On February 28, the Shenzhen Bi-City Biennale of Urbanism\Architecture (UABB) ended its three-month run. The venue will be demolished as part of the transformation of the Shekou waterfront district from factories and warehouses into a cosmopolitan cultural destination. This is indicative of the incredible energy being exerted on developing the city, and the money available to do so.
Hong Kong and Macau aren’t independent nations, yet they appear at the Biennale regardless. As recent appendages to China, they are undergoing an often-uncomfortable transition to a new political reality. Thomas Daniell explains how both pavilions give different responses to the unification question. Hong Kong emphasizes its inclusion in a larger regional network, the Pearl River Delta, while Macau places focus on its cultural distinctiveness.
At the most abstract level, the task for the artist and for the architect is essentially the same: to specify a frame. The artist’s frame may be entirely concrete or entirely abstract – from an ornately gilded rectangle to a spoken instruction – but always acts to define its contents as being artworks, whether they are newly created or nothing but found objects.
Both were night-time, outdoor public spectacles, both used digital data as the raw material and artificial light as the expressive medium, and both partially relinquished artistic control to computer randomization. In each case, invisible aspects of the digital realm were made visible, rendered in light at scales and speeds available to human perception. Immanent global […]
Not content with using raw, unprocessed materials and vernacular building techniques, Fujimori has intentionally infested their exterior surfaces with plant life. The result is shaggy and bristling, humorous and grotesque, uncanny and vaguely obscene – and at times surreally beautiful. Although nature is often used as a metaphor for generating architectural form (zoomorphic structures, exfoliated […]
During the 1960s, he was already referring to architecture and the city as a ‘flow of information’ – he contends that he invented the term ‘information society’ (johokashakai) in 1961, long before it became common parlance. Throughout his career, he has single-mindedly pursued the biological metaphors of flux, metamorphosis and growth that are so prevalent […]