Atelier Bow-Wowâ€™s Fire Foodies Club. Â©UABB, photograph by Zhang Chao.
Following my trip to Shenzhen last December, I had the chance to write a review of the UABB for The Architectâ€™s Newspaper, which can be read fully on their website. Below, an excerpt:
As Yan says to a packed auditorium, â€œThe real exhibition is the vibrant city life.â€ Much in sync with the biennaleâ€™s theme, â€œCities Grow in Difference,â€ the auditorium where Yan is speaking is filled with an audience that ranges from architectural experts to local inhabitants of Nantou Old Town, the majority of whom are Chinese migrant workers.
For the curatorial team, the urban village is a model for the future. Against what Yan calls the â€œglobalized, standardized, capitalized cityâ€ that has expanded to the global scale, the urban village is a hybrid, a wetland, a â€œbreeding ground for a new city.â€ The biennale seeks to learn from it, and to emulate it in its search for possibilities.
The location of the biennale is a case in point. One of the oldest parts of Shenzhen, Nantou is an urban village, a specific Chinese typology of low-rise housing in the center or outskirts of the city, serving mostly migrant workers and temporary dwellers. Nantou is lively, crowded, and seems to be a place where everything is possible.
Image: Zwelethu Mthethwa, Untitled (from the series Interiors) (detail), courtesy of the MAD blog.
Disegno is a new design magazine that seeks to bring back long form critical writing and reflection to the design field; it appears in the form of a website, a biannual print magazine, and a series of events. I wrote my first essay for the Disegno website on how contemporary designers seek to emulate the figure and spirit of the bricoleur. As one of the magazine website’s Lessons, I traced back the origin of this term and its current implications, as seen in examples as the Museum of Arts and Design’s recent exhibition “Are You a Hybrid?” curated by North-American designer Stephen Burks, which I also critique. An excerpt is below:
Fascinated by the craftsmanship behind these creations,Are You A Hybrid? is trapped within the boundaries of formalism. Burks’ simplistic presentation of a powerful creative force is representative of the limited Western perception of the figure of the bricoleur. It also implies that this creative impulse can be appropriated and emulated by Western designers, reducing it to a formal trend. But what escapes Burks and much of the Western design world is the true essence of the bricoleur, which cannot be copied or crystallised. Because this creative impulse lives in a state of permanent flux, the stillness of the museum pedestal will only extinguish it. Because this maker only exists in the periphery of society, bringing him to the centre will thwart him.
The Western design world’s selfish fascination with the bricoleur seeks to tame and incorporate this elusive spirit within the discipline’s moulds. But it should instead observe and learn from a creative process that, unlike design, is unskilled and indifferent to conventions and standards. This tenacious, resistant spirit, intrinsic to emerging design scenarios, is already helping the discipline grow and reshape in developing nations. It is now up to the West to catch up.
The complete piece can be seen over at Disegno, as well as some reading suggestions if you’re interested in the topic.