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
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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。
获奖公布页面：http://t.cn/zj13KTh
作品应用下载：http://t.cn/zjBvTj3
2012年12月16日，周日，小雪。工作室联合UbiGallery 、OkraWorks、Jellymon、壹勺子糖、前门清真寺、琉璃厂桂宝阁等共同举办了“大栅栏冬日胡同徒步游”活动。手握朗姆苹果酒和苍孙灌饼，穿行在阿訇师傅与手工匠人的解说之中…工作室希望通过这样的开放活动，使每一个人更好地了解并参与到大栅栏更新计划中。
走进铁树斜街59号©Photograph by Kenzaburo Fukuhara
Okraworks原创的苍孙灌饼
Ubi艺廊的陶瓷摆件&爵盟jellymon的陈列商品©Photograph by Kenzaburo Fukuhara
冬日特饮
©Photograph by Kenzaburo Fukuhara
为本次活动特别制作的宣传页（内含资产介绍）©Photograph by Kenzaburo Fukuhara
特邀创意餐饮团队Okraworks为本次活动提供服务©Photograph by Kenzaburo Fukuhara
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！
铁树斜街59号二层一瞥©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
第一站是杨梅竹斜街39号，这里曾是宣武隆源五金商店所在地（现迁址到斜街西入口处），Ubi艺廊正在这里举办题为”Fringe|流苏”的珠宝首饰与瓷器艺术品展览。站在二楼露台，可完整俯视街对面的青云阁(建于1918年前后，旧时为一座综合性的商业娱乐场所），Linlin为我们讲述了她搜集到的故事。
杨梅竹斜街39号外观©Photograph by Kenzaburo Fukuhara
“流苏|FRINGE”展览©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
陶瓷品区©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
艺廊代表Machtelt为大家进行介绍©Photograph by Kenzaburo Fukuhara
青云阁（北门）外观©Photograph by Kenzaburo Fukuhara
jellymon代表linlin为大家讲述青云阁的故事©Photograph by Kenzaburo Fukuhara
第二站是前门清真寺：始建于明代，至今有580年的历史，最近的一次全面装修在2009年。中国的清真寺主要有三种功能：宗教功能——信众来做礼拜；教育功能——信众来学习教义；服务功能——需要帮助的穆斯林经常会来到寺里。中国是伊斯兰教文化最早传入的国家之一，国内目前约有2200万穆斯林教众。
前门清真寺院内©Photograph by Kenzaburo Fukuhara
阿訇为大家介绍寺内布局及历史©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
礼拜殿内一瞥©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
第三站是茶儿胡同。高吊顶与大体量空间，使播放投影在墙上成为可能(放映作品来自：LumaLu电影工作室）；想节省点时间到隔壁胡同吗？茶儿胡同6号可以南北贯通两条胡同!
茶儿胡同甲3内部©Photograph by Kenzaburo Fukuhara
茶儿胡同甲3内部©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
高吊顶的空间使放映成为可能©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
来到茶儿胡同甲6号入口©Photograph by Kenzaburo Fukuhara
贯通茶儿胡同（北）与炭儿胡同（南）的茶儿甲6©Photograph by Kenzaburo Fukuhara
从茶儿甲6天台远眺©Photograph by Kenzaburo Fukuhara
穿过延寿街（一条社区内的便民商业街，经营项目多以粮油副食、日常用品为主），来到第四站：琉璃厂东街6号（原情岛酒吧）。艺术家嵇龙在附近开了一家名叫“桂宝阁”的手工艺品店，他有许多以基督教为主题的手工剪纸、木刻以及染布作品。时近圣诞，我们邀请他为本次活动设计了一组灯笼。
穿过延寿街©Photograph by Kenzaburo Fukuhara
琉璃厂东街6号（原情岛酒吧）©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
艺术家嵇龙为大家介绍自己的作品©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
最后一站，大外廊营胡同8号的厂房屋顶。我们邀请了鸽子爱好者居民张师傅，为大家介绍鸽子的生活习性、赛鸽的逸闻趣事、以及饲养的粮食作物等等。据张师傅介绍，主翼羽十根的鸽子飞行能力好。不过如今的南城，似乎已经很少能听见鸽哨儿声了。
张先生的部分鸽子©Photograph by Kenzaburo Fukuhara
看鸽子的羽翅能够分别品种的优劣©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
从大外廊营胡同8号天台俯视©Photograph by Kenzaburo Fukuhara
城南的鸽哨儿©Photograph by Kenzaburo Fukuhara
©Photograph by Kenzaburo Fukuhara
在经历了约3个小时的徒步游之后，我们返回了铁树斜街59号。
工作室希望通过策划这样的活动，在联系并增强合作者之间了解的同时，将重要节点的资产空间以互动活动的方式介绍给有意入驻的商家，当然更重要的是，使大家看到一个有别于大规模拆建方式的旧城更新保护活化新模式是如何具体实现的。目前，我们正与Bespoke Beijing、北京卡片合作设计更深入、更有趣的大栅栏徒步游活动。敬请期待！
（完）
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.
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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.
Ningbo Cicheng Ancient Town Development & Construction Co.
Making a traditional Cicheng New Year’s cake.
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.
Alice Rawsthorn
The “Paper Instinct” exhibition on China’s independent publishing scene in Dashilar during Beijing Design Week.
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.
In the Dashilar, a historical dilapidated neighborhood in the heart of Beijing. (Alessandro De Toni, Dashilab / September 28, 2012)
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.”
《参考消息》报10月23日部分刊发了洛杉矶时报的这篇文章。全文如下：
2012-10-23 10:52 来源：参考消息网 作者：外媒看北京
参考消息网10月23日报道 外媒称，在北京这座古老的城市，大片的老建筑被拆除，当地居民被迫搬迁。为建造大型购物中心和高楼大厦让路，这样的做法已让人习以为常。但是，一项城市发展实验正在赋予老建筑更多的新用途，使其重新焕发生命力。
据美国《洛杉矶时报》报道，大栅栏位于北京市中心，由于建造年代久远，它的很多建筑物现在都已很破旧。在大栅栏老街区的一条胡同内，一扇油漆斑驳的大红门后隐藏着一座破败的晚清时期的四合院。空荡荡的院子、敞开的屋顶，它就像一座被遗弃的寺院，充满了故事。据称，这个四合院最早曾是一位满族贵族的奢华宅院，后来它相继被当成学校、塑料厂和旅店。现在，这里正在举办一个设计展，阳光透过破窗户，照射在临时摆放的先锋艺术品上。
报道指出，北京官方已与场域建筑工作室展开合作，让老胡同焕发新活力。在这些被视为“贫民窟”的老胡同里，居民们蜗居在大杂院中，他们的房子缺少水暖和卫生设备。在大栅栏的老建筑不会被拆毁，而是转作画廊、工作室或精品服饰店。
场域建筑工作室的主持建筑师梁井宇说：“这对（政府）而言很难想像，除了拆毁或重建之外，还有另外一条途径让‘老北京’继续得以发展。我们想给政府一种信心，可以用创新的方式使用老建筑。这种做法可以让其他地方政府效仿。将建筑物老旧的部分进行打磨，你就会看到它们真正的美。”
报道称，被誉为“世界工厂”的中国一直以来总是与大规模生产和廉价商品相联系。近来，中国政府推出了一系列计划，要将中国转型为创新型经济体。除了鼓励本土设计、振兴城市中较贫困地区外，今年9、10月间由政府出资举办的北京国际设计周还旨在将“中国制造变为中国创造”。
有着600多年历史的大栅栏尽管与天安门只有几步之遥，但大栅栏中大部分区域并未发展起来。北京设计周旨在解决这种发展上的不和谐。
改造大栅栏老旧建筑的计划同与之毗邻的前门大街的做法截然不同。2008年前门大街进行了重建，星巴克及H&M等品牌店入驻了仿清末风格的建筑中，街道上还跑着一辆仿造的有轨电车。
相形之下，根据这项新方案，大栅栏居民可以选择出售或继续居住在老建筑物里。由政府购买的老建筑物将以低价出租给希望开店的设计师。在北京设计周中，设计师们也以实物模型的形式向部分持有疑义的官员们展示了这种改造方案的好处：其投入的资金比拆除或重建的做法要少。
此外，随着游人的增加，大栅栏的收入会更可观。包括一家中国电影工作室和荷兰画廊在内的部分企业已经签约租用。居民们也将因此受益，他们的房产价值会随着大栅栏的翻新一起攀升。
在一家传统北京小吃饭店当服务员的岳遥童（音）也不希望看到大栅栏被拆迁。他解释说：“这些老建筑对游人来说更具吸引力。你在中国到处可以看到像前门大街那样的仿造历史建筑，但是很难去复制一段历史。我们需要向外国游客展示真正具有中国风格的东西。”
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大栅栏跨界工作室官方展览《Dashila(b)-oratory》于2012年9月28日12：00在大外廊营胡同8号厂房正式开幕，为期十天。在大庄竹业(Dasso)与北京大栅栏投资有限责任公司的全力支持下，我们通过闪电设计竞赛(Design Charrette)、互动式工作坊(Workshop)、学术论坛(Forum)等活动，为商业家、专业学者、建筑师、媒体人、艺术家及来访者之间搭建了一个开放、有趣，同时激发讨论与思考的交流平台。
#002 Dashila(b)-oratory!
● 展览空间设计
空间的布置与原创竹制的桌椅由工作室成员Neill与Yin共同完成。设计周结束后，现在这里已转变我们日常的办公室。
桌子手绘设计草稿
拆卸容易的环保板凳
大庄竹业工厂一景
工作室实际空间一瞥
● 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。
在研究具体资产的过程中，开发主体与策划团队共同面临的三个实际问题：
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。
b. 小。资产的体量大多偏小，有的甚至只有十几二十平米，限制了很多可能性。
c. 危。年久失修，房屋质量通常较差，亟待基础性或结构性修缮。
设计周期间，工作室策划并邀请了10组建筑师参与这一次的闪电竞赛活动。我们要求参赛者在5天时间内，针对上述复杂的现实开发环境，为开发主体提供具有参考意义的想法或实用技术。经过评审，建筑事务所BaO最终获得了本次竞赛的第一名。
建筑事务所BaO代表介绍方案中
BaO参赛方案节选
更多结果请点这里。
● 互动式工作坊(Workshop)
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。
沾上由“悠航鲜啤（SLOWBOAT）”酿酒师提供的醇香大麦和优质炒芝麻，每个人都成为了创意大厨。
Roll up the sleeves!
来自京城的知名手工奶酪供应商布乐奶酪（Le Fromager de Pekin）店主刘洋为公众讲解了faiselle奶酪的制作方法
法国童装设计品牌TangRoulou（糖葫芦）与手工艺者兰老师，教授大家如何制作中式传统盘扣
创意组织米念(casual locations)的厨师用参与者自己买回来的菜，教大家如何做出一碗有趣的米粉。
工作室相信，通过这样的软性活动持续吸引文化游客、增加大栅栏的媒体曝光率、刺激多类型消费，将是更新计划初步阶段的关键步骤。
● 学术论坛(Forum)
10月2日，由大栅栏工作室主办，《城市·环境·设计》（U.E.D）杂志社承办的“大栅栏保护与复兴”学术研讨会在厂房召开。围绕公众参与、历史建筑保育、房屋产权问题、四合院保护与改造、市政基础设施、旧城交通、城市规划与意识形态之间等话题，包括朱小地（北京市建筑设计研究院院长总建筑师）、齐欣（齐欣建筑设计事务所董事长、总建筑师）、马昭智（香港市区重建局规划与设计总设计师）、何培斌（香港中文大学建筑学院教授）、王昀（北京大学建筑与景观设计学院副院长、方体空间工作室主持建筑师）、青木信夫（天津大学建筑学院特聘教授、中国文化遗产保护国际研究中心所长）在内的各位共同分享了自身经验与专业意见，与开发主体代表之间进行了富有成效的对话。近期我们将陆续公开部分会议文字实录。
与会代表踏勘现场
鸟瞰大栅栏胡同肌理
对话进行中
我们今后仍将积极推动此类对话，同时欢迎公众的参与。
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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。
