伦敦设计博物馆日前公布了DESIGNS OF THE YEAR 2013年度候选作品提名名单， 大栅栏官方iOS平台手机应用程序获得”DIGITAL”部门决赛资格提名。全部提名作品将于2013年3月20日与伦敦设计博物馆进行展出，最终获奖名单将于4月17日公布。大栅栏app下载：https://itunes.apple.com/app/id561837466
伦敦设计博物馆日前公布了DESIGNS OF THE YEAR 2013年度候选作品提名名单， 大栅栏官方iOS平台手机应用程序获得”DIGITAL”部门决赛资格提名。全部提名作品将于2013年3月20日与伦敦设计博物馆进行展出，最终获奖名单将于4月17日公布。大栅栏app下载：https://itunes.apple.com/app/id561837466
MAPPING THE VOID - student architectural project by Aarhus students, Fabio Guimaraes and Zuhal Kocan along with hosting CAFA students for Dashilar. Starting from a laboriously accurate 1:50 drawing of Yangmeizhu Xiejie (spanning 496m), the project tests methods of mapping the rapid and constant change which is happening to this historical hutong.
2012年11月，来自丹麦Aarhus建筑学院的学生Fabio Guimaraes与Zuhal Kocan，与中央美术学院（CAFA）的同学共同完成了杨梅竹斜街的沿街立面图绘制计划 – Mapping the Void。时值杨梅竹斜街景观与街景立面整治工程最繁忙时期，团队成员通过摄影、录像、手绘草图的形式，记录下最白热化状态下的施工现场、街道上日新月异的变化，以及面对这一切，住在咫尺外的居民是如何做出反应的。© Shen Lu, Deng Yuan, Wang Qi, Joanna Costan, Fabio Guimaraes & Zuhal Kocan, Nov 2012
历时半年的大栅栏都市信息平台<iPad终端应用程序>近日荣获“日本平面设计师协会奖2013（JAGDA AWARD 2013）”，作品将被收录在《Graphic Design in Japan 2013》年鉴一书中。
铁树斜街59号是一幢二层临街独栋小楼，总面积约227平方米。2011年北京国际设计周期间，摄影师Eric Gregory Powell曾在这里举办题为《大栅栏》的作品展。徒步游开始前，喝杯热红酒，吃个Hentai Fried Chicken Sandwich，等人力三轮车到了就可以出发了！
Dashilar is is one of the oldest and most famous “hutongs”, or alleyways, of Beijing, and probably one of the closest to pictures in our imagination of the old city—narrow streets, red lanterns, rickshaws and all kinds of Chinese paraphernalia. Located outside Qianmen Gate, South of Tian’anmen Square, the area became the city’s most vibrant commercial street during the Qing Dynasty. In the last 20 years, though, Beijing’s skyscraper fever has stalled the preservation of the area, leaving decaying infrastructures and widespread commercial vacancies threatening to sweep away the old glories of Dashilar.
Since last year Dashila(b) has been an open platform for elaborate restoration strategies to save the area and bring it back to its old splendor. Founded as a collaboration between Beijing Dashilar Investment Limited and Approach Architecture Studio, during the last two years Dashila(b) has been actively implementing an innovative urban curation program. In order to spur the area’s revitalization, Dashila(b) recently worked closely with Beijing Design Week in organizing a kermesse of workshops, forums, pop-up stores and cafes, art installations and parties, where international creatives meet the unique atmosphere the rich urban fabric of old Beijing.
From 27 September until 6 October 2012, Dashila(b) and Beijing Design Week brought more than 40 participants to the area, from both China and abroad. The epicenter of the project has been a former factory in Dalaiying Hutong, with satellite venues in the whole Dashilar area and in the newly renovated Yangmeizhu Street, which has been hosting a series of events and pop-up shops by e-commerce platform Nuandao. Among the stars of the event Campana brothers, Lumalu, Jellymon, CYJO and BCXSY,GCDK De.Sign, Nuandao. We met with founding member and curator Neill Gaddes to learn more about Dashila(b)’s backstory and future goals.
How has it been working in Beijing’s oldest city area and dealing with an environment and local people who are mostly strangers to design? How did you manage to involve them in the project?
Dashila(b) was founded as an alternative revitalization model for Dashilar. The developer for the area, thankfully, found it unfeasible financially to completely demolish the area and build a faux-historic mall, as is the usual process for Old City revitalization in China. So we presented them with an alternative, more organic growth model for Dashilar that included, rather than excluded, the local residents. This is not necessarily what the residents want, as many had been holding on to dilapidated properties in the area in the hope of a big pay-out when the government implements its Tabula Rasa-style of development. With this no longer on the horizon, we are encouraging and helping residents to re-invest in their properties for the long-term future of the area. After years of ambiguity and opacity from the government, it was no surprise that they have been a little hesitant to believe us.
What Design Week does is it allows us to illustrate a provisional model of the future that they can be involved in with results thus far very encouraging. Seeing residents in pajamas enjoying beer and Chuan’r barbecue with the Design Week crowd during the opening street party was, in some ways, affirmation of this process. Furthering this we also held a series of workshops and events throughout the week targeted squarely at the resident’s interaction with Design. These were well attended and introduced how design could be in the resident’s lives without a patronizing or pretentious tone, which is usually symptomatic of this type of outreach.
How did you choose which projects and designers to work with?
Overall we were open to all submissions. Being more of an area-wide festival than discreet exhibition, we have the scope to be inclusive of different scales and directions participants want to take. However, we did develop some projects in collaboration with designers, architects and artists to specifically address Dashilar. These consisted of projects either documenting Dashilar life, collaborating with local business or searching for solutions to the area’s infrastructural and architectural issues. Rather than hold an open call, we worked with the participants with suitable proposals to help direct the project in a way that may benefit the local population. If the project fit remotely into those three vectors, we would approach them and inform them on situations in Dashilar that may be relevant, source funding (always a motivator) and let the participants get to it. The results of the process we are in the process of compiling into a toolbox for future use, encompassing everything from street furniture to mooncake moulds, personal histories to toilet rooftop gardens.
Are all the spaces meant to be only temporary stores or are there any designers moving to the area on permanent basis?
Some of the spaces are purely temporary as they are earmarked for complete renovation in the near future, or already have a defined use to which we are working toward. One problem is that connecting the right designer or business to the right property is far more of an art than a science. Design Week gives us the opportunity to experiment in connecting these two elements, which is ultimately better for the area and for newcomers coming in. We do have participants from Design Week who have decided to stay, and we will work with them over the following months to find the best spaces and situations they can occupy for the benefit of the area. This is the crux of an urban curation rather than planning scheme—you must balance newcomers with local business and ensure there is a critical mass of certain programs to support each other, rather than just giving free reign to whoever’s first, or whoever has the most money, which will do nothing for the wider area.
Can design and creativity save the heritage of one of the oldest city area? What could be considered the tangible results of your efforts in the area?
In some ways design and creativity are the strongest both when it comes to ways to save Dashilar’s heritage in the physical form of the buildings and urban fabric, as well as intangible elements like culture, cuisine and craft. The workshops, events and projects all suggest ways in which design can take these cultural aspects, both positive and negative, associated with Dashilar and make them contemporary. Other direct examples of our harnessing creativity and design for the benefit of the area is Design Week itself as a political milestone and our Urban Curation plan. Other than the revitalizing effect it has on the area, Design Week actually plays a very direct role in preserving the traditional architecture.
China’s headlong rush in developing needs no introduction, but less known are the mechanisms and bureaucracy responsible for it. Each year, just like chief executives, party secretaries need to show that key objectives are met to ensure they rise within the administration. This is quite often the reason behind some of China’s empty ghost cities or, worse, shoddy developments. Very consciously we have used Beijing Design Week as a photo opportunity for the relevant officials that doesn’t involve excessive, poorly planned demolition and hurried, pastiche-ridden construction. Within our planning, one of the key actions has been to connect the right program with the right building, so as to ensure a sustainable and, in some ways, more authentic preservation of the building, because the underlying architecture fits the new use.
One of the problems with old city redevelopment is that where the buildings have survived war and weather for centuries, their original purpose has long since dissipated. When you have a 1950s factory complex with large airy spaces, inserting a new program is relatively easy. Finding a program that can fit without too much alteration of the existing architecture into a 17th-century brothel is the real challenge.
BEIJING — For centuries, the ancient city walls of Cicheng in southern China have encased a traditional Chinese chessboard of streets and alleys, together with more than a hundred historic temples and residences, many of them dating back to the early 700s.
When local officials began the process of restoring Cicheng’s ancient architecture, they were confident that tourists would flock to see it, but were wary of turning it into a “dead” city filled with heritage sites and souvenir stores trading on the past. Hoping to avoid that, they have embarked on an ambitious program to revitalize Cicheng’s craft traditions by encouraging artisans and designers to study and work there. Another part of China is trying to revive its artisanal culture too: Dashilar, one of the few remaining historic areas of Beijing, whose dilapidated hutongs and siheyuans, or alleyways and courtyard houses, have survived the reconstruction of the rest of the city center.
“China spent most of the 20th century destroying its own culture and, thankfully, we’re at the point now where people are aware of what’s been lost and the need to rediscover it,” said Aric Chen, who organized a series of projects in Dashilar in September as creative director of Beijing Design Week. “There is unquestionably a rapidly growing emphasis on and appreciation of craft. The challenge is keeping it fresh and relevant.”
Not that this challenge is particular to China. Many countries with rich histories of craftsmanship face similar problems, but the speed and scale of the modernization of China’s ancient cities make the situation there particularly perilous. Unless action is taken to revive the age-old skills of places like Cicheng and Dashilar, they will disappear.
Historically, China’s craft credentials were unassailable. For centuries, the silks, ceramics, embroideries, calligraphy and lacquerware made by its artisans were among the finest in the world. The national tradition of craftsmanship fostered a culture of ingenuity, which helped to shape the industrial age. The elaborate division of labor pioneered by the porcelain workshops in the northern city of Jingdezhen during the mid-1600s was adopted more than a century later by Josiah Wedgwood and other European industrialists at the start of the Industrial Revolution.
Yet China’s craft heritage was woefully neglected for much of the past century. The country has been left with a dearth of artisans to pass on their skills and knowledge to a new generation of craftsmen and women. Many of the local networks of specialist suppliers and fabricators on which they depend have also disappeared, or are in danger of doing so.
Cicheng embarked on its craft revival when the architectural restoration program was nearing completion. The Cicheng Development Co., a local government organization, looked for new ways of using the renovated buildings, and decided to fill them with people whose work related to the region’s craft heritage. Advised by two Taiwanese specialists in Chinese folk culture, the architect Chu-joe Hsia and cultural historian Yung-sung Huang, the C.D.C. formulated plans to develop the Cicheng Innovation Cultural Park, which, it hoped, would encourage artisans and designers to work within the ancient city, thereby reviving traditional forms of craftsmanship, and inventing new ones.
The newly restored Cicheng had no shortage of studios and workshops for them to occupy. Exhibitions of historic and contemporary craftsmanship were staged to draw them to the city, as well as training courses and master classes led by eminent practitioners. The rationale was that younger artisans and designers would be attracted to a place with such a dynamic craft culture, and specialist businesses would emerge to supply them. Cicheng also integrated its craft heritage into its tourism strategy. Craft hobbyists now flock there from all over China to observe artisans at work and to study an eclectic range of handicrafts including pottery, folk embroidery, and making local delicacies like Cicheng’s famous New Year cake.
A different strategy is being deployed to similar ends in Dashilar. Like Cicheng, it has a rich history, albeit a younger one, rooted in the 1300s. Located in the heart of Beijing, near the Forbidden City, Dashilar was a bustling commercial center for centuries, when its narrow hutongs were filled with opera houses, silk shops, opium dens, tea houses and brothels, as well as the city’s first cinema and stock exchange. But in recent years, when other areas of Beijing have been transformed by redevelopment, Dashilar has been neglected. “When we first started telling people we were doing projects in Dashilar, the common response was: ‘You’re crazy, no one wants to go there,”’ Mr. Chen recalled.
Dashilar narrowly avoided the wholesale redevelopment of other areas of Beijing. By the time the development process was due to start, the cost of relocating and compensating local residents had become prohibitively expensive. Beijing Dashilar Investment, the government-owned real estate developer for the neighborhood, decided to make the most of its shabby, but charming hutongs.
Working with the Beijing-based architectural group, Approach Architecture, it formed a project team, Dashila(b), which has implemented a conventional urban regeneration strategy of renovating the historic buildings and persuading designers, architects and artists to occupy them. Less conventionally, Dashila(b) has also tried to rekindle the local craft heritage by bringing new artisans into the area and nurturing existing businesses, which include historic shops like Nei Lian Sheng, a shoe store founded in 1853 to make cloth boots for the imperial court.
Dashila(b) began by inviting Beijing Design Week to organize temporary exhibitions and workshops in Dashilar for each of the past two years, and by opening pop-up shops. It now plans to convert a disused factory commandeered by Beijing Design Week into a permanent gallery, and to run a regular program of debates and workshops on design, craftsmanship and architectural restoration.
Some of the designers and artisans that have rediscovered Dashilar through such projects have been persuaded to open studios there, as they have in Cicheng. That should make it easier to persuade others to follow, and to sustain the once-imperiled craft traditions of, at least, two parts of China.■
Crumbling buildings, instead of being torn down and rebuilt, are being revitalized into galleries, studios or boutiques. Beijing Design Week advances the effort.
BEIJING — Behind a scrappy red door in an old Beijing hutong, or alleyway, stands a derelict late-Qing Dynasty (1644-1912) courtyard house. The expansive space, with open ceilings that give it the feeling of an abandoned abbey, has had myriad incarnations. Believed to have started as the luxurious living area of Manchu nobility, it was turned into a school, then a plastic factory, then a hostel. Now sunlight pours through broken windows onto edgy artworks temporarily there for a design festival.
It’s just one place, though, in a bigger plan for reinvention of Dashilar, a historical dilapidated neighborhood in the heart of this city. Tales of demolition and rebuilding of vast swathes of the old city, with locals forced to relocate to make way for malls and high-rises, are common, but here an urban development experiment is aiming to revitalize old buildings for more innovative uses.
Authorities have teamed with Beijing-based Approach Architecture Studio to breathe new life into alleyways largely considered slums, where residents cram into divided courtyard spaces without plumbing. Buildings in Dashilar, rather than being knocked down, are starting to be turned into galleries, studios or boutique shops.
“It’s hard for [the government] to imagine there is another way for them to develop old Beijing aside from destroy and rebuild,” says Liang Jingyu, principle architect for Approach Architecture Studio. “We want to give them the confidence to use the space in a creative way. And this will encourage the locals to follow or copy. Polish the old part and you see real beauty there.”
A critical part of the plan is Beijing Design Week, a fair of pop-up shops, cafes, design studios and galleries that took place this month. Forty participants (about half Chinese) from more than a dozen countries installed more than 100 exhibitions in four locations across the capital.
China, the so-called factory of the world, has long been associated with mass production and cheap goods. More recently, leaders have spelled out plans to transform the country to an innovation-based economy. By encouraging local design and revitalizing poor areas of the city, the government-funded Design Week, now in its second year, aims to shift “made in China to create in China,” according to its creative director, Chinese American Aric Chen.
Dashilar has 600 years of history but has fallen on lean times. Brothels and opium dens once sat side by side with teahouses and Chinese opera houses. Homes for some of China’s most long-established brands, such as the Rui Fu Xiang silk shop, remain standing alongside Beijing’s oldest cinema, which opened in 1903.
Yet despite being a few steps from Tiananmen Square, much of Dashilar remains underdeveloped. Design Week aims to tackle this inconsistency. Stylish foreigners and Chinese wandered down dusty gray alleyways, popping into a smattering of rundown buildings that have been transformed for the week. One example is a vacated factory complex whose makeshift exhibitions include sleek designed-in-Beijing furniture and the “Milkywave,” a sweeping light installation created from more than 1,600 cream-colored ceramic yogurt pots popular with the locals.
The plans mark a change from the treatment of neighboring Qianmen Street — which was bulldozed only to be rebuilt in 2008 in a faux late-Qing dynasty style replete with Starbucks and H&M, a fake tram and a giant cement tree.
By contrast, Dashilar residents can choose to sell or stay under the new scheme. Government-purchased buildings are being offered at low rents to designers who want to set up shop. Design Week has, in part, acted as a live mock-up to show skeptical local officials that this gradual approach, which demands a smaller initial capital investment than the knock down and rebuild model, can create dividends as foot traffic increases. A handful of businesses, including a Chinese film studio and a Dutch-owned gallery, have already signed up. Inhabitants will benefit from improvements to the area as the value of their properties rise in tandem, so the argument goes.
Critics, however, are asking who Dashilar is being renovated for: The locals who live there or tourists and expats looking for the latest hip haunt? Some, like 80-year-old Liu Diang Zhen, who has headed her local neighborhood committee for 30 years, are ambivalent about the plans and don’t think they will make a difference. The Dashilar project, she offered, is “the business of the government.”
Waiter Yue Yao Tong, 22, who works at a bare-bones restaurant serving traditional Beijing snacks, is more optimistic. Above all, Yue does not want to see the old town demolished. “The old buildings are more attractive for visitors,” he explained, sitting next to a vat of bubbling entrails. “You can see the [faux historic] buildings in Qianmen everywhere in China — but it’s very hard to copy a place with history. We want very much to show foreigners that this is the true Chinese style.”
2012-10-23 10:52 来源：参考消息网 作者：外媒看北京
● 闪电设计竞赛(Design Charrette)
大栅栏区域内的房屋建筑类型多为平房多户混居院落，人口密度极高，公共空间十分稀薄。与传统的购买-居民再安置-房屋建筑拆除-全盘重建式的粗放开发模式不同，大栅栏区域开发主体北京大栅栏投资有限公司(Beijing Dashilar Investment Ltd.)通过与自愿腾退的居民合作，有计划地稳步回购一户或整院产权，同时，在条件成熟的前提下，配合有针对性的策划方案与房屋建筑改造计划，温和、理性、严谨地对空间进行更新，赋予资产更多的无形价值，进而实现区域整体的有机再生。
a. 散。开发计划内的资产，其分布目前尚处于比较零星的状态 – 彼此之间的地理联系并不紧密。
设计周期间，工作室组织了不同主题的多场活动与工作坊。这些活动把对大栅栏感兴趣的不同人群聚集在一起，搭建了一个相互交流和学习的平台，同时也加深了公众对大栅栏更新计划(Dashilar Revitalization Project)本身的了解。每个活动都和一个倍受尊重的创意企业或本地商家共同主办，提升了公众对创意文化企业品质的良好印象。
This gallery contains 4 photos.
2012年10月6日，为期十天的北京国际设计周大栅栏新街景(Dashilar Alley)活动落下了帷幕。三大设计分展区（杨梅竹斜街、大栅栏西街、大外廊营胡同8号厂房）、六项特别赞助项目、44家参展方、180家媒体报道、超过12万人次的参观者，大栅栏成为国庆黄金周期间城中的热点话题。作为大栅栏新街景的全程策划兼顾问团队，大栅栏跨界工作室Dashila(b)将以局内人的视角为您详尽解读全过程。■ #001 Dashila(b) x Kenya Hara 作为本次大栅栏新街景官方视觉系统设计者， 设计师原研哉(Kenya Hara)与日本设计中心(Nippon Design Center Inc.)根据大栅栏的城市肌理特征，3D立体式重现了胡同街巷特有的背景环境。平面的纸质印刷地图，结合智能手机或平板电脑等电子移动终端设备，行人在随时了解自己当前位置的同时，还能看到整条街道的纵深景观。借大栅栏新街景的平台，我们正式发布了官方地图与官方手机应用程序的轻装版(Lite Version)。 欲了解更多大栅栏区域整体视觉识别系统搭建，请持续关注dashilab.com。