102 015

特别制作

special report

102 015

X FactorWill the shenzhen and Hong Kong Biennale of Urbanism and architecture next month bring some surprises to Chinese cities?

103015 103015

未知

12月份即将在深圳与香港

进行的双城双年展

还会给中国的城市带来

惊喜和反思么？

编辑 由宓 /edited by Umi

104 015

历经张永和、马清运之手，今年的深圳香港城市/建筑双 城

双年展(Shenzhen & Hong Kong Bi-City Biennale of Urbanism/

Architecture)由欧宁担任总策展人，并且有个颇具煽动性的主

题，“城市动员”。场域建筑(Approach Architecture)的主持 建筑

师梁井宇作为展览设计，与Abitare就策展主题与城市关系 及其

实现谈了自己的想法。

“动员”的由来，社会意义与公共空间

动员有两种理解，首先从极权政治的统治阶级来说是一 种方

便的手段，用以执行极权体制上的控制、贯彻计划， 在极权文化

里——从纳粹开始——只此一招，就是动员。这 是一种全民广播

式的动员，掀起一种对口号的狂热与追求， 这些口号通常是简单

的，绝对的，当然这里有很多学问。 就 是说。“动员”这个词

在经历了现代历史变得臭名昭著以后，似乎不 常用了，但在官僚

层级的管理体系中，看起来也没有更好的手段使旨意很快的传达

到基 层个体，而在基层，也没有反馈的机制和平台。

在民主社会里，存在有公共空间、或领域、场域，不管称

其什么，它们的存在使当权者、民众得以在这里自由的交流 信

息，不同立场下的人唯独共同遵循一种独立的理性判断， 这种

交流甚至论战中便可以产生一种舆论，通过媒体传到当 权者。

在民主社会里舆论是不可忽视的，现在中国存在的仍 是被导向

的人民的声音。

因此在民主社会无法进行前面提到的那种动员，只有

campaign(发起运动)，是把大家叫到一个地方来较量较量。 而在

中国是mobilization(动员)，好似要推动、刺激静立不动 的大众。

前者的campaign也是要控制别人的大脑，但允许对方 反击。当

然在实际状况下常常是有钱有势的人在campaign中占 上风，却

也不乏公共知识分子靠理性和批判性思维发现其中 逻辑的纰

漏，一句话戳穿时局的情况，公共知识分子的重要 性即在此。

双年展的“动员”，理想的平台

双年展引用“动员”概念，其实有“劫持”的意味，把 本

来是当权者的手段劫持到民间的平台上。这个“动员”的 存在

是矛盾的，也正引人深思:首先动员不可能从民间开 始，自下而

上，而且很明显所有的民间行为都是反动员的， 是抵抗官方层

面的动员的。这样看来双年展的机制也是很奇 怪的搭配，它是

深圳市政府支持的行为，从政府层面讲当然 是一种动员。那么

我们(策展人和设计师)能动员什么，为 什么站在动员的层面想

问题，是要思考的。

从民间来说怎么回应这个动员呢?在我看来，在公民社会没

口号之外的动员 —— 2009深圳香港城市建筑双城双年展报道

有建立起来之前是没有论战的战场的，并不存在有这种民间和

政府共同商讨问题的战场—— 或者更温和一些叫论坛，而没有

公众舆论介入的任何讨论都 是没有意义的。与其这样，我们可

不可以把这次双年展理解 为这是一场与官方共同开展的动员，

由于没有自己的平台， 需要借助一个半官方的平台，虽然不可

能有完全意义上的平 等对谈，但是有机会引发舆论。双年展在

这个过程中位置可 能忽上忽下，可能回旋在政府、民间和独立

个体之间。双年 展作为一个平台或论坛，有可能引起舆论的注

意，那么在这 样的场合进行关于公共问题的探讨就有价值。

实现对话的切实手段，香港的“后对话”

通常建筑双年展是非常面向专业的展览，几乎是学术类 型的

活动。深圳做双年展之初决定称之为“城市与建筑双年 展”，希

望整合专业内的力量，更希望延伸到城市研究，这 包括城市的社

会、政治、地理、经济问题等，然而每一项问 题也都很专业，不

能引起舆论的反应，或者说为了引起反应 需要很长时间的全面教

育做铺垫。例如，要让人意识到以下 便不是一时之事:

祖祖辈辈生活在一个地方的人天生便有居住在那片土地 的

权利，而且是有尊严的居住在那里。如果有人要和你交换 这个

居住的权利，你有足够的权利与他讨价还价。这是最基 本的。

另外，城市和街道是属于每一个市民的，规划城市和 街道却不

属于每个市民，这个专业化机器与民众非常远，但 居民应该有

机会发声。

双年展处在关键位置，能否做到这样一个机制，让那些 官

僚决策机构把所做的事情告诉大家，反过来让市民参与发 表自

己的意见，首先做到这样一种教育和启蒙，让人意识到 自己有

什么权利——没有的话就不可能捍卫自己的权利。

双年展的另一主场在香港，那里政府工作的透明化程度 较

高，民众参与意见决策的机制也很成熟。我做07年深圳香 港双

年展的工作时开始对体制问题发生浓厚兴趣。我想香港 有一个

他们自己没有意识到的优势，即市民已经具备了很强 的公民意

识。这是很长时间的半民主化的殖民体制教育出来 的，所以他

具备探讨城市中真正存在问题的条件。近年来天 星码头和皇后

码头的拆除的政府行为，表面上是要去港英统 治之旧形象，好

像之前总督到港的船都是在皇后码头停驻， 代表某种殖民记

忆。香港民众意识到自己的历史甚至不能诉 诸于民主手段去保

护， 便走上街头，用直接的、极端的方法 反对这两个码头的拆

除，不仅教育了走上街头的人，也教育 了年长的，对公共问题

一贯持观望态度的几代人。

香港部分的策展主题是Bring Your Own Biennale，全面鼓励 市展览场地设计方案

Plan of the exhibition's site

105015

Mobilization out of slogansshenzhen and Hong Kong Bi-City Biennale of Urbanism and Architecture 2009

after Zhang Yonghe and Ma Qingyun, Ou Ning works as the chief curator of this year’s Shenzhen & Hong Kong Bi-City Biennale of

Urbanism \ Architecture (SZHKB), which has a provocative theme, “City Mobilization.” Chief architect from Approach Architecture Liang Jingyu, retained as exhibition designer, talks with Abitare about the exhibition theme and its relationship with cities.

The Origins of “Mobilization”, Its Social Significance and Public Sphere There are two kinds of understandings of the concept “mobilization.” First of all, it is a particularly good tool used by the ruling classes of a totalitarian system to implement their control. Social mobilization is always the only weapon used in totalitarian systems -- starting with the Nazis. This is a popular form of mass mobilization aiming to set off an irrational fanaticism on the slogans. The style of these slogans is usually simple and assertive. The word “mobilization” has been out of our sight after it became notorious in modern history. However, it seems there isn’t a better meansthrough which the ruling class could pass their order and wishes down to the grassroots individuals. In addition, there is no platform to launch resistant acts at the grassroots level.In a democratic society, the existence of the public sphere or public domain, however it is called, allows the exchange of information between the ruling and the ruled. People from different backgrounds are all armed with independent thinking and reasoning as the only criterion. Such information exchanges or debates will generate public opinions, and then be passed on to the people in power through mass media. Public opinion is an indispensable element of a democratic society; while the only voice heard in China is from the controlled people. Therefore, in a democratic society as mentioned above, it is not possible to “mobilize,” but to “campaign,” which means to summon people to contest in a place. Mobilization in China means to push and stimulate the static mass. Campaign aims to control someone else’s activities too, but it allows the others to fight back. Of course in reality, the rich and powerful people often have great advantages in the campaign . However, in many cases, intellectuals are also able to pick up the logic flaws with their rational and critical thinking, and then expose the real situation to the public. This demonstrates the importance of public intellectuals.

“Mobilization” in Biennale, an Ideal Platform In fact, the Biennale takes the concept of “mobilization” in its sense of “hijacking.” It hijacks the tool of the ruling class to be implementedin civil society. The existence of “mobilization” is contradictive as well as inspiriting. First, mobilization could never start from the civil society and develop bottom-up. In addition, it is clear that all civil actions are anti-mobilization, and on the whole, resist official mobilization. In this way, the mechanism of the Biennale is also very strange. It is supported by the Shenzhen government and it can definitely be seen as a kind of mobilization by the government. So what can we (the curators and designers) mobilize? Why do we investigate society through the perspective of “mobilization”? These are all good questions for us. How can a civil society respond to this mobilization? In my view, there is obviously no battlefield for public debates and negotiation between the government and civil society, or forum if we want to call it in a moderate manner. None of these discussions are meaningful if it involves no mass media. In our case, we would rather have the Biennial as a mobilization carried

out jointly with the government. We don’t have our own platform, so we do need this semi-official platform. Although it is impossible to make a democratic debate, it still provides opportunities to make known to the mass media. During this process, the position of the Biennale might shift up and down with the government, civil society, and individuals. The Biennial, as a platform or forum, attracts public attention, which will grant meanings to the discussions on public problems.

Practical Means to Achieve Dialogue, Hong Kong’s “Post-dialogue” Usually an Architecture Biennale is an exhibition for the professionals and is almost an academic activity. The original idea of the Shenzhen government when it started the Biennale was just as the name “Biennale of Urbanism \ Architecture “ suggests--to integrate the profession of architecture and encourage urban research on big city’s social, political, geographical, economic problems, and so on. However, each area is too professional and broad to arouse public reaction. At least, it will take a long time to insert comprehensive education before it can get a proper response. For example, it is not easy to make people become aware of the following issues:It is your birth right to live in the place where your ancestors have lived for generations. What’s more, you deserve a decent life there. If someone asks you to hand out the right of residence, you have the right to bargain with them. In addition, the city and the street spaces belong to every member of the city, while the right of city planning and regulation does not belong to every citizen. This state apparatus is far way from the lives of ordinary people. I think all the residents should be given the opportunity to voice their opinions.The Biennale is in a key position to create a mechanism that pushes the decision-making governmental departments to report to citizens, and in turn, allows public feedback in public events. It is vital to make this kind of education and enlightenment so that people are aware of their own rights. Without this awareness, it is impossible for them to defend their rights.Hong Kong is the other host city of the Biennale. The Hong Kong government has a rather transparent and fair system, as well as a mature mechanism to enable the participation of ordinary citizens. I started to become interested in the government system when I was doing the 2007 Shenzhen- Hong Kong Biennale. I think Hong Kong has its own advantage which they may not even be aware of. Hong Kong citizens already have a strong civic consciousness, which was cultivated by the long education period of their semi- democratization colonial system. That’s why Hong Kong has been mature enough to talk about the real issues happening in urbanization. In recent years, with the demolition of the Star Ferry Pier and Queen’s Pier, it seems like the government tried to erase the old image of British authority upon Hong Kong. That’s because the British Governors usually stopped at Queen’s Pier when they arrived in Hong Kong. It seemed to be a representative of the “colonial past.” When they realized they were unable to protect their own history by democratic means, they stepped to the streets to protest in the most direct and extreme manners. This movement educated not only the people who went to the streets, but also the older generations who were usually disinterested in public issues.The theme of the Hong Kong part of the Biennale is “Bring Your Own Biennale” which encourages public participation. It is a fair demonstration of its culture encouraging public participation.

106 015

民参与，这不乏是一种公民文化的表现。

深圳主展览场地，介入与妥协

在宏大的深圳市民广场做好一个展览确实比较有挑战。 西

方传统的城市形态使得居民把广场当作自己的客厅，在中 国广

场从来是作为动员的场地的——检阅红卫兵的影像不少 人还印

象深刻。由于这种动员方式不再有以往的作用，这些 的场所留

在城市里显得有些不合时宜。正因为此，双年展的介入也许会

是一个机会。这不是典型的动员的好场所 么？——我做展览设计

之始也颇为兴奋了一番。当然实际的 问题是，动员本身是自上而

下的，我们要做的正好反向，会 有更多交流参与，需要观众来提

供看到某件展品的感觉。确 实有些体验需要比较亲密的环境，那

么广场能否替代博物 馆、美术馆、教室作为一种公共教育的场

所，从一种动员转 变为另一种动员？

空间利用技术上最大的难题是，若是对其永久性的改 造，

有很多可以作为的，但若只是暂时的，则很难触及其中 的弊

病。前者能够通过改变周遭的城市功能分布使这里变成真正 的

城市场所，起到一定教育或交流作用，哪怕只是起到使市 民参

与的作用也好。

现在只谈我们的临时改造。作品的挑选和位置摆放都和 空

间有很大联系。艺术家提出一些象征性作品，可以有反叛 的解

读，这几乎是自然的:面对当下的情境恐怕最直接的表 达是指斥

的。那么这些作品的摆放位置决定着隐喻的轻重， 这不容易通

过政府的审查，我们便做出一些妥协。广场地上 部分 作品比较

市民化，旨在于基础层面上教会人作为市民具 有什么权利，作

为居民可以和房子与城市有什么关系，可以 怎样要求它们。这

是最容易和市民接近的，最容易给他们刺 激的。这类作品的丰

富同前两届双年展都很不一样。

如果只停留在公共教育的阶段，双年展在全球领域的讨 论

框架下就会不足了。我相信来自不同地域和背景的策展人 团队

会平衡公众与学术，关注在全球化进程中共同命运的探 讨等。

文学与建筑：跨界实验单元

请文学家围绕特定建筑创作，是欧宁提出的双年展的一 个

重要单元。我想文学与建筑的越界实验与个人体验有关。 我期

待看到建筑人性的一面，因为建筑很容易走到人性的反 面，用

理性来规定生活的方方面面。我也想看即便“顽固” 的建筑师

设计出种种空间，这中间的人性如何迸现，如何产 生某种情

感。每当有一种空间形态，不论是张艺谋的鸟巢开 幕式，还是

纳粹的空间，还是很人性化的日本茶室，我们都 面临一些我们

不知道的人性的压迫，这压迫历来就有，历来 的反抗也有。无

论人顺从或不顺从 ，我总想看到发生在两者 之间的事情。那么

今天的中国，我们会在这十个建筑中发现 什么，值得期待。

Shenzhen’s Main Exhibition Avenue, Intervention and Compromise It is a great challenge to host a good exhibition in the grand Shenzhen Civic Square. In Western tradition of urban planning, the plaza is taken for granted as the residents’ living room. In China, the square has always functioned as a mobilization site – the images of Mao’s meeting with Red Guards in Tiananmen Square is still in our memory. Since that kind of motivation is no longer as relevant as it was before, these plazas lose the legitimacy of its existence in urban area too. The intervention of Biennale in this paradoxical issue may provide it a good opportunity. Isn’t it a typical place for mobilization? I was quite excited about it when I began to design the exhibition. Of course, real mobilization happens top-down.What we do is the reverse. We will provide more opportunity for public participation and encourage the audiences to express their feelings about the exhibits. Some exhibits do require a more intimate environment. But can the public square work as a substitute for museums and art galleries? Can the public square provide public education and transform mobilization from one kind to another?The biggest technical challenge in space design is that you can do a lot of things if you transform the site permanently, but it is difficult to reach the core problems if the transformation is just temporary. The former can transform it to a real urban site by changing the dynamics around the city and enable it to play a role in promoting education or communication, or at least to encourage public participation.Here we are only in the position of talking about the temporary transformation. Both the selection and the display of exhibits are highly related with the space. It is quite natural for the artists to create some highly symbolic works, which provides certain rebellious interpretation. The explicit expression of the current situation is usually open to criticism. In this way, the placement of these works will determine the severity of their metaphors. It is not easy to pass the government’s censorship and we have to make some compromises. We put more civic works on the ground of the plaza that aims to teach people about their civil rights, the relationship with their house and city, and what they can demand from the city. These topics are closely related to people’s everyday lives and provide them a stimulus. The richness of this kind of artwork is different from that of the past two Biennales.If it stops short of playing the role of public education, the Biennial is inadequate for its ambition to provoke discussion on global issues. I believe that the curatorial team from different regions and backgrounds will keep a balance between the public and academic interest, and focus on the shared concerns in the globalization process.

Literature and Architecture: Cross-border Experiment Unit An important part of this year’s Biennale turns out to be Ou Ning’s proposed idea to invite prominent writers to create fictional stories on specific architectures.I think the cross-border experiment of literature and architecture is related to personal experiences. I look forward to sparks of humanity bursting from these architectures, for it is very easy for the architectures to suppress human nature, and to regulate life with rationality instead. I also want to see how human nature is expressed and how emotions are generated in the architecture works, even from “stubborn” architects. Whenever there is a spatial form, whether it is the Bird’s Nest that set Zhang Yimou’s opening ceremony of the Olympic Games, the Nazi’s space, or the much tender Japanese teahouses, we will be confronted with an unfamiliar pressure of human nature. This suppression has lasted for a long time, and so is the resistance. No matter if people are submissive to it or not, I always want to see what happens between these two extremes. We look forward to finding something interesting from these architectures.

上左：展览现场方案

上右：展览现场室内

above left: Plan of the exhibition's siteabove right: Interior of the exhibition's site