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Boa Mistura, Pinghéng - simulation, 2017
segnaliamo
Friday 15 December 2017 - Saturday 17 March 2018

Bi-City Biennale of Urbanism/Architecture

At the heart of the seventh edition of the Bi-City Biennale of Urbanism/Architecture of Shenzhen is the theme of town planning and architectural development

The UABB2017 edition, curated by Hou Hanru, Artistic Director of MAXXI, and by Liu Xiadou and Meng Yan, co-founders and directors of Urbanus Architecture & Design Inc., extends throughout the city of Shenzen and also includes a further three locations.

An unmissable event for all those who believe in diversified and sustainable urban development

Along with a dense programme of events and conferences there is also an exhibition Cities, Grow in Difference, curated by Hou Hanru, which investigated the role of “coexistence” in the future development of urban villages and their role in the rapidly expanding cities of China. This is an attempt to counter the trend towards homologation that leads to an impoverishment of environmental and intellectual resources. Every city should instead be seen as an ecological complex, with the utmost heterogeneity and diversity, in which people can live together and share a great variety of dreams and in which the search for harmony should not be confused with uniformity.

Among the participants in the biennale are the architect, designer and planner Yona Friedman with three site-specific projects for the “Street Museum” constructing installations together with local creatives and the independent Spanish collective Boa Mistura, who will invite local people to create together an enormous mural on the façade of an industrial building. Both projects were launched by Hou Hanru, co-curated by Elena Motisi and realised with the support of MAXXI. Also present are Atelier Bow-wow of Tokyo which will be creating a Fire Foodies Club to encourage the sharing cooking and street food. Yung Ho Chang, architect and curator of the first edition of UABB, which will construct a “light but heavy”, open and flexible information kiosk on the lawn at the southern entrance to the walled city of Nantou. Nader Tehrani, the Iranian-American architect, will instead be intervening in the industrial area of the city of Nantou with an avant-garde installation. MVRDV – The Why Factory which will be bringing (W)ego, modules of a mosaic, to assemble a spacious and flexible residential installation.

BOA MISTURA, PINGHÉNG (Balance)

YONA FRIEDMAN, Street Museum

photogallery

BOA MISTURA, PINGHÉNG (BALANCE) - Bi-City Biennale of Urbanism/Architecture, Shenzhen
BOA MISTURA, PINGHÉNG (BALANCE) - Bi-City Biennale of Urbanism/Architecture, Shenzhen
BOA MISTURA, PINGHÉNG (BALANCE) - Bi-City Biennale of Urbanism/Architecture, Shenzhen
BOA MISTURA, PINGHÉNG (BALANCE) - Bi-City Biennale of Urbanism/Architecture, Shenzhen
BOA MISTURA, PINGHÉNG (BALANCE) - Bi-City Biennale of Urbanism/Architecture, Shenzhen
BOA MISTURA, PINGHÉNG (BALANCE) - Bi-City Biennale of Urbanism/Architecture, Shenzhen
Shenzhen_Yona Freedman_1
Shenzhen_Yona Freedman_2
Shenzhen_Yona Freedman_3
Shenzhen_Yona Freedman_4

BOA MISTURA, PINGHÉNG (Balance)

Project initiated by Hou Hanru,
co-curated by Elena Motisi

PINGHÉNG (Balance) is a large-scale intervention on the façade of the Old Factory Building, designed by Spanish collective BOAmistura. This work reflects the sensibility of the group towards the place they work in, and reflects their habitual approach to researching the languages of the inhabitants of the place.
Using the strong evocative power of painting, which is capable of being immediate and accessible to all social classes, nationalities and ages, BOAmistura’s work can be considered as a research on a universal language that finds his specific accent in each place. In line with their way of working, this new episode of their work will see them work in an open and performative way. In three different stages of the realization work, the façade of the building will became alive first come into view the yellow letters “tradition” and then the red one “development” ending with the overlapping of the two words. The dialogue of these two colors, also representing identity and modern needs, will generate a new color, a new “state of being”. At the end of the performative action, indeed, the confrontation between two contradictory notions, will be replaced by the harmony: a blu trace coming from the merging areas.

YONA FRIEDMAN, Street Museum

Project initiated by Hou Hanru,
co-curated by Elena Motisi

The project thought for the Shenzhen Biennal by Yona Friedman, in line with the architect general way of thinking the design process, could be considered as the result of a form of improvisation. The site specific projects, thought as a new Street Museum appointment, will take care of the memory of the citizen across elements of their daily life, putting Friedman’s visions coming from to the original concept of Mobile Architecture and in line with the survival strategy based on improvisation and self-production. Friedman’s work invades the city and interact with public spaces, catalyzing the experiences and the objects of the citizens. This large intervention sees the cells of Friedman’s project go out of from the museums in order invade the city from rooftop, public squares, until floating on the water of the Moon Pool as part of an entire urban districts made by structures moving in a changing environment.
With his project, Friedman tells us how architecture can interact with the diversity of the social system seen as a whole with his graphic language, a democratic, interdisciplinary and global communication instrument. This project is indeed the confirmation of a shared method that, through Friedman gestures, indications and pictograms turn out to be really global: from Europe to Asia his constructive method can be used by anyone and can be considered as a never ending global process in continuous becoming.