Sunday, February 27, 2000
Sunday, February 20, 2000
Wednesday, February 2, 2000
Welcome to Shanghai! / 歡迎光臨上海!
12 home-made postcards express the impressions of Shanghai. These postcards are alley views of the glamorous modern metropolis. / 本文經由12張自製明信片，呈現對上海的觀感，並揭露大都會的後巷景色。
1 都會游擊隊 / Urban Guerrilla
Foreign tourists and local tourists shoot the moments of Shanghai. Our photographs will record the very brief of Shanghai’s rapid transformation. In the name of urban research, urban guerrillas are in action. Do we see only what we want to see? Looking at people looking awakens consciousness of observation.
外籍及國內遊客
用照相機
捕捉歷史上短暫的片段
成為上海迅速轉變史的見證
以都市研究為名
都會游擊隊擺出攻擊的姿勢
人們是否只見其想見之事物?
觀察都會游擊隊的勇敢姿態
喚醒觀察者的自我意識
2 口號文化 / Slogan Culture
This postcard demonstrates a typical format for slogans in Shanghai: red characters on a white background. Desires and aspirations are elevated beyond the individual. A non-human scale. Sign and posters along streets, pavements and highways propagate a national direction and ambition. The new market development confronts the generic communist aesthetics of propaganda. Shanghai’s 1920s eclectic European architecture confronts traditional culture. Samsung’s advertising and the communist propaganda are not so far apart. They both impose a way of living and thinking.
這張明信片呈現上海街頭典型的口號看板
紅字白底
超越個人之上的
龐大願望和期許
非人尺度
沿著路旁的看板和海報
宣揚國家未來的方向
激起百姓奮鬥的壯志
當今正紅的市場經濟廣告
挑釁妥協的共產主義政治宣傳
外攤20年代歐風建築
挑戰中國傳統的世界視覺文化
三星牌逼近五星牌
兩者都強行向百姓施加生活方式和意識形態
3 公共空間的使用 / Public Space Culture
This is one of the most touching scene in modern Shanghai, an old man gets a haircut from an old lady in a park of 1950s neighbourhood. The way public space is used reflects best how Chinese see the relation between public and private.
是上海現代現實都會中 還保有的許多溫馨的景象之一
老婆婆在公園樹下
為鄰家老公公理髮
讓人想到陶淵明的桃花源
城市開放空間的使用
直接反射一個文化裡公共和私有的概念
This is a typical scene of the city: vendors in the foreground, then street, fly-over, low to mid-rise buildings from 50s to 70s, then high-rise from 90s piercing through the background. It is always a crude and straight forward juxtaposition of images. 這是現代中國大城市的典型景象
前景：稀落的攤販
中景：街道、高架路、50至70年代的共產建築
背景：90年代高聳、挺拔的摩天大樓
永遠是一幅毫無修飾、片段重疊的奇異景觀
7 水平移動文化及垂直建設文化 / Horizontal Mobility Culture and Vertical Development Culture
Multiple level fly-over infrastructure links new downtown business districts with the new high-rise dwelling towers and gated suburbs outside the centre. Some highway columns can support 6 layers of fly-over. In an effort to put as much green as possible in the city, small potted plants are hang along the highway edges. It is smooth horizontal line with a fussy edge. High-rise office towers replace traditional Li-Long housing. The erasure accompanies any new ambition. In the 1980s, Shanghai was building at a rate of 1,000,000 sq.m per year. Today, the annual rate ten folds. Over-supply and over-confidence of the market of office space result in ghostly skeleton buildings everywhere. Construction started to become stagnant since 1998- as if a mother realises, in the middle of labour, that she already has too many children.
層疊的上海高架路網
連接中心商業區及無盡延伸的廣大城區
為加強都市中的綠意
連高架路邊緣都以用毛毛的草本植物加以裝飾
成為帶毛邊的水平動線
高層建築快速地替換弄堂建築
兩者都是上海建築發展史上最重要的建築類型
80年代，上海每年增加一百萬平方公尺
今日，增加速度成長十倍
開發商對市場的過度信心和過度供給
造成詭異的空殼建築到處聳立
自1998年起 建築業開停滯
彷彿已開始陣痛
母親才發現 已經有太多孩子了
8 服務文化 / Manikins
This is the Shanghai Grand Theatre. Four tall and beautiful girls stand by the main entrance and receive the visitors. When the visitors enter, they are greet by a warm ‘welcome’. On rainy days, these selected girls serve plastic bags for wet umbrellas. Certain institutions, like the Shanghai Grand Theatre, have extremely high standards for image. From the moment one enters, everything is taken care of. There is a whole assembly line of such red-dressed girls, each recites one or two sentences about the building in English and bring you to the next girl. These workers from service sector are everywhere: department store, restaurant, security guard, cleaners… Often the servers outnumber the served. In the New World department store, some floors were completely empty except for the army of servers, each waiting to serve the shoppers. These workers earn 100 yuan per month and work every two days.
這是上海大劇院
四位高挑、美麗的年輕女孩
在主入口迎接參觀訪客
遊客一進門便齊聲「歡迎光臨」
下雨天時 為遊客準備好塑膠袋
別把大劇院的地給弄濕了
像大劇院般愛面子的機構很多
對形象的要求特別高
遊客一進門 就給照顧地服服貼貼的
一系列的劇院紅衣美女們
每位熟悉一兩段英文的介紹台詞
說完了 將遊客帶給下一位美女
廣大勞動人民的服務員到處都是
商店、百貨公司、餐廳、保全警衛、清潔工……
通常服務人的比被服務的還多
有時「新世界」整層全空
只有像軍隊般的售貨員
整齊地排著隊伍
散漫的等待顧客的到來
9 保險套建築包裝法 / Condom Architecture
The naked erected structures cannot be complete without the thin elevation. Chinese buildings are made in basic, heavy concrete construction method. The facade variation comes in all styles.
聳立的、裸露的建築結構
由一層薄薄的立面完成包裝
現代中國新建築的基礎結構
是笨重粗糙的水泥
由各色奇異拼湊的外牆
包裝起來
10 上海未來海洋門戶 / Future Sea Gate of Shanghai
The future port of Shanghai, Luchaogang and Yangshan Port, is pumped with maximal Chinese ambition: ‘sea gate of Shanghai’, ‘main port of East Asia and Pacific Rim’, ‘a global material-flow function zone of high efficiency and elevate the functional development and image of Pudong to a new level’. The existing rural area will be developed into a port-town with 100,000 inhabitants in 2005, and 300,000 inhabitants by 2020. The port has to be able to handle 2.2 million, 15 million and 21 million containers by 2005, 2020 and 2100 respectively and on completion have a handling capacity of more than 30 million containers per year.
「蘆潮港」是「上海未來海洋門戶」
「國際性的現代化貨物集散流動中心」
「東北亞國際海洋航運中心」
「與浦東機場和洋山國際集裝箱深水港相連， 形成高效的國際性貨物集散流動功能區， 不斷完善其功能， 將浦東帶進一個新的標準」
政府驕傲地宣傳
調到最大音量
現在還是無辜農村的「蘆潮港」
將在 2005年擁有十萬居民、
每年吞吐兩百萬貨櫃
2020年擁有三十萬居民、
每年吞吐一千五百萬貨櫃
最終完成階段有每年集散三千萬貨櫃的能力
11 進口建築 / Imported Architecture
Since most Chinese people cannot afford to travel the world, Chinese investors brought the world to them in the form of theme parks. Eclectic compilation of elements scattered across huge terrain. Everything is a replica- empty and fake. This Around-The-World theme park was built in 1995 and closed 2 years later. Presidents of the United States look into the Chinese landscape with no spectators. It is like Hadrian’s Villa, a collage of highest inspirations of the world. If the rapid emergence of the new is not related to tradition and history, how can identity be built up? If memory is marketed as commodity, then who consumes these products?
大多數中國人民無法享受環遊世界的奢侈
於是投資業主將世界珍奇帶給中國人民
像羅馬皇帝「Hadrian」的皇宮
將世界上最美的景觀收羅一起
廣大的主題公園土地上
散落著各式片段的仿造
空洞而虛假 「環球樂園」
在1995年落成 兩年後倒閉
美國總統們癡癡地等著來瞻仰的遊客
可是中國老百姓不稀旱
毫無歷史和文化根據的舶來建築
終究無法戰勝市場
12 市郊樂園與墳墓 / suburbs- paradise and graveyard
Suburban culture is copy culture. Some suburbs have Roman entrance, Japanese garden, and Colonial style / European-continental style houses. Chinese architects are proud of this mix.
In 1980, the average density in Shanghai is 6 sq.m per person. Now it has doubled. These houses in the postcard provide average 70 sq.m per person.
Suburban developments are surrounded by walls- from fence to actual brick constructions several meters high. Each enclave hosts a certain class of people. To enter, you need to pass a guard. Some suburbs are already deteriorating rapidly while still waiting for customers.
市郊文化是複製文化
有些社區有羅馬式大門、日式花園、歐陸風格住宅
中國籍的建築師對此組合非常驕傲
1980年代上海
每人平均6平方公尺居住面積
明信片中的別墅住宅
平均每人70平方公尺居住面積
社區由各式圍牆和警衛保護著
捍衛小資的幸福
有些市郊別墅
在等待巴巴地屋主的過程中
已經風化損壞
1 都會游擊隊 / Urban Guerrilla Foreign tourists and local tourists shoot the moments of Shanghai. Our photographs will record the very brief of Shanghai’s rapid transformation. In the name of urban research, urban guerrillas are in action. Do we see only what we want to see? Looking at people looking awakens consciousness of observation.
外籍及國內遊客
用照相機
捕捉歷史上短暫的片段
成為上海迅速轉變史的見證
以都市研究為名
都會游擊隊擺出攻擊的姿勢
人們是否只見其想見之事物?
觀察都會游擊隊的勇敢姿態
喚醒觀察者的自我意識
2 口號文化 / Slogan Culture This postcard demonstrates a typical format for slogans in Shanghai: red characters on a white background. Desires and aspirations are elevated beyond the individual. A non-human scale. Sign and posters along streets, pavements and highways propagate a national direction and ambition. The new market development confronts the generic communist aesthetics of propaganda. Shanghai’s 1920s eclectic European architecture confronts traditional culture. Samsung’s advertising and the communist propaganda are not so far apart. They both impose a way of living and thinking.
這張明信片呈現上海街頭典型的口號看板
紅字白底
超越個人之上的
龐大願望和期許
非人尺度
沿著路旁的看板和海報
宣揚國家未來的方向
激起百姓奮鬥的壯志
當今正紅的市場經濟廣告
挑釁妥協的共產主義政治宣傳
外攤20年代歐風建築
挑戰中國傳統的世界視覺文化
三星牌逼近五星牌
兩者都強行向百姓施加生活方式和意識形態
3 公共空間的使用 / Public Space Culture This is one of the most touching scene in modern Shanghai, an old man gets a haircut from an old lady in a park of 1950s neighbourhood. The way public space is used reflects best how Chinese see the relation between public and private.
是上海現代現實都會中 還保有的許多溫馨的景象之一
老婆婆在公園樹下
為鄰家老公公理髮
讓人想到陶淵明的桃花源
城市開放空間的使用
直接反射一個文化裡公共和私有的概念
4 半公共空間的晾衣文化 / Laundry Culture
Within seem-collective spaces of the streets between traditional Li-Long houses, what is intimate becomes public. Often inhabitants congregate in these spaces to sit, talk, sell groceries, and play. Drainpipe is often the laundry structure. Anything, anywhere is put to use. The private is exposed. If pink clothing becomes very trendy next month in Shanghai, these spaces will change dramatically.
上海弄堂住宅間的半公共空間裡
街面是鄰居們閑坐、聊天、買賣雜貨、玩耍的所在
上方是集合式的晾衣場
該是隱密的
成為開放的
整條街 是一個巨大的晒衣架
建築外牆上任何可能派上用場的零件
都成為晒衣結構的一部分
如果下一季流行粉紅色
上海的半公共空間
將呈現另一種風情
5 中式透視風格建築 / Chinese Perspective Architecture
A Chinese perspective wizard can produce any perspective drawings within one day by means of Photoshop. This presentation technique demonstrates the real modern Shanghai architectural style and culture: copy and paste.
中國專業透視圖製圖員
無意識地
利用Photoshop
大量套用錯亂而保守的建築語言
這種圖像語言
正好代表了現代上海的建築文化和風格：
複製和貼上
This is a typical scene of the city: vendors in the foreground, then street, fly-over, low to mid-rise buildings from 50s to 70s, then high-rise from 90s piercing through the background. It is always a crude and straight forward juxtaposition of images. 這是現代中國大城市的典型景象
前景：稀落的攤販
中景：街道、高架路、50至70年代的共產建築
背景：90年代高聳、挺拔的摩天大樓
永遠是一幅毫無修飾、片段重疊的奇異景觀
7 水平移動文化及垂直建設文化 / Horizontal Mobility Culture and Vertical Development Culture Multiple level fly-over infrastructure links new downtown business districts with the new high-rise dwelling towers and gated suburbs outside the centre. Some highway columns can support 6 layers of fly-over. In an effort to put as much green as possible in the city, small potted plants are hang along the highway edges. It is smooth horizontal line with a fussy edge. High-rise office towers replace traditional Li-Long housing. The erasure accompanies any new ambition. In the 1980s, Shanghai was building at a rate of 1,000,000 sq.m per year. Today, the annual rate ten folds. Over-supply and over-confidence of the market of office space result in ghostly skeleton buildings everywhere. Construction started to become stagnant since 1998- as if a mother realises, in the middle of labour, that she already has too many children.
層疊的上海高架路網
連接中心商業區及無盡延伸的廣大城區
為加強都市中的綠意
連高架路邊緣都以用毛毛的草本植物加以裝飾
成為帶毛邊的水平動線
高層建築快速地替換弄堂建築
兩者都是上海建築發展史上最重要的建築類型
80年代，上海每年增加一百萬平方公尺
今日，增加速度成長十倍
開發商對市場的過度信心和過度供給
造成詭異的空殼建築到處聳立
自1998年起 建築業開停滯
彷彿已開始陣痛
母親才發現 已經有太多孩子了
8 服務文化 / Manikins This is the Shanghai Grand Theatre. Four tall and beautiful girls stand by the main entrance and receive the visitors. When the visitors enter, they are greet by a warm ‘welcome’. On rainy days, these selected girls serve plastic bags for wet umbrellas. Certain institutions, like the Shanghai Grand Theatre, have extremely high standards for image. From the moment one enters, everything is taken care of. There is a whole assembly line of such red-dressed girls, each recites one or two sentences about the building in English and bring you to the next girl. These workers from service sector are everywhere: department store, restaurant, security guard, cleaners… Often the servers outnumber the served. In the New World department store, some floors were completely empty except for the army of servers, each waiting to serve the shoppers. These workers earn 100 yuan per month and work every two days.
這是上海大劇院
四位高挑、美麗的年輕女孩
在主入口迎接參觀訪客
遊客一進門便齊聲「歡迎光臨」
下雨天時 為遊客準備好塑膠袋
別把大劇院的地給弄濕了
像大劇院般愛面子的機構很多
對形象的要求特別高
遊客一進門 就給照顧地服服貼貼的
一系列的劇院紅衣美女們
每位熟悉一兩段英文的介紹台詞
說完了 將遊客帶給下一位美女
廣大勞動人民的服務員到處都是
商店、百貨公司、餐廳、保全警衛、清潔工……
通常服務人的比被服務的還多
有時「新世界」整層全空
只有像軍隊般的售貨員
整齊地排著隊伍
散漫的等待顧客的到來
9 保險套建築包裝法 / Condom Architecture The naked erected structures cannot be complete without the thin elevation. Chinese buildings are made in basic, heavy concrete construction method. The facade variation comes in all styles.
聳立的、裸露的建築結構
由一層薄薄的立面完成包裝
現代中國新建築的基礎結構
是笨重粗糙的水泥
由各色奇異拼湊的外牆
包裝起來
10 上海未來海洋門戶 / Future Sea Gate of Shanghai The future port of Shanghai, Luchaogang and Yangshan Port, is pumped with maximal Chinese ambition: ‘sea gate of Shanghai’, ‘main port of East Asia and Pacific Rim’, ‘a global material-flow function zone of high efficiency and elevate the functional development and image of Pudong to a new level’. The existing rural area will be developed into a port-town with 100,000 inhabitants in 2005, and 300,000 inhabitants by 2020. The port has to be able to handle 2.2 million, 15 million and 21 million containers by 2005, 2020 and 2100 respectively and on completion have a handling capacity of more than 30 million containers per year.
「蘆潮港」是「上海未來海洋門戶」
「國際性的現代化貨物集散流動中心」
「東北亞國際海洋航運中心」
「與浦東機場和洋山國際集裝箱深水港相連， 形成高效的國際性貨物集散流動功能區， 不斷完善其功能， 將浦東帶進一個新的標準」
政府驕傲地宣傳
調到最大音量
現在還是無辜農村的「蘆潮港」
將在 2005年擁有十萬居民、
每年吞吐兩百萬貨櫃
2020年擁有三十萬居民、
每年吞吐一千五百萬貨櫃
最終完成階段有每年集散三千萬貨櫃的能力
11 進口建築 / Imported Architecture Since most Chinese people cannot afford to travel the world, Chinese investors brought the world to them in the form of theme parks. Eclectic compilation of elements scattered across huge terrain. Everything is a replica- empty and fake. This Around-The-World theme park was built in 1995 and closed 2 years later. Presidents of the United States look into the Chinese landscape with no spectators. It is like Hadrian’s Villa, a collage of highest inspirations of the world. If the rapid emergence of the new is not related to tradition and history, how can identity be built up? If memory is marketed as commodity, then who consumes these products?
大多數中國人民無法享受環遊世界的奢侈
於是投資業主將世界珍奇帶給中國人民
像羅馬皇帝「Hadrian」的皇宮
將世界上最美的景觀收羅一起
廣大的主題公園土地上
散落著各式片段的仿造
空洞而虛假 「環球樂園」
在1995年落成 兩年後倒閉
美國總統們癡癡地等著來瞻仰的遊客
可是中國老百姓不稀旱
毫無歷史和文化根據的舶來建築
終究無法戰勝市場
12 市郊樂園與墳墓 / suburbs- paradise and graveyardSuburban culture is copy culture. Some suburbs have Roman entrance, Japanese garden, and Colonial style / European-continental style houses. Chinese architects are proud of this mix.
In 1980, the average density in Shanghai is 6 sq.m per person. Now it has doubled. These houses in the postcard provide average 70 sq.m per person.
Suburban developments are surrounded by walls- from fence to actual brick constructions several meters high. Each enclave hosts a certain class of people. To enter, you need to pass a guard. Some suburbs are already deteriorating rapidly while still waiting for customers.
市郊文化是複製文化
有些社區有羅馬式大門、日式花園、歐陸風格住宅
中國籍的建築師對此組合非常驕傲
1980年代上海
每人平均6平方公尺居住面積
明信片中的別墅住宅
平均每人70平方公尺居住面積
社區由各式圍牆和警衛保護著
捍衛小資的幸福
有些市郊別墅
在等待巴巴地屋主的過程中
已經風化損壞
Diary: Citizenship
I’m neither black or white. But in South Africa, Blacks took me as Black, Whites took me as White. As a member of this sensitive society, I actually found myself having the passport to both sides. I can’t identify myself as neither, yet feel close to both.
I am both Chinese and Taiwanese. But in China, Chinese take me as Taiwanese; in Taiwan, Taiwanese take me as Chinese. As a member of this big unhappy family, I never was given the license to enter neither of the societies. I identify myself as both, yet being recognized as neither.
My quest for opposition and prejudice did not come out of a sense of justice; it is simply a splinter in my life. The wall is a condition following me on all Chinese territory. If everyone has and needs an imaginary enemy, this wall is my enemy.
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