Urban Image & Text Through the analysis of the system and strategy of Image & Text in the public space of China, Urban Image & Text (issue 10) reveals the political framework, consumerism intention and latent rules as driving forces behind the façade of city. Meanwhile, it will function as a transitional issue, both as an extending issue for the previous one Informal China (issue 9) and as a start for the next one Street Ecology (issue 11) - how Urban Image & Text gets use of the communicating function of street as a public media space, and how the façade of street becomes a carrier for different voices and their wills behind.

下划线工作室（北京/广州/香港） 一个面向课题的研究团队，2003年由姜珺成立于广州，考察城市动态对设计现象的驱动关系，潜在秩序的显见结构以及自动生成的设计 机制。自2005年初起，下划线工作室全面投入于《城市中国》杂志的创建和研究，并介入一系列重要展览项目。主要作品包括：《体系 化的肤浅》（2005展示分析与设计），2005“大声展”；《超中国》（一个以100个中国城市的影像组成的互动装置），2005广东三年 展；《连州目录》（《超中国》的一个分支），2005连州摄影年展；《即将到来/消失的物品》和《未来过去时》（与水晶石合作的录像 装置），2005深圳双年展；《自发中国》，2006鹿特丹当代中国建筑展；《城市图文》，2006鹿特丹当代中国视觉文化展；《虚界与跨 界》。2007深圳双年展；《深港脑特区》，2008香港双年展。

Underline Office(Beijing/Guangzhou/Hongkong) A project-oriented group founded in Guangzhou in 2003 by Jiang Jun, exploring the interrelationship between design phenomenon and urban dynamic. Since the beginning of 2005, Underline Office has been fully engaged into the founding and researching for Urban China magazine, and also involved into a series of important exhibitions. Main works include: Systematic Superficiality (Exhibition analysis and Design) for Get It Louder Exhibition 2005; Hi-China (An interactive installation for the images from 100 cities of China) for Guangdong Triennale 2005; Directory Lianzhou (A Branch work for Hi-China) for Lianzhou International Photography Festival 2005; Objects to Come/Objects in Disappearing and Future Past Tense (A video installation cooperated with Crystal CG) for Shenzhen Biennale 2005; Informal China for China Contemporary Exhibition in NAi, Rotterdam, 2006; Urban Image & Text for China Contemporary Exhibition in Fotomuseum, Rotterdam, 2006. Dissolving & Crossing Borderline, Shenzhen Biennale 2007; Shenzhen-Hongkong SIZ, Hongkong Biennale 2008. 产品[Product] 12

深圳·助盲站牌－戴耘

选择深、澳两地某处的公共汽车站牌为原形，作成一个可供盲人使用的公共汽车站牌。实施方式是：在站牌离地面1.2米处设置一个多面 体的滚筒，每面用盲文作出一一对应的站名，盲人可通过拨动滚筒了解各站的内容。盲文站牌除实用功能外，它可触摸的凹凸肌理本身 包含了这座城市皮肤的寓意。而盲人触摸行为的过程同时也是一种以身体直接介入的方式，折射出这一群体用身体的语言对城市皮肤的 感知和进入。

SHENZHEN - Bus Station Board for the Blind The Bus Station Board for the Blind are made from the ordinary bus station board in Shenzhen and Macao with a polyhedral roller in the board 1.2 meters above the ground and each facet of the roller have the name of the stop station corresponding to the ordinary ones. The blind gets to know the stop station by moving the roller. Besides the practical function, the Bus Station Board for the Blind can be regarded as the skin of the city by its uneven texture. The touching of the board is a direct way of body intervening which reflect the apperceive and entrance of the city skin with the body language of the blind.

戴耘（深圳） 1971年生于西安。1990年毕业于西安美术学院附中，1995年毕业于西安美术学院雕塑系同年留校任教，2000年调入深圳雕塑院。获中国 雕塑学会会员中国文化部、建设部颁发《城市雕塑设计制作资格证书》。在深圳生活已有四年。

DAI Yun(Shenzhen) Born in 1971 at Xi'an. Graduated from Middle School Attached to Xi'an Academy of Fine Art in 1990, Sculpture Department of Xi'an Academy of Fine Art in 1995 and working as a teacher at the same year, working at Shenzhen Sculpture Institute in 2000. Being granted the Certificate of Urban Sculpture Design and Facture by the Ministry of Culture and Construction. Now having lived in Shenzhen for 4 years. 录像[Video] 13

上海·莫干山50号－德默营造

前身为70年显赫历史的国有毛纺厂莫干山50号，是当今房地产“圈地围剿”战争中为数不多的“幸存者”之一：一方面在于它被苏州河 隔离的边缘化城市区位，另一方面由于前卫艺术家、文化机构的进驻与开发商之间就“保护还是拆除”形成了对峙，所以有幸在过度开 发的都市景观中成为一块“飞地”。我们改造设计的总指导方针是确保在莫干山路50号春明艺术产业园区的转型，以及在改造过程中保 护园区原有特点和完整性，且使改造具有连续性和可持续性。

SHANGHAI - M 50 Once as a state-owned Woolen Spinning Factory with 70 years' history, M50 becomes one of the few survivals in the real estate war nowadays. At one hand, it locates at the marginalized urban section isolated by Suzhou River; on the other hand, it becoms an Enclave in the over-developed urban space due to the confront of "Protection or Backout" posed by avant-guard & culture institute and developers respectively. The guidelines for the Renovation Design of M50 are to make sure M50 Chunming Art Industry Park transfers with its original characters and integrality in a continual and sustainable way.

德默营造（上海） 德默营造是2001年陈旭东在德国柏林成立的跨学科的都市建筑艺术国际化研究机构，主要探讨城市、文化和新艺术之间互动的可能性。 陈旭东生于西安，同济大学建筑系毕业，留校任助教两年后赴德，柏林工大工学硕士毕业；1999年起在欧洲建筑事务所工作；主要作品 为“边界风景”、“进深器”等，曾参加“德国柏林工大建筑设计奖年度大展（2000）；德国柏林媒体艺术展（2002）等展览，2004年 任德默营造设计总监。

DAtrans(Shanghai) DAtrans was founded in Berlin (2001) as an cross-disciplinary international architecture and art research association dedicated to the interactive relations among urban, culture and new art by CHEN Xudong. CHEN Xudon was born in Xi’an, graduated from Tongji University. He studied in Germany after being a teacher in Tongji University for 2 years and graduated from Technical University of Berlin as an Engineering Master. He worked at the architecture office in Europe from 1999. Main works include Borderline Landscape, Depth-Port and etc. Once took part in the Annual Exhibition of Design in Technical University of Berlin (2000), Media Art Exhibition in Berlin (2002) and etc. He assumed the post of design director of DAtrans in 2004. 城市[City] 14

深圳·城村·天街－都市实践+黄伟文

深圳城中村是村民突破规划自发扩建而形成的高密度的城市形态。本案是针对深圳典型的城中村现象提出的一个改造提案。其目的是研 究用屋顶加建形成多层街道和公共区域来置换若干过于密集的单体建筑，使街区保持和增强其生成的活力和城市肌理，同时改善街坊内 部的生活条件并满足消防的基本要求。

SHENZHEN - CIvillageTY - Rooftop Street As a high dense urban form, "village amidst the city" is a result of villager's self development action that breaks the planning regulations. The proposal is trying to maintain and strengthen the vitality and urban fabrication inside the village by adding rooftops with multiple-layer streets and public activity system to replace the excessively dense congested blocks. This effort will improve the living conditions inside the village and also will meet basic requirements for fire protection.

都市实践+黄伟文（深圳） 1999年注册于美国纽约和亚特兰大，是由几位对建筑怀有热情的青年建筑师创立的建筑创作团体。目前在中国有深圳公司和北京公司。 都市实践力图为新世纪建筑和城市所面临的新问题提供新的解决办法。近年来都市实践积极参与了国内许多重要的建设项目和规划设 计，包括深圳地王城市广场、深圳公共艺术广场、深圳市华侨城何香凝美术馆当代艺术中心等项目，并得到了良好的社会反响。 黄伟文简介请参看“深圳•华强北”

Urbanus + HUANG Weiwen(Shenzhen) Registered in New York and Atalanta in 1999, URBANUS is an architecture creative group founded by partners LIU Xiaodu, MENG Yan and WANG Hui with branches in Shenzhen and Beijing. Urbanus is a think tank providing strategies for urbanism and architecture in the new millennium. It took part in a great number of construction projects and urban design projects in recent years, including the Shenzhen City Plaza, Shenzhen Public Art Square, Shenzhen HE Xiangning Art Museum in OCT (Overseas Chinese Town) and etc. which evoke positive social repercussions. Please refer to the 'Shenzhen - Huaqiang Road North' for the bio of HUANG Weiwen. 互动装置[Interactive Installation] 15

老街·小儿箱－嗯工作室

这是一次在当代展览馆机制下对民间街道生态的文献模拟与自发生成运动。作品经过老街小儿箱、老街小儿图、玩具物品、地摊空间、 围观、物品使用等一系列环节的设计，通过对街道物品与行为的二次知识管理，在还原街道生态的多样化与可能性的同时，展览物品、 行为与展览环境之间的反差，还将映射出这些街道物品及行为的生成机制与当代社会生活之间的距离。

Old Street - Kid Kit This is a document simulation and informal movement of local street ecology under the modern mechanism of exhibition museum. The diversity and possibility of the street ecology is reverted through a serial of design of Kid Kits, Kid Pictures, toies, vendor's stands, gathering- arounds, objects and through the second knowlege management of street objects and behaviors. At the same time, the contrast of the exhibiting projects, behaviors and exhibiting environment will reflect the distance between the production machenism of street objects & behavior and the modern social life.

嗯工作室（重庆） 2005年12月成立于重庆，致力于以建筑学和社会学为基础，以跨学科的方式对城市空间的动力机制进行综合研究与成果开发。“嗯”表明了对研究对 象、方法与结果的可能性的开放。 魏皓严，1971年出生于贵阳，重庆大学建筑城规学院副教授，博士，注册城市规划师，嗯工作室合伙人。从事城市设计、城市规划、建筑设计以及相关 教学，主要研究城市空间现象与系统设计方法。 朱晔，1973年出生于江苏无锡，独立艺术家与策展人，《城市中国》杂志执行主编，嗯工作室合伙人。

Noffice (Chongqing) Based on Architecture and Sociology, NOffice is established in December of 2005, focusing on research and development on motivity mechanism of urban relation by a interdisciplinary way. N shows a possible opening of the research subject methodlogy and result. Dr. WEI Haoyan, born in 1971 at Guiyang, associate professor of Architecture Department of Chongqing University, Registered Urban Planner, partner of Noffice. He works on Urban Design, Architecture Design and the relevant teaching at the university. His research topics focus on Urban Space Phenomenon and Systemic Design Method. ZHU Ye, born in 1973 at Wuxi, Jiangsu province, independent artist and curator, alternative chief-editor of Urban China magazine, partner of Noffice. 海报[Poster] 16

四街记－方俊

巴黎：在Chez Léon餐厅等候用膳的人们从大厅一直排到了马路上，成为了一道真正的人造景观；上海：儿时嬉戏、闲逛的记忆早已 被这穿流不息的人群所替代，她的街道空间也早已超过了她所能承受的最大负荷；维希：每逢夏天却因为她所特有的温泉及闻名遐迩的 Cavilam法语中心而成为世人蜂拥而至的驿站，原本总人口不足38,000的小城立刻人满为患；亚眠：法国PICARDIE大区的首府，作为 法国北部最大的大学城之一，加之与首都近在咫尺的地理位置，使得外来人口同其它大城市一样与日俱增…… 城市能够给我们提供怎样 的街道？个人在街道上的生存状态与城市化程度之间存在着怎样的关系？我们可以承受的极限是多少？作者选择了他在中法两地居住过 的四个城市作为经验背景，提出了一系列与人口、密度、交通与公共空间有关的问题。

Notes on 4 Streets Paris: The line waiting for the table of Chez Léon extended to the road outside the restaurant which becomes a man-made sight. Shanghai: The childhood memory of playing and dawdling in the street are already replaced by the flowing crowds. The street has already gone beyond the peak load of itself. Vichy: As a city with only a population of 38 thousands, Vichy attracts a great number of visitors with her special hot spring and famous French Center of Cavilam, overcrowded with visitors at summer time. Amiens: Amiens is the metropolis of Picaradie. The location near Paris and being one of the University Cities in north France jointly contribute to the migrating population growth of Amiens. What kind of street do the city provided for us? What is the relation between individual living condition and urbanism? Where does our limit lie? Artist proposes a series of questions concerned with population, density, traffic and public space by doing research on 4 cities in China and France which he once lived and is living right now.

方俊（上海） 1975年3月出生于上海，毕业于上海大学美术学院和法国亚眠高等美术与设计学院。现任上海传世企业形象策划有限公司创意总监，上海大学巴士汽车学 院设计系客座教师，《城市中国》华东区广告总监。

FANG Jun (Shanghai) Born in March, 1975 at Shanghai, graduated from Fine Art College of Shanghai University and Amiens Supreme Art and Design Institute in France. Now is the art director of Shanghai Chancel's Corporation Image Planning Co., Ltd., lecturer of Design Department in Bus Automobile College of Shanghai University, advertising director of Urban China in northeast China. 影像[Image] 17

街道女郎－冯果川

一个光碟图库中的女郎图像，被不断复制在中国大街小巷中的广告上，艺术家对这一图像的记录堆积出当下中国特有的一种图像奇观。 该女郎图像的泛滥部分得益于中国的“后发优势”，当我们与世界同时进入数码时代，Photoshop类图像软件强大的功能使得影像的移 花接木简便易行。从技术上把女郎的图像变成漂浮在蓝背景上无语境的自由能指，它可以粘贴到任何广告中去建立新的意指关系。自由 而万能的能指也就是空洞的能指，制造这种能指就是将女郎的形象删减到极限，我们只看到最后剩下的是她的头，她的头已经携带了她 广告价值的全部。

Street Girl The image of a girl in a disc gallery appears at different advertisements in every streets and lanes. The collection of those images indicates a marvellous image spectacle which is unique in China. The overflow of the images partly due to the 'Advantage of Backwardness' of China: we enter into the digital times at the same time with the world, Photoshop and other image software simplify the changing and substituting process of the image. The girl in a blue backdrop can be pasted into any advertisement. The almighty signifer is the empty signifer which deletes the image to a head - her head owns all her advertisement values.

冯果川（深圳） 生于1974年，北京大学建筑学研究中心人文地理学专业硕士，现主持深圳市筑博工程设计有限公司。基于对现代建筑学的理解，其设计 坚持艺术与技术相结合的创新设计理念，尊重环境、技术和经济等客观条件，追求建立在理性基础上的个性与创意。

FENG Guochuan(Shenzhen) Born in 1974, graduated from Graduate Center of Architecture, Peking University as a master of Human Geography,now preside at ShenZhen ZhuBo Design & Engineering Co.,LTD. Besed on his understanding of modern architecture, he insists on the creative design concept of conbining art and technlogy, as well as respecting the object condition of the environment, techonology and economy and etc ; pursuing the individuality and creativity based on rationalism. 摄影[Photograph] 18

昆明·往事－耿云生

这是一组记录昆明旧城改造拆迁的照片。当时，昆明正处于城市建设大变动时期，作为具有2000多年历史的文化名城昆明，许多传统建 筑、街道及老房子，都面临被拆除的命运，昆明城从外观到生活都将起到翻天覆地的变化。这组照片所记录的一切对昆明老城与生活于 其中的百姓都弥足珍贵。

KUNMING - Bygone This is a set of photos about the reconstruction and pulling down of the old Kunming. As a culture city with 2000 years' history, Kunming was in a huge urban construction process at that time and many traditional architecture, street and old houses are in face of being pulled down. World-shaking changes will take place inside and outside of Kunming. It is a precious record for the old Kunming and its people.

耿云生（昆明） 1954年生于云南省昆明市，祖籍安徽，为中国摄影家协会会员，2001年出版个人摄影集《昆明往事》，应邀参加首届平遥国际摄影节， 展出个人专题摄影《昆明往事》。曾获第七届“国际摄影艺术展览”奖（1995）、“千禧之爱世界华人摄影比赛”铜翼奖（2003）和金 翼奖（2004）、中国摄影最高成就奖——第七届中国摄影金项奖（创作奖，2007）等奖项。

GENG Yunsheng(Kunming) Born in 1954 at Kunming, Yunnan Province. Member of China Photographers Association, published photography book Kunming Bygone in 2001, being invited to the 1st Pingyao International Photography Festival with the work Kunming Bygone. He won many awards, including the 7th International Photography Art Exhibition Award (1995), The Love of Millennium : World-wide Chinese Photography Contest, Copper Award (2003) and Gold Award (2004), the 7th China Photograpy Glod Award (Creative Award, 2007), to name but a few. 空间[Space] 19

标语的庆典－韩彦

如果说街道是城市永不落幕的舞台，标语就是贯穿其中的保持沉默的台词。它将宣言以可供想像的各种逻辑进行排列组合，以粗犷的方 式从街道无序的背景中浮现出来，并且将情节合并为字符的平面构成，为所有已经过去、正在发生和即将上演的事件提供重要线索。 空间和布景之间的嵌套结构使两者的界限逐渐模糊：街道里的博物馆，博物馆里的街道布景，布景中展示的街道空间。由此得出的并不 确定的结论是：街道是真实的布景。作为对于街道生活的戏剧性的最忠实的还原，标语被引用、集中、改装和重写，挤压在博物馆的剩 余空间里，为虚拟的街道节日狂欢提供了一场文字的盛宴。标语既作为被摘录的布景而存在，又能在当代日常街道生活的历史脉络中找 到坐标。作为另一个版本的现实，它将官方话语和民间智慧进行拼贴，成为城市文脉的注解。

Celebration of Slogans If Street is a stage that never rings down the curtain in the city, slogans are silent words in between. They offer manifesto combinations with all the imaginable logics, emerging from the out-of-order background with a rough way, flattening the scenarios into plane formation of characters, providing important clues for all the past, current and future events. The nested structure between space and scene gradually blurs the boundary: museum in the street, street scene in the museum and street space in the scene. Then there is an uncertain conclusion: street is a real scene. As the most faithful representation, slogans are quoted, concentrated, changed and rewritten. Crushed in the residual space of museum, they organize a text feast for the virtual street festival revel. The slogans exist as excerpted scene while finding coordinates in the historical course of daily street life. As another version reality, they collage official opinions and civilian wisdoms, becoming comments of urban contexts.

韩彦（北京） 建筑师/城市观察员，出生于江苏，现工作生活于北京。毕业于北京大学建筑学研究中心，目前主要从事实验性的空间设计和跨领域的城 市研究。

HAN Yan(Beijing) Architect/Urban researcher, born in Jiangsu Province, working and living in Beijing now. Graduated from Peking University Architectural Graduate Center, she is currently engaged in experimental space design/cross-discipline urban research. 摄影[Photograph] 20

上海·街头巷尾－侯剑华

当千万市民经历了“拆迁之痛”和“乔迁之喜”之后才发现，上海已焕然一新，原来那个有着“东方巴黎”之称，弥漫着浓郁弄堂风情 的上海已然远去。高楼如林、高架如网；霓虹招展、车龙绵绵。耀眼的高层公寓替代了往日温情浓溢的石库门。当世界的目光关注着这 座城市的经济产值增长、关注着这座城市扩张的远景蓝图时，我们透过这华丽的衣服抚摸上海生活的肢体，在上海街头巷尾的世俗生活 中找到了真正的上海。

SHANGHAI - Up and Down the Streets After the "Hurt of Being-Pulled-Down" and "Joy of Moving-to-a-new-place", citizen in Shanghai realized that Shanghai changed into a brand- new one. The old Shanghai with amorous lanes and Shanghai Gate, which once was called "Oriental Paris", are replaced by the skyscrapers, crossroads, neon and heavy traffics. When the whole world is focusing on the economy development and urban extention of Shanghai, we can touch the body of Shanghai over the luxuriant cloth and find a real Shanghai in the streets, lanes and the real lives of the citizens.

侯剑华（上海） 1966年出生，担任上海市公安局闵行分局政治处摄影干部，中国文化艺术发展促进会会员等职务。业余从事都市人文类题材的拍摄。主 要作品有“都市放情”（1999）、“都市里的轨道生活”（2002）、“上海地下”（2003）、“高温下的交巡警”（2004）等。曾参加 上海“都市影像6×9摄影展”联展（2002）、在平遥举办《都市地下》个人摄影展（2003）；并获第20届全国摄影艺术展纪实类铜牌奖 （2002）、第10届中国国际摄影艺术展国际摄联铜牌奖（2003）等奖项。

HOU Jianhua(Shanghai) Born in 1966, he is the photograpy cadre in Political Affairs Office of Shanghai Municipal Public Security Bureau, member of China Culture and Art Development Association and a photographer in the spare time. Main works include "Urban Feeling" (1999), "Urban Railway Life"(2002), "Railway in Shanghai" (2003), "Traffic Police under the Sun" (2004). Took part in the Urban Image 6X9 Photography Exhibition in Shanghai (2002), Urban Railway in Pingyao International Photography Festival (2003), won the awards of the 20th National Photography Exhibition (Copper Award, 2002), the 10th International Photography Exhibition (Copper Award, 2003), to name but a few. 摄影[Photograph] 21

上海·下只角－胡杨

弄堂始建于上世纪三、四十年代左右，七十至九十年代许多人家将原先的平房改建成楼房。这里的居民大多是当时从浙江、江苏、安 徽、山东、湖北、四川等地来上海打工的产业工人。这些地区的弄堂被上海人称为“下只角”(意思是贫民窟)。1978年中国政府实施 “改革开放”政策，1980年上海市政府开始着手城市改造。作者用了28年（1980至2007年）时间记录了上海棚户区的弄堂生活，从 历史、社会、新闻、建筑的视角展现了在这个大城市的底层社会中最为频繁发生、却最少被表达的日常叙事。

SHANGHAI - Xiazhijiao Nongtang is the tranditional Shanghai residence which was first built in the 1930s and 1940s. From 1970s-1990s, many families reconstructed the one floor house and changed it into storied ones. Most of those residents are workers moved from Zhejiang, Jiangsu, Anhui, Shangdong, Hubei and Sichuan. Nongtang in those areas are called Xiazhijiao which means slum. Chinese Government began to "Opening Up" in 1978, Shanghai Municipal Government began urban reconstruction in 1980. HU Yang spent 28 years (from 1980-2007) on recording the life in Nongtang, showing the most frequent but less narrated life of the inferior society from multiple perspectives of history, society, news and architecture.

胡杨（上海） 生于1959年，上海人。2004年至2005年间，他花了14个月的时间遍访生活在上海的五百多户人家，记录了他们生活环境、生活方式，以 及主人的生存状态，集结成《上海人家》于2005年出版。其作品曾参加平遥国际摄影大展、美国密西根大学’中国城市发展’展、俄罗 斯莫斯科摄影双年展、荷兰鹿特丹’中国当代’展、意大利威尼斯建筑双年展等。现居于上海。

HU Yang(Shanghai) Born in 1959 at Shanghai. He spent 14 months visiting more than 500 families in Shanghai during 2004-2005, making record of their living environments, life styles and living status with his camera and publishing Shanghai Families in 2005. He took part in a great number of exhibitions around the world, including Pingyao International Photography Festival, China Urban Development in University of Michigan, Moscow Biennale, Modern China Exhibition in Rotterdam, Venice Architecture Biennale, to name but a few. He curretly lives in Shanghai. 城市[City] 22

深圳·华强北－黄伟文

华强北是深圳经济奇迹的一个缩影，原先工业区的交通干道变成了年营业额280亿元，日人流量50万人超级商圈的主要大街，带来了 交通、市政的一系列问题。其中最突出的问题是道路交叉口的人流车流矛盾和停车不足。由于华强北路作为城市交通干道功能的不可改 变，在人车矛盾中一般简单的解决办法是为行人提供地下通道或者二层天桥。但是独立的天桥和地道对行人来说意味着麻烦、劳累、乏 味、不安全、被强制为汽车让路等等感觉，并未体现对行人的重视和关怀。将天桥和地道扩展和延伸成一个系统，并以商业充分结合， 则是将穿越道路的乏味行为变成了有趣的逛街。过宽的道路绿化和行人道区域（20~30米）为分隔行人和车辆、创造地面、地下、二层 立体的步行街系统提供了空间的可能性，土地价值的飚升和高密度人流则提供了挖掘地下和二层零售空间潜力的必要性。

SHENZHEN - Huaqiang Road North Huaqiang Road North is the epitome of Shenzhen economy miracle- the traffic road in the industrial areas turns into a main road with an annual turnover of 28 billion RMB and 500 thousands daily people flux, as well as a serial of traffic and municipal problems. One of the most outstanding one is the pedestrian flow and traffic stream in the intersection and the parking insufficiency. The simple solution of this problem is to provide underground passage or second-floor overpass since Huaqiang Road North will remain as the main traffic road. Howerev, the independent crosspass and underground passage mean trouble, toil, bored, unsecure, enforcely making way for cars and etc. which is lack of human caring for the pedestrians. The intergration of the crosspass and underground passages into a system and combining with commecial center becomes interesting shopping instead of boring crossing over the street. Wide virescence of the street and pedestrian section(20- 30Ms) provide spacial possibility for comparting the pedestrian and cars, creating a pedestrian system with ground-underground-2 floor dimensional integration. The value of land and high-density pedestrian flow make it necceary to develop the potential of underground and 2-floor retail space.

黄伟文（深圳） 1968年生于广东雷州，有建筑学与城市规划专业学习经历，建筑设计院及城市规划院实践各两年，1996年至今从事深圳城市设计及规划 管理工作。

HUANG Weiwen(Shenzhen) Born in 1968 at Leizhou, Guangdong Province, he has studied architecture and urban planning and practiced in architectual design office and urban planning office for two years each. Since 1996 he has mainly focused on urban design and planning management in Shenzhen. 城市[City] 23

南京·秦淮新解－匡晓明

新秦淮——解读历史文化，再现秦淮河畔桨声灯影的休闲文化娱乐生活，同时以新的形式赋予其时代精神； 新街区——依托秦淮河的景观资源与人文资源，构建综合休闲娱乐商业功能于一体的街区模式； 新模式——深入挖掘滨水区位价值、历史文化价值、城市建筑价值，形成滨水休闲模式+文化街区模式+集群建筑模式的三元开发新模式； 新规划——为集群建筑的设计设定具有凝聚力的规划框架，求得本质之中的统一，与非本质之中的自由。

NANJING - Qinhuai River Flavour Street New Qinhuai-understand the histroy and culture, reappearing the entertaining and relexing live of Qinhuai Riverside, endowing with the spirit of times and new forms. New Block-construct a block with relexing-entertaining-commecial intergration model relying on the landscape and human resources. New Model- develop the values of location, history, culture, urban architectur of Bin river, forming the 3-dimension new development model. New Plan-design an planning frame with cohesive force for Architecture Cluster, pursuing the unity of the essence and the freedom of the non-essence.

匡晓明（上海） 1969年生于大连，现任上海同济规划设计研究院二所所长，《城市中国》杂志总编。

KUANG Xiaoming(Shanghai) Born in 1969 at Dalian, now Director of the Studio 2, Tongji Urban Planning and Design Institute. General editor of Urban China magazine. 装置[Installation] 24

三峡·单车－李程+朱磊

一辆由救生圈等物件改装成的水上单车漂浮在半空。城市化给我们带来翻天地覆的图景变迁，上千年的古城将永远珍藏在175米水下，让过 去的穿街走巷成为历史。江水铺平了山川间的传统沟壑，象一面镜子。我们设想人们踩着这样单车去上学、买菜……这个看似荒诞的展览场 景对于80年代以前出生在三峡地区的人们来说，足以唤起许多回忆。

Three Gorges - Bicycle A water-bicycle made from life rings float in the air. Urbanism brings huge changes and the ancient city with thousand-year’s history will be flooded by the water and exsist in the riverbed 175 Ms below the river. The stolling on the street becomes a history for those who lives in the Three Gorge areas. Imagine that people go to school and market by water-bicycle…though it seems ridiculous, it reminds those who were born before 1980s of beatutiful memories.

李程+朱磊（深圳） 李程，1972年生于重庆，知识工作者，地产职业经理，博客写作者，“悦行者的城市”计划发起者。 朱磊，广告人，平面设计师，深圳ANEWIE工作室合伙人。

LI Cheng+ZHU Lei(Shenzhen) LI Cheng, born in 1972 at Chongqing, intellectual, manager of real estate, blogger, initiator of "City on the Bicycle" project. ZHU Lei, AD Creative, Graphic designer, partner of ANEWIE studio in Shenzhen. 摄影[Photograph] 25

武汉·狗年的十三个月－李郁+刘波

每天报纸上都会发布大量无奇不有的“花边新闻”，内容包罗万象，诸如诈骗、情杀、毒气泄露…… 这些正是存在于新闻媒体中的一个现象 和缩影，因为在信息爆炸的年代需要不断的杜撰。在以经济生产、追求财富为主要动力的中国社会，表面上一切看似平静如水，这样的新闻 正好满足人们的猎奇心理以用做谈资。当然，由于这些新闻大多无从考证，所以只能作为茶余饭后的消遣。两位艺术家在当地的报纸上每个 月抽选出几条新闻，然后再按新闻里面描述的情景进行“复原”拍摄，最后挑选出13张。生活就像一个大剧场，艺术家将这些搜罗来的剧本 复活了，很快它们也成为其中的一出，发出应有的魔力。

WUHAN - 13 Months in the Year of Dog Newspaper is broadcasting a large number of strange "Gossips" everyday, ranging widely from fraud, murder involved with affairs to gas leak… All of these is a phenomenon as well as epitome existing in press, which is because that the time of information explosion requires continuous making-up. In Chinese society, which is mainly motivated by economic production and wealth pursuit, everything seems quiet on the surface, so such kind of news meet people's inquisitive psychology and provide chat topic for them. Of course, most of the news is unable to verify, they are merely for recreation after supper. Two artists selected a couple of news from local newspaper each month, “replaying” the original setting in the news, taking photos, and choosing 13 pieces out. Life is like a big theater, and artists revive the picked-up scripts, so they are soon becoming one play shown on the stage, giving out magic power of their own.

李郁+刘波（武汉） 刘波，1977年10月生于湖北石首，1997年至2001年就读于湖北美术学院油画系油画专业。现生活工作在武汉。 李郁，1973 生于武汉，1995年毕业于华中师范大学信息技术系，现生活工作在武汉

LI Yu + LIU Bo (Wuhan) LIU Bo, born in 1977 at Shishou, Hubei Province, received education from 1997 to 2001 in Department of Oil Painting at Hubei Academy of Fine Arts, and now working and living in Wuhan. LI Yu, born in 1973 at Wuhan, graduated from Information Technology Department of Huazhong Normal University in 1995, and now living and working in Wuhan. 建筑[Architecture] 26

广州·私家公街·时代玫瑰园改造－刘家琨

在城市发展进程中，小区的建造占用大片土地，而城市公园用地日益稀少。为了在自己的社区中设置足够的公共文化交流空间，加强公众交 流和影响，广州时代玫瑰园与广东省美术馆合作，邀请荷兰建筑师库哈斯在时代玫瑰园第三期围合组团内设计广东美术馆时代分馆。与此同 时，业主希望以上设计能最终成为一个整体，服务于小区居民和城市公众。时代玫瑰园的设计采用了一种特殊的策略，试图在中国当下封闭 的小区制度和城市公共空间之内建立一种新型的互动关系。设置一条架空步行桥从第三期围合组团内院上空立交而过，连接起A/B/C三处空 间，形成一条打破了小区封闭性的公众小路。由于存在小区必须封闭管理的国情，设计必须要实现这样的目标：城市公众和小区居民可以共 同使用该公共系统，但同时城市公众又不对小区居民造成安全干扰。架空步行桥的引入使小区园林既为私家园林同时又课供城市公众观赏， 成为城市公园。

GUANGZHOU - Private Street for the Public - Time Rose Garden Reconstruction Along with urban development, residential community occupies more and more land while the space for public park is shrinking. In order to ensure adequate communication space for public culture in this community, and to improve public communication as well as interaction, Guangzhou Time Rose Garden cooperates with The Guangdong Museum of Art, to invite Dutch architect Rem KOOLHAAS to design for Times Branch Museum in Time Rose Garden Phase III. At the same time, the owners hope that the design can eventually become an entirety, serving for community residents and other citizens. The design of Time Rose Garden applies a special strategy, attempting to create a new interactive relation between current Chinese community system and public space. It sets up an overhead pedestrian bridge above the Phase III closure yard, forming a public alley connecting the southeast part of Phase III to that of west side, breaking enclosure situation of the community. Because of Chinese feature of gated community regulation, the design should realize the aim: other citizens and community residents can share the public system, while citizens won’t bother the safety of residents inside. Introduction of overhead pedestrian bridge ensures community garden as private and provide chance for public appreciation, so as to become City Park.

刘家琨（成都） 1956年出生于成都，现先为家琨建筑设计事务所主持建筑师。主持设计的作品被选送参加德中文化年、法中文化年及荷兰NAI中国当代 建筑展等多个国际展览。曾获得亚洲建协荣誉奖、2003年中国建筑艺术奖、建筑实录中国奖，并应邀在麻省理工学院、英国皇家艺术学 院及中国多所大学开办讲座。

LIU Jiakun (Chendu) He was born in Chengdu in 1956 and now is the chief Architect of Jiakun Architects. As a host designer, many of his works have been invited to participate in international exhibitions of China-Germany Culture Year, China-France Culture Year, and NAI Exhibition: China Contemporary etc. He won Honor Prize of the 7th ARCASIA, Chinese Architecture Art Prize 2003, and Architectural Record China Awards, and was invited to give lectures in MIT, the Royal College of the Arts and a number of universities in China. 版画/海报[Woodcut/Poster] 27

广州·街道即现实－刘庆元

所谓“现实”，也就是自己在大街小巷的所见所闻。作品就以这种不温不火、不偏不倚的个人方式加以呈现。它们是某些事件（抑或变化、 发生）的缩影，现实即非现实，现实也即超现实，当然这也表达了艺术家对街的态度和尊重，它们后来组成了一个系列作品—《现实一 种》。艺术家抽取其中几件作品加以重构，希望在时代突变的今天大家能够以包容和质朴的胸怀珍惜街道给我们带来的诸多滋养和记忆。

GUANGZHOU - Street is the Reality The so-called "reality" is what you see and hear in the streets. This piece of work presents itself in such a moderate, objective but personal way. They are epitomes of certain events (or changes, or occurrences), while the reality is the non-real and the reality also is the surreal. Of course, it also expresses artist’s attitude and respect towards the street. Later, they formed a series of works - A Kind of Reality. Artist chose several of them and reconstructed the works, in the hope that in such a time of rapid change everyone could treasure the nourishment and memory given by streets, with a tolerant and naive attitude.

刘庆元（广州） 1972年生于重庆，1996年毕业于广州美术学院版画系，现工作生活于广州。曾举办个展“开放的工作室”（2005）、“木刻纪事”(2003) 、“一时期的片断生活”（2001）“刘庆元黑白木刻展”（1999）。个人版画作品多为各类艺术电影、独立音乐节、诗歌朗诵会设计成海 报；个人版画作品被广东美术馆、深圳何香凝美术馆、神州版画博物馆及英国木刻基金会和私人所收藏。

LIU Qingyuan (Guangzhou) Born in Chongqing in 1972, he graduated from the Printmaking Department at Guangzhou Academy of Fine Arts in 1996, and is now working and living in Guangzhou. He has held solo exhibition "Open Studio" (2005), "Woodcarving Chronicle" (2003), "Fragmented Life in One Period" (2001), "Liu Qingyuan black-and-white Woodcarving Exhibition" (1999). Many of his personal printmaking works have been designed to posters for various types of art films, independent music festivals and poetry reading events; and some are among collections of Guangdong Museum of Art, He Xiangning Art Gallery in Shenzhen, Shenzhou Museum for Printmaking Art, British Woodcarving Foundation and other individual collectors. 平面设计[Graphic Design] 28

满街贴－刘治治

文化推广与商业推广并重的“海报”（经过设计处理的大尺幅纸媒介可张贴印刷品）正逐渐从墙面（街道的重要组成）上消失，街道曾经是 海报展示的重要场所。 取而代之是形式单一的名片大小的“小广告”，其内容多为无文化内容的极低端的商业信息，它们的张贴在通常情况 下被视为非法，原因除却其内容具有欺骗性等问题，尤为重要的是“小广告”本身视觉形象不良（ 通常的一款“小广告”在视觉上几乎违背 了所有的所谓平面设计原则），并且在某区域反复过度张贴（遍布各个角落，甚至布满步道），成为一种极大的城市污染。街道展旨在讨论 当下某一参照地区的人与街道、街道与城市的关系，小广告正是现今平面设计与街道的交集。在为展览设计形象时，我们将“小广告”这一 中国城市中非常多见的形式作为平面形象的载体，逆用这种“城市视觉错误”，在“小广告”中体现有效的关于城市与街道设计的信息，将 视觉垃圾转变为文化产品，以“无管理自发设计”的手法来描述一个严肃且有序的设计展览。

Street Poster-Sticks As a designed and a large-sized paper media which can be posted on the wall, the poster, a tool for cultural promotion and business promotion, is gradually disappeared from the wall (an important component of the street). The street was once an important place for displaying the poster. But now a name card-sized "small advertisement" has replaced it, with the content of low-scale business information without any cultural significance. Posting the "small advertisement" is always recognized as an illegal behavior. Not only because the "small advertisement" contains fake information, but especially it has become a serious pollution of city while it has a bad visual image opposing all the rules of graphic design and it is always posted in some places repeatedly for all the corners of street even the walking road. The aim of this exhibition is to discuss the relationship between people and street, street and city under reference to a particular region, and the "small advertisement" is just the representation of intersection between graphic design and streets. When we design the image for the exhibition, we take the "small advertisement", a very normal image in the china city, as a carrier for the graphic design to reverse this "mistake image of city", and represent the effective information of city and street in it to transfer the visual rubbish into cultural product, so that we can describe a serious and orderly design of exhibition with a "no management and spontaneous design" way.

刘治治（北京） 1975年出生于北京，平面设计师，毕业于中央美术学院平面设计系。2002年，与何君、广煜两位设计师在北京创办MeWe设计联盟（米未 设计联盟）。

LIU Zhizhi (Beijing) Born in 1975 at Beijing, graphic designer, graduated from the Central Academy of Fine Arts in graphic design. In 2002, founded MEWE (MEWE Design Association) with designer HE Jun and Guang Yu in Beijing. 研究[Research] 29

武汉·汉正街－龙元+汪原

本研究基于对武汉市汉正街地区城市空间近4年时间的持续观察和与汉正街人（当地居民及外来人员）的经常对话，以“第三空间”的立场， 即空间性－历史性－社会性的整体观加以呈现。研究坚持了两个原则：1，历史研究——关注城市空间的发生、发展和演变。城市是活的，虽 然有过英雄般的突变和革命，更常见的是延续着自然的遗传和进化，它的过去蕴藏着今天和未来的答案，正如历史研究之于空间就如同遗传 基因之于生命一样。2，空间是社会生成的，看不见的部分才是空间的本质所在，而接近或到达空间本质之道是关注人，关注事件，倾听和收 集各种各样的汉正街人的故事。两个原则事实上也是重叠的，因为历史本身就是由故事组成，History=His-Story。（本研究受国家自然科 学基金资助， 基金名称：城市非正规性视野下的旧城空间演变模式研究；编号: 50778076）

WUHAN - Hanzheng Street This work based on the persistant observation of the urban space in the Hanzheng Street area and the dialog with people in street (including local resident and migrating people ) for nearly 4 years. We are inclined to the "Space 3" theory (the entirety of extensity-historicity-sociality) when doing research on Urban Space. There are 2 principles: 1, history research focusing on the generation, development and evolvement of urban space. The city has its life. Though there are grand mutation and revolution, the inheritance and evolution are more common. The past contains the answer for today and the history research to space equels the gene to live. 2, Space is formed by society with the invisible part as the essence. Focusing on the people, events, listening to the stories of different people in Hanzheng street are the right ways close to or reach the space. As a matter of fact, the 2 principles are overlapped, because Histroy=His-story. （This work is among the projects funded by National Natural Science Foundation, NO. 50778076.）

龙元+汪原（武汉） 龙元，生于1964年1月，江苏南京人。1982年至1989年就读于华中工学院建筑学系，获硕士学位。1997至2002年获日本名古屋大学大学 院环境学研究科都市环境专攻(学科)博士学位。现为华中科技大学博士生导师，华中科技大学建筑与城市规划学院副院长。汪原，华中科 技大学建规学院教授、博士，研究领域为城市理论；1986年毕业于华中工学院建筑系，1993年毕业于华中理工大学建筑系，2002年获东 南大学建筑专业博士，2001年开始担任《新建筑》杂志副主编。

LONG Yuan + WANG Yuan (Wuhan) LONG Yuan was born in January 1964, native to Nanjing, Jiangsu. He received education from 1982 to1989 in Department of Architecture at Huazhong Institute of Technology (now renamed to Huazhong University of Science and Technology), and got master's degree there. In 1997 to 2002, he worked on his PHD in Environment Studies in Graduate Schools at Nagoya University in Japan. And now he is a doctoral tutor in Huazhong University of Science and Technology, and the vice dean of School of Architecture and Urban Planning there. WANG Yuan is the professor in Huazhong University of Science and Technology, the research topic focus on Urban Theory. He got his Bachelor's, Master's degrees and his PHD in Huazhong Institute of Technology (1993), Huazhong University of Science and Technology (2002), and Southeast University (2001) respectively. He assumed the post of vice chief-editor of New Architecture in 2001. 绘画[Painting] 30

北京·长安街－卢昊

作品记录了这条位于北京中心地带——紫禁城与天安门之间的长街两侧的情景。以这条街道以及街道上的建筑物为例，卢昊将全球性品牌的 入侵作为描述商业现代性标记通过历史连续性而被刻写进城市空间的过程。这副画卷由十个丝质卷轴组成，全长50米。它们以背靠背的形式 陈列于玻璃之后，以便观众能绕着这座现实主义的绘画建筑全景走上一圈。这种景致将很可能会成为一种平常性的景观，因为这符合了中国 人的历史观，即旧的表面将会持续性地被新的修饰性表层所覆盖，从而维持它们的崭新意味。作品原作曾参加2007德国卡塞尔文献展。

BEIJING - Chang'an Street This work documentarily records both sides of Chang'an Street, which runs between the Forbidden City and Tiananmen Square in central Beijing. Setting this street and buildings on it as his samples, LU Hao traces the arrival of global brands as an example for the inscription of commercial modernity into a cityscape shaped by historical continuities. The drawings consist of ten silk rolls each, with a total length of 50 metres. They are presented back to back on a tilted display behind glass, allowing visitors to walk along the realistically painted architectural panorama. This scene is quite likely to become a common landscape, because it corresponds to Chinese concept on history, in other words, the old surfaces are continually covered by new decorative layers, so as to keep them always new. The original work had participated in Documenta 12 in Kassel, Germany.

卢昊（北京） 1969年出生于中国北京，1992年毕业于中国中央美术学院。在1995年及1996年分别于北京国际艺苑美术馆及北京云峰画廊举行个人展览 后，自1998年起参展国际性展览。2002年获CCAA中国当代艺术奖。他的灵感取材自传统中国象征物，作品囊括建筑、生活方式和政治等 命题。他创作的一系列装置和绘画作品都是以北京的地域文化作为创作灵感。自2005年开始，卢昊创作了“记录我正在消失的家园”系 列的油画写实作品，描绘逐渐消失的北京胡同风景，表达了他对正在变迁的北京传统文化的关注与激情。

LU Hao (Beijing) Born in Beijing in 1969, graduated from the China Central Academy of Fine Arts, he held solo exhibition at Beijing International Art Gallery in 1995, and another solo exhibition at Wan Fung Art Gallery in Beijing in 1996, and started to participate in internatioanl exhibitions since 1998. In 2002, he recieved Chinese Contemporary Art Award of that year. He finds inspiration from traditional Chinese signs, including architecture, lifestyle politics and topics alike. He has created a series of installations and paintings that take local culture of Beijing as the inspiration. Since 2005, LU Hao has devoted into realist oil painting series Record My Disappearing Home, depicting the gradual disappearance of Beijing Hutong street landscape, to express his concern and passion on traditional culture of Beijing which is actually changing. 摄影[Photograph] 31

上海·苏州河－陆元敏

陆元敏的活动舞台是上海街头，在区文化馆担任摄影干部的他二十年来日复一日地用相机记录他眼中的上海。不论是都市里的人们的日 常活动还是他们的生命活动的产物(包括他们的遗弃物)，陆元敏都通过镜头赋予意义与生命的对象。陆元敏说自己在他人的城市没有办 法按下快门，那是因为只有在他熟悉的上海，他才能判断哪些画面在停滞间仍是饱含叙述的力量。“我的视觉灵感来自于记忆，记忆与 现实的碰撞的时刻”。

SHANGHAI - Suzhou Creek The stage of LU Yuanmin is the streets in Shanghai. In the last 20 years, as a photographic cadre of district culture center, he has never ceased to record Shanghai in his eyes with a camera in his hand. No matter the daily life of citizens or products of their life (including the abandonment of them), LU Yuanmin has given meaning and vitality into the object through his lens. LU Yuanmin says that he is not able to press the shutter in other cities out of Shanghai, because he is familiar with Shanghai, and only here can he tell the images with strong narrative power even in stillness. "My visual inspiration comes from the memory, and the moment when memory crash with reality”.

陆元敏（上海） 1950年生于上海，1968年在农场当电影放映员，1976年调入上海市政工程研究所从事科技摄影，1980年起在普陀区文化馆工作至今，现 为中国摄影家协会会员，上海市摄影家协会常务会员、普陀区摄影协会会长。

LU Yuanmin (Shanghai) Born in Shanghai in 1950, he once worked as a projectionist on the farm in 1968, was transferred to Shanghai Municipal Engineering Institute to work as scientific photographer in 1976, and has worked in the Culture Center of Putuo district since 1980. Now he is member of China Photographer Association, executive member of Shanghai Photographer Association, and chairman of Putuo District Photography Association. 录像[Video] 32

北京·煤市街－欧宁+曹斐

为了在2008年奥运会前改善大栅栏地区的交通和市政设施，对这一破败的老旧城区进行改造，从2004年12月27日起，北京市政府启动了 煤市街道路改扩建项目，要把原来8米宽的路面扩宽到25米，因此这条街上的多数原住民均面临被拆迁的命运。张金利、孙铁生和刘瑞萍是 煤市街的三个拆迁户，他们因为不满政府和拆迁公司的赔偿方案而走上漫长的维权之路，最后均以失败告终，就算是他们之中最顽强的张金 利，亦难逃被强拆的结局。这是中国大多数城市在更新发展过程中司空见惯的故事，但这部影片特殊之处在于多数素材由当事人亲自拍摄， 那种置身其中的热切以及他们亲历的伤痛，呈现出不可代言的力度。他们的抗争行动改变了煤市街寻常的市井空间，让它焕发出一种新的意 味。在剧烈变迁的时代，手持摄影机的张金利们，正在成为另类历史的纪录者。

BEIJING - Meishi Street In order to improve the traffic and civil facility around Dashilan area before 2008 Olympic Games, and to rebuild broken aged districts here, Beijing Municipal Government has launched Meishi Street traffic reconstruction project since December 27, 2004, so as to widen the originally 8-meter-wide road into 25 meters, which makes most native dwellers here face the destiny of being forced to move. ZHANG Jinli, SUN Tiesheng and LIU Ruiping are three relocatees of Meishi Street, who started their long march of rights protection due to dissatisfaction with the compensation proposed by government and the demolition company. But none of them succeeded, even the hardest man ZHANG Jinli could not escape the fate of being forced to demolish his house. It is a common story in the process of urban development and updating in most Chinese cities, but this film is specially featured in its video materials, most of which are shot by people involved in the incident. The earnest of participation and pain of personal experience, give an impression with unendorsable tension. Their protest changes the humble street space in Meishi Street, bringing a new meaning to it. In times of dramatic transformation, people like ZHANG Jinli are now holding the camera, acting as an alternative recorder of the history.

欧宁+曹斐（北京） 欧宁1969年生于广东。1993年毕业于深圳大学国际文化传播系。从1994年起陆续创办了音乐团体新群众、Sonic China、艺术空间别馆等机 构。现生活工作于广州。其作品在世界各地展出。曹斐1978年出生于广州。2001年，毕业于广州美术学院装饰艺术设计系。2004年创办艺术 空间别馆。现生活工作于广州和北京。作品包括“角色”、“三元里”等，曾参加纽约Lombard-Freid Fine Arts、北京四合苑画廊等展览。

OU Ning + CAO Fei (Beijing) OU Ning was born in Guangdong in 1969, graduated from Department of International Culture of Shenzhen University in 1993. Since 1994, he has founded musical group "New Masses", institutions like Sonic China and "Art Space Alternative Archive". He is now working and living in Guangzhou, with works exhibited around the world. CAO Fei was born in Guangzhou in 1978, graduated from Art & Craft Depart, Guangzhou Academy of Fine Arts in 2001, and founded "Art Space Alternative Archive" in 2004. She is now working and living in Guangzhou as well as Beijing. Her works include COSPlayers, The San Yuan Li Project and so on, was invited to exhibit in New York Lombard-Freid Fine Arts, Beijing Courtyard Gallery etc. 摄影[Photograph] 33

成都·城逝－齐鸿

追忆似水年华的岁月时光，的的确确让人的内心流动出一股股热血，充溢着看似平淡但非常现实的生活，闪亮出人性光彩的一幕幕瞬间。作 家易丹说得精准：“许多人对城市沧桑的感叹，其实是一种对生命不可挽回的感叹，是一种自我追悼的情绪投影。”今天，翻阅这些20世纪 90年代的黑白照片，视觉形象里浮现着极其充实的影像，毫无轻飘的抽象图形，一切都是如此具像的回忆。齐鸿用整整6年的时间走遍成都 的老街小巷，用他的相机去收藏了老成都，以及老成都居民的人文生活场景和最现实的生存状态。

CHENGDU - Never More Remembering untouchable years and days that have past swiftly aside warms the blood flowing inside my body indeed. It is full of apparently common but fairly practical lives, shining out innumerous moments that concentrate the light of humanity. It is said by writer YI Dan, "A lot of people are sighing for the vicissitudes of the city, but in fact, they are lamented the irreversibility of life, a kind of emotional projection of self-mourning." Today, when these black-and-white photographs took in 1990s are read, pictures with rich meaning are floating in the visual image, without any weightless abstract graphics, but all concrete memories. QI Hong spent entire 6 years to walk through the old streets in Chengdu, collecting the old city with his camera, together with the humanistic life scenes and living situation of old Chengdu citizens.

齐鸿（成都） 出生于西藏拉萨,毕业于四川大学人文与新闻学院，现居成都，为自由摄影师。出版《城逝》摄影集。曾举办并参加德国Heldelberg美术 馆/齐鸿摄影展（1999）、《城逝记忆》齐鸿摄影展（2005）、深圳•香港/城市建筑双城双年展（2007）等，并获2007年度世界环摄全景 摄影大赛十佳摄影师以及CHIPP 第二届中国国际新闻摄影比赛华赛银奖（2006）等奖项。

QI Hong (Chengdu) Born in Lhasa, Tibet, he graduated from the College of Literature and Journalism at Sichuan University and now living in Chengdu as an independent photographer. He has published photographic collection Never More, held Qi Hong Photographic Exhibition (1999) in Heldelberg Museum in Germany, solo exhibition of Never More Memory (2005), and participated in Shenzhen/Hong Kong Urban Architecture Biennale (2007). He won the honor of Top 10 Best Photographer in International Roundshot Panorama Competition 2007, Silver Award in the Second China International Press Photo Contest (2006) and other awards. 插图[Illustration] 34

迷恋都·具体城－石岗

这幅画指的是一种读法和画法，读懂它必须了解一般性的建筑知识，读懂它还应具备足够多样的审美体验，读懂它需要熟悉城市建设的手段 和历史，读懂它要事先掌握进入城市的手段和路线，读懂它必须分清楚水平和垂直的关系，读懂它要能够熟练并合适运用超级诸如此类的形 容词。 在以上读法的准备中，不管你谁，你都得认识“了解、具备、熟悉、掌握、分清楚、熟练并合适运用”这几个动词递进关系，也得能 够将这些动词严格按照作者的要求，运用在他所叙述的读法中，这样你就可以化解你固有的身份像一般人一样一般性的读懂这幅画了。

City of Indulgence - City of Concreteness This painting refers to a way to read and paint. It is necessary to know about some basic architectural knowledge to understand it. It requires owning adequate variety of aesthetic experiences to understand it. It demands to be familiar with the manner and history of urban construction to understand it. It needs to master approach to city before hand to understand it. It is indispensable to distinguish the relation between the vertical and horizontal to understand it. It asks for skillful and appropriate utilizing of adjectives like "Super". Among reading methods above, no matter who you are, you will know the gradual sequence of "know about, own, be familiar with, master, distinguish, skillful and appropriate utilizing", and you can use this verbs in the read method given by the author, strictly following his requirements, and then you can get rid of your fixed identity and understand this painting as well as anyone else.

石岗（广州） 1974年生于贵州，长大于昆明，1997年毕业于重庆建筑大学城市规划专业，现生活工作于广州。主要从事巨型城市研究，超级建筑研 究，交通综合建筑研究，长期进行影像和媒体实验。研究和实验成果主要以其工作的各项专业研究文本、建成建筑及机场、研究论文、 建筑文章、摄影作品、绘画、DV试验短片、扫描作品、电子建筑画为主。

SHI Gang (Guangzhou) Born in Guizhou in 1974 and grew up in Kunming, he graduated from Chongqing Architecture University in 1997 majoring in Urban Planning. Now he is living and working in Guangzhou. He mainly carries out research on topics like mega-city, super architecture, and comprehensive construction for traffic; has been engaged in video and media experiment for a long time. His research and experiment are usually embodied in various professional research literacy, accomplished construction, airport, research paper, essays about architecture, photography, painting, experimenting DV video, scanning works, and digital architectural painting. 城市[City] 35

上海·绿色街区－UID

高架道路是上海独一无二的特征。让我们想象一个由高架形成的密集栅格，带有充足停车位的车库镶嵌其中，以确保行人至附近地区任一目 的地的距离都达到最小。这一系统不仅使交通更有效率，更解放了地面上的道路以挪作他用。它们可以变成仅有“软交通”穿行的绿地及公 共空间。高架道路将配备噪声隔板，光线反射装置、通风设施及二氧化碳过滤器。城市的整个模样都将随之改变。按我们所想的、和对这城 市的使用方式而改变。

SHANGHAI - Green Streets The elevated highway is a unique feature of Shanghai. Imagine a dense grid of elevated highways with enough parking buildings attached to it, to ensure minimum distances to any given destination in the neighborhood. This would not only make traffic more efficient but also liberate the streets on ground level for other purposes. They could be green and social spaces with only soft traffic. The elevated highways would be equipped with noise insulation, sunray reflectors, ventilation and CO2 filtering. The whole layout of the city would change. As would the way we think of and use the city.

UID（上海） 工作团队：Henrik Valeur, Rebecca Zelwak, Sarvdeep Singh Sangwan及夏祯, 张艨, 钱洁艳 特别顾问：潘海啸 UID是一个城市顾问单位，为多样化发展及可持续城市环境提供革新性的概念和策略。UID同时也是“协同进化：丹麦/中国合作项目中国 可持续性城市发展”的管理者——以此获得2006年威尼斯建筑双年展国家馆金狮奖。

UID (Shanghai) Project team: Henrik Valeur, Rebecca Zelwak, Sarvdeep Singh Sangwan, Xia Zhen, Zhang Meng and Qian Jieyan Special advisor: Prof. Pan Haixiao UID is a networking urban consultancy offering innovative concepts and strategies for the development of dynamic and sustainable urban environments. UID is also the curator of "CO-EVOLUTION: Danish/Chinese Collaboration on Sustainable Urban Development" - awarded the Golden Lion for best national pavilion at the Architecture Biennale in Venice 2006. 研究[Research] 36

重塑北京－王军+何慧珊+梁思聪

刚刚逝去的上个世纪，是北京急剧变化的百年。对于文明积淀深厚的这个历史名城来说，这仅仅是其沧桑变幻的一个瞬间。而这个瞬间所爆 发的力量，至今仍使这个城市保持着一种历史的惯性，塑造着它在今天以及将来的形态，有体有形地影响或决定着这里每一个人的生活。本 展板内容取材于叙述20世纪下半叶北京城市改造史的著作《城记》，以大事记方式编排，以直观的平面设计铺陈历史长卷，旨在清晰观察是 怎样的力量角逐使一个伟大的古都发生不可逆转的改变。

Reformation of Beijing Beijing changed rapidly in the last century. To such a historical city with profound civilization accumulation like Beijing, it was merely a short moment among tortuously long history. However, the energy burst out in that moment is still keeping the city maintain a historical inertia, that is shaping her current as well as future formation, and imposing influence or decision onto the form or content of everyone's daily life. This display draws from City Record, a book depicting urban reforming history of Beijing in the second half of 20th century, arranging issues in form of memorabilia, presenting historical development through direct graphic design, to discover and observe the energy or power that drives this old city to change inevitably.

王军（北京）+何慧珊（北京）+梁思聪（纽约） 王军，新华社主任记者，1991年毕业于中国人民大学新闻系，后在新华社北京分社从事经济报道工作。1993年开始对梁思成学术思想、 北京古城保护及城市规划问题作系统研究，应邀在清华大学、北京大学作学术演讲，参与策划梁思成建筑设计双年展、北京城记忆数字 影像展。何慧珊，梁思聪亲自指导之研究生。梁思聪，摄影艺术家，曾就读于加州大学伯克利分校并获学士学位，后获得哈佛大学建筑 专业硕士学位，现定居在美国。他的摄影作品曾被纽约现代艺术博物馆、旧金山现代艺术博物馆、亚特兰大艺术博物馆、圣巴巴拉艺术 博物馆收藏。此外，他曾获龚古尔奖和纽约州艺术委员会奖。

WANG Jun (Beijing) + HE Huishan (Beijing) + Sze Tsung LEONG (New York) WANG Jun, chief reporter of Xinhua News Agency, graduated from School of Journalism, Renmin University of China in 1991, and then he began reporting economic and financial news in Beijing branch of Xinhua News Agency. In 1993, he started systematic research on academic thoughts of Liang Sicheng, Old City protection of Beijing and Urban Planning. Receiving invitations from Tsinghua University and Beijing University, he has given academic lectures there. Once participated in planning of Liang Sicheng Architecture Biennale and The Memory of Beijing - Digital Image Exhibition. HE Huishan, graduate student of Sze Tsung LEONG. Sze Tsung LEONG, photographer and artist, graduated from the University of California, Berkeley, with a bachelor's degree, and obtained master's degree in architecture at Harvard University, is now settled down in the United States. His photographic works are among collect ions of the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the High Museum of Art in Atlanta, and the Santa Barbara Museum of Art. In addition, he has been rewarded by John Simon Guggenheim Memorial Foundation Fellowship and New York State Council on the Art Grant. 摄影[Photograph] 37

北京·前门·赤裸的生活－王子（北京）

2004年初至2007年摄于北京的前门地区。前门地区是著名的历史文化街区。解放前这里是繁华的商业区，这里拥有中国北方最体面的院落 和商铺，现在的前门却已经沦为贫民窟，曾经繁荣兴盛、寸土寸金的地段今天已经凋敝不堪，成为城市贫困人口的聚居地，如同繁华中的孤 岛。破败平房、困窘生活与周围豪华高楼、繁华的都市形成鲜明对比。作者通过影像记录了这种衰败的瞬间。

BEIJING - Qianmen - Naked Life Photographed in Qianmen area of Beijing during 2004 to 2007. This region is well known as a historical cultural block. It was a busy commercial district before the liberation of China in 1949, accommodating the most decent courtyards and shops of the entire North China. But now it has degenerated into slum, with the previous flourishing expensive region replaced by withered housing district of the destitute, like an isolated island drifting in prosperity. Dilapidated cottages and difficult living here show great contrast against the surrounding luxurious high-rises and prosperous urban landscape. The photographer caught the moment of decline through images.

王子（北京） 1983年生于北京，2004年获清华大学美术学院装潢艺术设计系学士学位，现为职业艺术家、艺术与社会文献摄影家，清华奥尼文化传播 公司艺术总监。主要作品《城》、《墙》、《窗》，先后在北京、平遥、上海、巴黎和维也纳等地展出。现居北京。

WANG Zi (Beijing) Born in 1983 in Beijing, he got his bachelor degree of Arts from Academy of Fine Arts, Tsinghua University. He is now a professional artist, art and social documentary photographer, and the art director at Tsinghua AONI Ltd. Main works include City, Wall, and Windows, which have been exhibited in Beijing, Pingyao, Shanghai, Paris, Vienna and so on. Currently lives in Beijing. 摄影[Photograph] 38

长春·城·冰街－魏来

魏来的作品是一种在记忆里寻找关于极端真实的生活证据的过程。画面象一个完整的逻辑，直接渗透到事物最本质的真相当中，而真相是有 着多重性的表达渠道和分析方法，艺术家所捕捉到的场景是即时的也是普遍感的存在，然而，也是在常人眼里容易被忽略的瞬间。其影像是 结实而确凿的，所有的呈现都在无声无息的流淌，用最真实的血来陈述最温暖的事实。

CHANGCHUN - City - Ice Street The work of WEI Lai is a process about in search for life evidence on extreme real scale in the memory. As a complete logic, a picture can directly infiltrate into the most essential truth of things, and truth is an expression way and analysis method with multiplicity. What the artist captured is immediate scene and the existence of common sense as well, but also is the easily overlooked moment in ordinary people's eyes. His image is strong and solid; all the presentation silent flowed with the blood of real to state the warmest facts.

魏来（长春） 1973年出生于吉林。就读金融专业，毕业后从事平面设计。业余时间主要用来拍自己喜欢的黑白照片直至现在。曾参加“无题”个人影 展（2007）、广州国际摄影双年展（2007）、摄影中国1949-2006（2006）等展览。

WEI Lai (Changchun) Born in 1973 at Jilin. Once studied in financial. Has engaged in graphic design after graduation and spent the spare time on photographing black-and-white photos until now. Once participated in "No Title" Personal Photography Exhibition (2007), Guangzhou International Photography Biennale (2007), Photography in China 1949-2006 (2006) and other exhibitions. 摄影[Photograph] 39

重庆·后街－谢平

后街，意指高楼大厦背后，主干道之外的那些窄小的街道。这里是城市平民生活的地方。这种地方曾经是城市生活的主角。时间流逝，城市 变迁，我们的生活重心转移到了商业中心、写字楼和广场这些地方，后街被高楼遮蔽了。现在的后街，在周围楼群的巨大阴影里，沉默着。 带给这里生机的是那些新来的移民，他们带着他们的孩子和希望，在这里逃避、幻想和奋斗。后街的一切让人想起奈保尔《米格尔街》中的 人物。

CHONGQING - Backstreet Backstreet, which refers to those narrow streets behind the high buildings outside the main road, where the civilians live. This place was once a core of city life, but with transformation of city for years, this core has shifted to the commercial centers, office buildings and plazas and such places, so backstreet is obscured by high buildings. It is being silence in the huge shadow of surrounding buildings, while it becomes a place for new immigrants, who bring new life here, with their children and hope, with their escape, fantasy and struggle with the reality. People in backstreet will remind us of the characters in Naipaul's novel "Miguel Street".

谢平（重庆） 1963年生于重庆，策展人、自由摄影师，担任中国摄影家协会会员、重庆市青年摄影协会主席等职务。主要作品有“后街”、“迎 亲”、“重庆这座城”、“酒作坊”等，曾参加平遥国际摄影大展（2003、2004、2005）、中国重庆国际影像艺术节（2006）等；担 任中国重庆国际影像艺术节总策展人（2006）、中国（青海）三江源国际摄影大展总策展人（2006）、国务院新闻办图片库艺术指导 （2006）等职务。

XIE Ping (Chongqing) Born at Chongqing in 1963. Curators, freelance photographer, member of the China Photographers Association, chairman of the Chongqing Youth Photography Association and etc. Major works include "Backstreet", "Ying Qin," "The Chongqing City," "Wine Workshops". Once participated in Pingyao International Photography Festival (2003, 2004, 2005), China Chongqing International Image Art Festival (2006), etc. Served as Chief Curator of the China Chongqing International Image Art Festival (2006) and China (Qinghai) Sanjiangyuan International Photography Exhibition (2006), Art Director of the China State Council Information Office image project (2006), etc. 摄影[Photograph] 40

广州·这么远，那么近－亚牛

城市的物象诠释主体成为城市的“立交桥”和一些可见的“风景”，其叙述主体是抽象的、无机的；艺术家“把运动、流动性和无休止”的 都市特征放大，并冷静地反复展开，显露出的城市的无机、冷酷和粗暴力量，使城市中心成为空洞的“风景”，这似乎是中国当代城市特有 的一种有待进入的现代性的“风景”。

GUANGZHOU - So Far, So Close City "overpass" and some visible sceneries are the interpretation subjects of city substance and image, the narrative subject is abstract and inorganic; artist enlarges these features of city -"movement, mobility and endlessness ", and repeated them calmly, demonstrating the city's inorganic, heartless and brutal force which makes the centre of city become empty "landscapes". This appears to be unique modern "scenery" would happen everywhere in the contemporary Chinese city.

亚牛（深圳） 1969年生于广东。1993年开始在深圳工作、生活，曾任职于《现代摄影》等杂志。主要作品有“虚妄的时光”、“看不见的城市”、 “平遥在巴黎”等，曾参加平遥国际摄影节（2002）、丹麦Arhus，Galleri Image展览（2003）、上海星光画廊展览（2002）等。《虚妄 的时光》获平遥国际摄影展银奖；作品《虚妄的时光》被尤伦斯基金会收藏。

YA Niu (Shenzhen) Born at Guangdong in 1969. Has worked and lived in Shenzhen since 1993. Once served in "Modern Photography" magazine. Major works include "Times of Fantasy", "Invisible Cities", "Pingyao in Paris". Once Participated in Pingyao International Photography Festival (2002), Denmark Arhus, Galleri Image Exhibition (2003), Shanghai Star Gallery Exhibition (2002), etc. “Times of Fantasy" won silver prize of Pingyao International Photography Festival and was collected by UCCA. 城市[City] 41

北京·西四胡同－在场建筑

就像事务所的名字所预示的那样，这是所有设计中最有“在场”感的作品，即项目始终执著地关注、分析和研究预设街块，并在反复的考察 与读图中寻得最具“真实性”的再生策略。清理-围合-穿越-开放-反转-下沉-再生，“在场”的策略清晰、稳靠，逼近现实，逼近问题，这或 许不是一个前卫的设计，却是一个有现实深度的设计。

BEIJING - XiSi Hu Tong As foreshadowed by the name of firm, this design is the most "presence" one in all works, which means that in order to find out a most "authenticity" of renewable strategy, it has always been dedicated attention to analysis and research on hypothetical Street blocks, and investigation and reading the pictures again and again. The design strategy of "presence", eliminate - enclose - penetrate - open - inverse - subside - renew, is clear and steady, approaching to reality and the problem. This is perhaps not an avant-garde design, but a design with real depth.

在场建筑（北京） 2004年成立于美国纽约。主持建筑师徐千禾（生于1968年）、钟文凯（生于1971年）、刘宏伟（生于1972年），他们均为美国建筑师学 会会员和纽约州注册建筑师，并分别在 Pei Cobb Freed & Partners（贝聿铭、考伯、弗里德事务所)、Eisenman Architects（埃森曼事务 所）、Thomas Phifer and Partners（汤马斯•费佛事务所）、HLW事务所等国际知名的建筑师事务所工作多年，参与了在美国、亚洲和欧 洲的多项不同尺度、不同类型的规划和建筑设计任务，在政府、文化、校园、办公、住宅项目方面积累了丰富的经验。

SPACEWORK Architects (Beijing) Founded in New York, United States in 2004. The Principle Architects XU qianhe (born in 1968), ZHONG wenkai (born in 1971), LIU Hongwei (born in 1972), all of them are members of the American Institute of Architects and the New York State registered architects, worked in famous international architect firms such as Pei Cobb Freed & Partners, Eisenman Architects, Thomas Phifer and Partners, and HLW for many years, participated in a number of different scales and types of planning and architectural design tasks in United States, Asia and Europe, has accumulated rich experiences in the projects of government, culture, campus, office, and residential area. 摄影[Photograph] 42

重庆·洋人街－曾翰

洋人街，是重庆近年新建的主题乐园，一如这个城市的草根性和疯狂，乐园里的所有建筑和设施几乎都是民间狂想的产物，世界各地著名景 点的微缩景观和本土粗制滥造的游乐机械，以及奇形怪状的建筑充斥整个乐园。乐园里到处都是民间智慧和调侃的标语，其中有一条恰如其 分地表现了乐园制造者的动机：“向沃尔玛学习－让穷人过上富人的生活！”，而乐园的名字更是耐人寻味。拍摄此照片的时间是2007年 10月1日，彼时，蚁群般的“穷人”们塞满整个乐园，兴高采烈地过着“富人的生活”。

CHONGQING - Yang Ren Street (Foreigners' Street) Yang Ren Street is a new theme park built in Chongqing in recent years. Just like the characters of the city-grassroots and crazy,almost all the buildings and facilities here are the products of civilian paranoia: the miniature landscape of world famous scenery, entertainment machinery manufactured in a local rough way and grotesque construction are filled throughout the park. Civil wisdom and joking slogans are everywhere in the paradise, one of them appropriately expresses the motive of the paradise producer: "Learning from WalMart – Making the poor lead a rich life!", even more intriguing is the name of paradise- Yang Ren Street. I shot these photos in October 1st, 2007, at that time, the ant-like "poor" filled with the entire park, happily living in a "rich man's life".

曾翰（广州） 1974年生于广东海丰。1997年毕业于暨南大学文学院新闻系国际新闻与传播专业。现于广州居住生活工作，现任《城市画报》图片总 监。主要作品有“地下16米”、“欢乐今宵”、“叫魂”、“晕眩城市”等。

ZENG Han (Guangzhou) Born in Haifeng, Guangdong in 1974. He graduated from Journalism Department, Literature Academy, Jinan University in 1997 as an International Journalism and Communication major. Now live and work in Guangzhou, currently served as Picture Director of "City Pictorial". Major works include "16 Meters Underground," "Enjoy Yourself Tonight", "Soul Stealer", "Dizziness City", etc. 摄影[Photograph] 43

北京·天街－曾力

1949年以后，以人民英雄纪念碑的兴建为起点，大规模拓宽、延长长安街，并在其沿线大规模兴建国家级政治/文化建筑，由此改写了北京 旧城天街的纵向空间格局，形成新天街。曾力的《天街》以史诗般壮阔的视角展现了长安街上的芸芸众生，他们既倾慕这条大道和沿街的建 筑，又被它疏离；既汇聚成为“人民”洪流，又是这壮阔景观的如蚁般的看客。在这里，街阻断了广场与天安门的天然联系，凸显并强化了 人的无助、盲从和群体性。

BEIJING - Heaven Street Begin with the construction of the Monument of Heroes after 1949, widening and extending Chang'an Road as well as establishing national political/cultural architectures in a large scale together rewrite the vertical spatial pattern of Heaven Street in old Beijing and shape up a new one. Heaven Street by ZENG Li gives vivid description of all living things in Chang'an Street with grand vision as an epic. People in the street adore yet is isolated by the street and the alongside architecture; they flocked into an onrush of "people" yet is the viewer of the spectacular sight as small ants. Street disrupt the innate relation between square and Tian’anmen, highlighting the helplessness, blindly following and mass behavior.

曾力（北京） 1961年生于广西柳州，1988年毕业于中央戏剧学院舞台美术系。现为北京人民艺术剧院舞美设计师。曾担任歌剧《图兰多》及芭蕾舞剧 《胡桃夹子》的舞美服装设计 ; 拍摄过一系列的城市影像，举办过个人摄影展《愚公的时代》，内容包括北京城的居民楼、正在拆除的胡 同到贵州的三线工厂等。

ZENG Li (Beijing) Born in Liuzhou, Guangxi in 1961. He graduated from Stage Art Department, Central Academy of Drama in 1988. Now serves as Stage and Costume Designer in Beijing People's Art Theatre. Once served as Stage and Costume Designer of the opera "Turandot" and the ballet "The Nutcracker"; Once took pictures of a series of urban images, and held personal photographic exhibition "The Era of YU Gong", including the city residential buildings in Beijing, demolished Hutong and the third-tier factrories in Guizhou. 摄影[Photograph] 44

一个人的郑州－张卫星

摄影可以很自我、随意。一个人的郑州是一个人的观点，或许是一种偏执。虽然这些年走过许多城市，我也习惯了尽量客观地观察事物，但 随着时光的飘逝，真正留下深刻记忆的事情却所剩无几，倒是那些所谓“偏执”的东西，往往能引起我强烈的思绪。偏执是一种选择，一种 内心体验，一种面对纷繁世界对自己的坚守。

My Own Zhengzhou Photography can be very self-random. My own Zhengzhou is to see Zhengzhou from a personal perspective which may be a little paranoid. Although I have been to many cities and accustomed to observe things as objectively as possible, only a little thing can be left in my deep memory with elapsing time. Instead, those things so-called "Bigotry" often cause my strong thoughts. Bigotry is a choice, an inner experience, an insistence when we faced the complex world.

张卫星（郑州） 1963年9月出生于陕西汉中。汉族，大专学历。中国民俗摄影协会会员，河南省摄影家协会会员，河南省青年摄影家协会理事。曾参加的 展览有：2003年 “24节气”参加平遥国际摄影大展 ;2003年“放飞”参加郑州一日摄影大展 ;2002年“飘逝的记忆”参加河南艺术周。 2001年在河南博物院举办了“伫望金刚台”个人摄影展。

ZHANG Weixing (Zhengzhou) Born in Hanzhong, Shanxi in September, 1963. Han, college graduate. Members of China Folklore Photographic Association and Henan Photographer Association, director of Hennan Youth Photographer Association. His work "The 24 Solar Terms" participated in the Pingyao International Photography Festival (2003), "Flying" in Zhengzhou On-day Photography Show (2003) and "Elapsing Memory" in Henan Arts Week (2002). In 2001, held a personal photography exhibition "Looking on Jinggangtai" in Henan Museum. 录像[Video] 45

上海·街道生活－赵大勇

影片中的人物来自全国各地，没真实的姓名、没有真实的社会关系，他们用家乡的地名来称呼自己。他们以捡垃圾、偷东西、要饭、卖唱为 生。这一群游走于社会边缘人群，他们聚集在南京路的各个巷口。作者不能回避现实带给他的巨大的心灵冲击。最终还是采用强烈的主观意 识来解释这一段时间，来审视我们共同的生存空间。

SHANGHAI - Life in Street Characters in film from across the country, they have no real names, no real social relations, they call themselves with the name of the places they came from. They make living by collecting garbage, stealing, begging, and singing in the street. This group becomes socially marginalized group, they gather in various alleys of Nanjing Road. The author can not evade the great mental impact from the reality on him. Eventually he adapts a strong subjective sense to explain this period of time to examine our common living space.

赵大勇（广州） 1970年生于辽宁抚顺市；1988年就读于沈阳鲁迅美术学院油画系；曾担任过职业画家、广告平面设计师、广告导演等；1997年创办中国 当代艺术杂志《文化与道德》；2001年开使从事独立真实电影创作、个展、绘画；作品《南京路》曾获第8届意大利罗马亚洲国际电影节 (Asiatica Filmmediale) 罗马奖（2007）等奖项。

ZHAO Dayong (Guangzhou) Born in Liaoning, Fushun in 1970; Studied in Canvas Department, Lu Xun Academy of Fine Arts in Shenyang in 1988; Once served as professional painter, advertising graphic designer, advertising director and etc; founded Chinese Contemporary Art magazine "Culture and Moral" in 1997; Has engaged in making independent real film, personal exhibition and painting since 2001. His work "Nanjing Road" won the Rome Prize in the 8th Italy Rome-Asia International Film Festival (Asiatica Filmmediale) (2007) and other awards. 表演[Performance] 46

大家乐－朱芳琼和他的朋友

乐团的现场以朱芳琼的音乐理念为主线，通过与不同的音乐家的合作，以“当下”的状态揉和各种不同音乐或声音元素而带入一个纯净的精 神世界。另一方面又有来自各个领域的艺术家们共同参予研究乐器制作、器物发声、和即兴手绘视频演绎的构成特点，以此探讨视听艺术的 综合性、即时性和偶发性。

Everybody Enjoy On the one hand, as the main line of the scene of band, ZHU Qiongfang's music collaborates with different musicians' "current" situations with various music or voices in order to bring into a pure spiritual world. On the other hand, the artists from various fields jointly participate in research on producing instruments, voice of instrument, and video of improvisation painting. Together they explore the comprehension, instantaneous and chanciness of audio-visual arts.

朱芳琼和他的朋友（广州） 是一个集合资深独立音乐人朱芳琼（西天音乐工作室，西天乐府工作室）和来自不同艺术领域的视觉艺术工作者们（画家、陶艺家、雕塑家 和平面设计师）共同参与创作的、开放式的演出艺术团体。

ZHU Fangqiong and His Friends (Guangzhou) This is an open performance and art group, in which ZHU Fangqiong, a senior independent musician, works in Xitian music studio, with visual artists from different artists field, such as painters, potters, sculptors and graphic designers join together in art creation and production. 摄影[Photograph] 47

上海·零度－朱锋

这组照片的拍摄没有明确的主题，主要都是在作者住所附近地区拍摄，以环境和建筑为主。同时它们也是一种风景，作者希望与其建立某种 关系，正如不知从何时开始意识到要拍那些照片一样，也不知道什么时候该结束，因为建设还在继续。

SHANGHAI - Zero This group of photos shot near the artist’s home, without any clear theme, mainly about environment and construction. However, they are also some kind of landscape; the artist hopes to establish some relationship with them. Just like he does not know why and when he wants to shoot these photos, the artist does not know when the shooting will be end, because everything keeps changing.

朱锋（上海） 1974年生于上海，毕业于华东师范大学艺术系，现居上海。曾出版图文小说《脏》（合作）、作品发表于《城市画报》、《艺术世 界》、《解放报》（法国）等期刊。2007年84张照片被英国当代冲突档案馆收藏。曾参加连州国际摄影年展（2006）、平遥国际摄影展 （2002、2003）、上海第五届国际影展黑白摄影联展（2000）等展览。

ZHU Feng (Shanghai) Born in Shanghai in 1974 and graduated from the Fine Arts Department, East China Normal University. Now live in Shanghai. He has published an image-text novel "Dirty" (Coauther). Other works have been appeared in "City Pictorial," “Art World ", "Liberation" (France), and other journals. In 2007, his 84 photos were collected by Timothy PRUS (The Archive of modern conflict), London, England. Once participated in Lianzhou International Photography Festival (2006), Pingyao International Photography Festival (2002, 2003), the Associated Exhibition of Black-and-white Photographs of 5th Shanghai International Photography Exhibition (2000). 摄影[Photograph] 48

上海·默片－朱浩

朱浩的作品以我们无暇细看的城市景观为对象，经由细腻的色彩表现和精确的影像描述，凸现了城市空间作为一种无序却又是有机的生命体 的视觉魅力。照片中所取景观，其实都来自人们平时熟悉的城市空间。然而，经过作者别出心裁的框取，这些本来不被注意的景与物，突然 显出了一种陌生感。在将景观与空间作一种影像的固定与转化之际，在定义了现实的同时，也赋予时间与空间以新的意义。在艺术家的观看 之下，景观获得了自足性与自主性，而空间则丕变为压缩、凝聚了时间、欲望、想象与记忆的历史容器。

SHANGHAI - Silence Film With the urban landscape overlooked by us as the subject, the work highlights the visual charm of urban space as it is an out-of-order but active organism by using delicate color performance and precise description of images. In fact, landscape in the photos comes from the familiar urban space, however, through the artist's unique framing, those sceneries and things we don't pay any attention to suddenly look strange. The work also endows time and space with a new significance at the time when it changed the landscape and space into fixed and transformative image and when the space and time are given a new definition. In the artist's view, the landscape is self-contained and independent, and the space becomes a history container filled with compressed time, desire, imagination and memory.

朱浩（上海） 男，1969年出生于上海，毕业于上海戏剧学院戏剧文学系。九十年代初，在美国出版英汉对照俳句《初霜》。现任奥美上海创意总监。 举办过个展 “上海·默片”、“场景”、“动物课”、“阿拉-上海的海”、“阿拉”、“现场-上海和其他”等。

ZHU Hao (Shanghai) Male, born in Shanghai in 1969. He graduated from Drama Literature Department, Shanghai Theatrical Institute. In early 1990s, he published the English-Chinese version of Haiku "Early Frost" in the United States. Now he is the Creative Director of Ogilvy & Mather( Shanghai). Once organized personal exhibition as "Shanghai - Silence Film", "Scene", "Animal Class," and "Allah – Shanghai's Sea", "Allah", "Scene - Shanghai and Others" and etc. 摄影[Photograph] 49

十字路口－朱晔

十字路口由两条垂直交叉的街道构成，同时这里也是人流、车流、管制与信号的集合点。因为多向人流和车流的汇聚，秩序与组织成为需 要，这样的组织体现为一系列的交通管制术，包括：发出规训信号的红绿灯、规定行人行进方向的斑马线、负责监控的电子眼、进行人为管 制的交警与协警等等。在这些大大小小的十字路口，对于行人而言，街道体现为通过马路的行为规训与信号反应。于是，在这组十字路口的 影像中，我们看到的是近乎于条件反射的匆匆而过的人群，他们茫然而尽可能快速地通过面前的街道，离开照片而去。

Crossroad Crossroad is formed by two vertical streets; also here is the assembly point of people, traffic, control, and signal. Because multiple-direction flow of people and vehicular traffic assemble here, order and organization will be necessary, which embodied as a series of traffic control, including: traffic signal lights issuing regulations, zebra crossing regulating direction of passersby , electronic eyes responsible for monitoring, the police using manual control and so on. In these various crossroads, the street for people means behavior training and signal response. Thus, in this group of photos about crossroads, we can see the crowd hurry up to pass the road like conditioned reflex, they are moving through the streets in a loss as quickly as possible, leaving away the photos.

朱晔（广州/重庆） 1973年10月生，1997年毕业于重庆建筑大学建筑城规学院建筑系。2005年7月起任《城市中国》执行主编。2005年12月合伙创办“嗯工 作室”进行城市的可能性研究。同时，以独立艺术家与评论人身份进行文字、影像及艺术创作。

ZHU Ye (Guangzhou/Chongqing) Born in October, 1973. Graduated from Architecture Department, College of Architecture and Urban Planning, Chongqing Architecture University in 1997. He has been the executive editor of "Urban China" since July, 2005. He originated the "Noffice" with others for doing research on the possibility of city in December, 2005. At the same time, he engages in text, image and art creation with the identity of an independent artist and critic. [展览主办]

街道展小广告_06.pdf 2008.3.14 3:45:49 PM

[展览日期] 2008年3月21日– 4月6日

[展览地址] 上海证大现代艺术馆（上海市浦东新区芳甸路199弄28号）

[开幕酒会] 2008年3月21日下午3:00（周五）

[国际策展委员会] 佛朗索瓦·朗社(Francois ASCHER) 米哈耶·阿慕密(Mireille APEL-MULLER) 艾里克·夏蒙(Eric CHARMES) 迪迪耶·荷布瓦(Didier REBOIS) 佛朗索瓦·贝朗杰(Francois BELLANGER)

[中国展合作策展人] 姜珺 沈其斌 史建 朱晔 卓健

[中国展学术委员会] 丹尼尔·库基曼(Daniel CUKIERMAN) 夏维尔·费尔斯(Xavier FELS) 季路德 匡晓明 卢济威 潘海啸 袁奇峰

[中国展策展助理] 陈淑霞 董超媚 方力为 皇甫秉惠 梁笑媚 罗媛 王祥东 赵裔堃

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韩彦（城市中国） 50

[中国展平面设计] 刘治治（米未设计联盟）

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[中国展支持机构] 法国驻华大使馆 上海世博会事务协调局 上海市规划局 上海法语培训中心

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