Tianfu Park Lawn | Mentors Lectures & Bibliography

Tianfu Park Lawn

On August 11, 2021, Chengdu officially ended its lockdown after affecting by COVID-19 epidemic, and The Lawn Project also began to restart. In workshop 1, in order to effectively form a community of different individuals that can research, discuss, and create together through mutual learning, mutual aids, and co-making , the mentors will empower designers/artists by providing them with extensive experience resources and more powerful academic support. Each of them will give a speech respectively on architectural design, contemporary art, urban and rural research and planning, and historical research of Chengdu. Mentors lectures and bibliography are now released as references for designers/artists and other people who are interesed in the project to read and study. 

01

Lectures

01-1 Facilitator

OU Ning

Artist, Curator, Writer

From Space to Place: The Grand Lawn and Contemporary Vernacular

Many parks in China are in the style of Chinese gardens, but Chengdu Tianfu Park has planned a 55,000-square-meter lawn like Hyde Park in London and Central Park in New York City. Planning is to delimit boundaries and create "space". When the users of space appear, this measurable but abstract and non-representational physical space may become a vital, concrete, and representational "place" without clear boundaries. The Lawn is located in the park, and its land property is a public green. Once it changes from a planning drawing to a green with grass and blue sky, the invitation is sent to everyone.

The Lawn Project invites designers and artists to transform this public green from "space" to "place". According to the most popular definition, a "place" refers to a meaningful location that includes three elements: location, locale, and sense of place (John Agnew, 1987). The grand lawn is geographically located by the planning (its central point is 104.076419 E and 30.43839 N), while locale and sense of place depend on the later construction. The Lawn Project is essentially a process of "placemaking". 

The Old Chengdu, 1909 © T.C. Chamberlin

T.C. Chamberlin Collection (1909-1910)

Beloit College Digital Collections

https://dcms.beloit.edu/digital/collection/chamber

The Lawn must be a charming place which people can feel attached. Its charisma and sense of belonging apply not only to natives (settled for generations) and locals (who have less history of settlement than natives) but also to immigrants (who have less time to settle than locals) and visitors. Therefore, it must create a sense of place that transcends the limits of 55,000 square meters. It is a place of openness, not of regional protectionism. We have stepped out of the era of small countries with a few people when we were unable to interact with each other, and entered an inevitable world of mobility for a long time. On the scale of humanity as a whole, we even have to develop a "global sense of place" to accommodate the need for the world to flow. Driven by the ecological crisis, the sense of place even needs to be amplified into the "sense of planet".

Our recognition of the human commonalities and the agreement on the need for mobility do not imply our acceptance of the mobility as the sole criterion of the globalization. Globalization has wiped out local differences and left us living in a monotonous world. The outbreak and persistence of the COVID-19 pandemic have partly blocked mobility, giving us an opportunity to reflect on the drawbacks of globalization and to promote the "local turn" of the world — to the "place" characterized by the traditional idea of “settled-and-not-move” (an tu zhong qian) and differentiated customs. 

The Old Chengdu, 1917-1919 © Sidney D. Gamble 

Sidney D. Gamble Photographs Collection (1908-1932)

Repository Collections & Archives, Duke University Libraries

 https://repository.duke.edu/dc/gamble

The Lawn Project takes Chengdu, the city where Tianfu Park is located, as a reservoir of local cultural resources to irrigate and cultivate a new locality. From the perspective of regional geography, the topography of the Chengdu Plain, coupled with the invention of artificial irrigation, gave birth to the Tianfu (“Land of Abundance”) culture based on rich agriculture, while the connection with the Yangtze River system brought coastal civilization into the inland where it located. In 1911, the first park in Sichuan Province — Shaocheng Park was set up in Chengdu, which was influenced by the Meiji Restoration movement in Japan and the new municipal construction in Guangzhou and Shanghai. It was also a product of the great era when the imperial dynasty was about to fall, and the Republic was about to emerge. In the same year of its completion, Railway Protection Movement in Chengdu contributed to the outbreak of the 1911 Revolution. Since then, the imperial people became citizens. Shaocheng Park has been regarded as the precursor of historical progress. 

The Old Chengdu, 1929 © Shimazaki Yuji

Photo Daguansha，Asia Grand View（1926-1940）

The Toyo Bunko, Chinese Area Studies program

 Documentation Center for China Studies

http://www.tbcas.jp/ja/lib/lib4/

Shaocheng Park opened up a corner of Mancheng where the Manchurian eight banners soldiers were stationed as a park that people could use anytime, which was a bold attempt to spatial de-privilegization in the imperial system of the late Qing Dynasty. This local affair and the following national events in 1911 have very important reference value for the Lawn Project. "Public" of the park is the keyword of the Lawn Project. Designers and artists are not the protagonists. Although they will optimize functional facilities, add temporary architectures and art installations, they are only the trigger of urban activities and events. The real subject is the public, namely the users of the park. Only when people spontaneously create new folk customs and local culture on the lawn, which is what I call the "contemporary vernacular," can the project be called a "success."

01-2 Mentors

（in alphabetical order）

DONG Gong

Founder / Design Principal of Vector Architects

Foreign Member of French Academy of Architecture

Plym Distinguished Visiting Professor at the University of Illinois at Urbana-Champaign

Two Facets of Space

The ontology and publicness of the architectural space, as well as the relationship between them, have always been discussed and defined repeatedly in the architectural discourse. From the traditional perspective, the publicness of space depends greatly on the conditions with hierarchical attributes such as the municipal level, urban location, programs and the scale of buildings. Today, the rapid development of digital network technology has led to dramatic changes in the ways of media transmission, which is precisely challenging the hierarchical attribute of spatial publicity. The concept of spatial publicness is being redefined, with new potentials embedded in it. 

Seashore Library © He Bin

As we’ve seen, in the present era, public buildings which are far away from downtown, even located in the private communities, if they have a certain kind of "spatial gene", might instantly attract numerous attentions on the internet, and could quickly become a popular destination in the real world, that might further stimulate public participation in the surrounding areas. Indeed, the phenomenon of this kind of ”Wanghong” architecture that became known overnight has reflected many problems in its design, such as excessive eye-catching visualization, superficial consumptive aesthetics, and commercial driven values. These trends have caused alarm among architectural scholars and architects, and a large number of harsh criticism has followed. Of course, architects should be able to consciously resist the negative factors involved in these trends, but at the same time, they need to be sensitive and conscious when facing the new age and the strong momentum that comes with it. Regarding architects' thinking and excavation of architectural ontological issues such as space, material, atmosphere and perception, how should they achieve a positive relationship with the evolving publicness of space? Confronting the new possibilities, how should architects respond to the established value judgment?

Concert by the Seashore Library, Image from Internet

My intention of this seminar is to raise the questions above, and provide a cornerstone by sharing Vector Architects’ relevant practices for the further discussion. I will follow the timeline to share the story of how the Seashore Library (Lonely Library) has been used over the past seven years, from its design and construction to the present, and how the building has evolved together with the community in the neighborhood. The focus of the seminar is not just on the architectural design itself, but also on demonstrating information from multiple aspects of the story, some might be absurd or controversial, to establish observations and discussions of its profound relationship with the era we are living in.

Anaya Theatre Festival, Image from Internet

HOU Hanru

Curator and Critic

Public Art as Question

The “publicness” of public art is to provide diverse and “alternative” imaginations, aesthetic conception, and open options for public life and values, thus allowing the public to find a reasonable connection between self-referential needs and social responsibility, and to derive sensual and spiritual pleasure from it; in another word, “Aesthetic pleasures” that can be shared with different individuals and communities. This is an “adventurous” process that must be critical and idealistic. In today’s increasingly challenging environment, ecology, place, and memory in crisis are subjects that need to be emphasized. How can public art (in a broad sense) provide solutions to this problem, create relevant “Temporary Autonomous Zones,” or “mini-utopias,” in which the public can participate, bring about change, experiment with various “alternative imagery.

© Yan Lei Fifth system, 2003-2005, Shenzhen

Public art is thus a dynamic process of formation and evolution, constantly negotiating and playing with capital and establishment, especially the inherent “mainstream perceptions”. Change and evolution unfold in a tension between order and chaos, singularity and plurality, closure and openness. Public art is thus not a complete and finished conclusion, but rather an issue that constantly “harasses” and transforms our living environment and social relations.

© Gilles Clement, Jardin du Tiers-Paysage

Through the presentation and discussion of a series of cases related to the themes of place-capital, order-disorder, artificial-natural, participation-entertainment, progress-entropy, and memory-disappearance, I hope to share with the workshop participants different perspectives that will contribute to the realization of this project.

© Robert Smithson, Spiral Jetty, 1970, Salt Lake

The lawn is not necessarily green, but public art is definitely a question.

Chu-Joe HSIA

Architecture and Urban Theorist

Reconstructing the Openness of Urban Public Space in the Process of Networked Urbanization: Social and Spatial Patterns of Grassroots Chengdu 

Facing the urban reality of networked urbanization, how to rebuild the city in the socio-political process of new urban issues? It is a historical challenge for local governments and societies under the current high-quality development. Under the active interaction between local governments and local societies, it is the responsibility of Chengdu, as an innovative node in the Chongqing-Chengdu twin-city metropolitan region, to actively stimulate the energy of the new economy and imagine the information city of tomorrow, which has been positioned as a “park city” in the current Chengdu master plan: on the one hand, it is important to attract innovative talented people, but it is advisable to carefully avoid the polarization of space and society created by the global economic structure, and on the other hand, it is an important “urban value” in the process of inclusive and sustainable urban and regional processes, how to face the “reconstructing the city” with innovation in the process of social structural change. The “urban values” are important. Therefore, urban open space must not be a “neutral” “empty space” or a self-proclaimed “natural” green space that is “closed and static” and transplanted by professional discourses. Rather, it is a process of critique and reflection that provides, or even constructs in a process of conflict, the “openness” of urban open space for the citizens of Chengdu. Perhaps, this is the key to the “publicness” of the park city.

Chengdu, Image from Internet

Its openness value is reconstructed by: 1. providing a variety (age, gender, class, ethnicity, etc.) of Chengdu citizens with the ability to actively participate and choose. 2. allowing Chengdu citizens themselves to master the proficient skills, ordinary daily life, the informal and leisurely character, and the heritage of intangible craft, opera, culture, and food. 3. enriching Chengdu with new environmental perceptual stimuli, not necessarily international ones; to avoid the reproduction of professional discourse and the transplantation of values beyond the boundaries, the arrogant green space that can only be seen but not used, the simple and cold high-end taste imposed on the daily life of grassroots citizens. 4. the encouragement of social contact and interaction, the gathering place of communication and teahouse are better than the static and formalized artwork. 5. to strengthen and enrich the imagery of the city of Chengdu, for example, to “see” the city’s skyline; 6. to enhance the “adaptability” of the average Chengdu citizens’ daily life by providing charming urban public spaces where they can stay, interact, complement each other, and increase mutual benefits. In this way, the structure of the urban sense of place in Chengdu’s civic culture, which Zhuangzi imagined to be free and at ease, takes on a new expression step by step.

The above values of space and society, which are not isolated and are created in a local socio-political process, even if they are inevitably commodified, should highlight mutual benefits and reciprocity, as well as the interaction between people and space, local society and substantial physical space, and encourage it to take place in the planning and design of open spaces that the citizens of Chengdu can participate in and become part of their urban life, so that they will love, manage, cherish and protect it. The participatory process of planning and design should not simplify the role and effect of space, therefore, the “patterns” of Chengdu’s localized society and space are useful practical tools to increase communication between different groups and to shape resonant and enjoyable spatial forms. 

WANG Di

Chair Professor, Department of History, University of Macau

PhD. Johns Hopkins University

Visual Reconstruction of Urban History: Images, Imagination, and Urban Culture in Chengdu

Visual materials provide powerful evidence for the study of Chengdu culture, especially its popular culture. They can be used in conjunction with textual analysis to redefine the meaning of “historical material,” expand our understanding of history, and enrich our research methods and our imagination of the urban past. However, while images provide us with visual evidence, they are not necessarily a true reflection of history, but to a large extent a historical imagination of the city, that is, a mental construction of a city that has passed away through the interpretation of existing texts and our experience of the city today.

Ke Yuan Acting

Ke Yuan was established in the late Qing Dynasty and is the earliest theater in Chengdu

Originally published in "Popular Pictorial"

The pictorial sources on which the study of the city is based, such as photographs and paintings, are already contents that have been recorded after being filtered by others, and the sources themselves, often, have an imaginary component because the recorders of images, the objects depicted, are from a particular perspective. This perspective certainly affects the veracity and comprehensiveness of the observations. Their urban imagination helps us to fill in the gaps of depiction, thus the city we reconstruct may be the city of our imagination. That is, the city in our minds is still only the imaginary city, even though everything we describe is based on evidence.

Daci Temple Wenbo Tea Garden, 2003 © Wang Di

Visual materials are the most direct display of urban daily life and popular culture, revealing people’s use of public space and people's activities in public space. Since the second half of the 19th century, missionaries, Chinese and foreign travelers, journalists, and others have used cameras to record daily life in Chengdu, whose photographs have appeared in various publications, but most are held in private hands. A number of artists have also used their brushes to preserve the past of Chengdu life. Those photographs and paintings provide very vivid and powerful visual materials for the study of urban culture, either mirroring or complementing the written record. For us today, it is as if we were there, and we can experience the bustle of the streets and appearances of all the people without words: pedestrians, hawkers, artisans, teahouse patrons, barbers at the street corner, fortune-tellers and so forth, who could help us reconstruct the departed culture and history from another perspective.

Pengzhen Guanyin Pavilion Old Tea House, 2015 © Wang Di

Visual materials provide strong evidence for our study of the city. While photographs are certainly a record of the actual scene, paintings are even more artistic creations that are farther away from the real. Therefore, we also have to ask the question: do images only serve as supplementary sources, or do they reacquaint us with a history that is not available from textual sources? In fact, both results exist. Reading words is different from images, and images give us a visual sensation that textual sources do not have. In this sense, the pictorial  material complements the textual material, so that not all aspects of the city are described in text, and this deficiency can sometimes be filled with visual materials that allow us to reacquaint ourselves with the city’s past.

The Streets of Chengdu, 1930s © Harrison Forman

02

Bibliography

02-1 Chengdu Research

◾ Isabella Bird, The Yangtze Valley and Beyond: An Account of Journeys in China, Chiefly in the Province of Sze Chuan and Among the Man-sze of the Somo Territory (London: John Murray, 1899)

◾ Sidney D. Gamble Photographs Collection (1908-1932), Repository Collections & Archives, Duke University Libraries. https://repository.duke.edu/dc/gamble

◾ T.C. Chamberlin Collection (1909-1910), Beloit College Digital Collections. https://dcms.beloit.edu/digital/collection/chamber

◾ William Edgar Geil, Eighteen Capitals of China (Philadelphia: J.B.Lippincott, 1911), Chengdu Chapter

◾ 亜細亜写真大観社，『亜細亜大観』（1926-1940），東洋文庫現代中国研究資料室。http://www.tbcas.jp/ja/lib/lib4/

◾ Di Wang, Street Culture in Chengdu: Public Space, Urban Commoners, and Local Politics, 1870-1930 (Stanford University Press, 2003)

王笛，《街头文化：成都公共空间、下层民众与地方政治1870-1930》（北京：中国人民大学出版社，2006）

◾ Di Wang, The Teahouse: Small Business, Everyday Culture, and Public Politics in Chengdu, 1900-1950 (Stanford University Press, 2008)

王笛，《茶馆：成都的公共生活和微观世界1900-1050》（北京：社会科学文献出版社，2010）

◾ Di Wang, Violence and Order on the Chengdu Plain: The Story of a Secret Brotherhood in Rural China, 1939-1949 (Stanford University Press, 2018)

王笛，《袍哥：1940年代川西乡村的暴力与秩序》（北京：北京大学出版社，2018）

◾ 王笛，《消失的古城：清末民初成都的日常生活记忆》（北京：社会科学文献出版社，2019）

◾ Kristin Stapleton, Civilizing Chengdu: Chinese Urban Reform, 1895-1937 (Cambridge: Harvard University Asia Center, 2000)

司昆仑，《新政之后：警察、军阀与文明进程中的成者》（成都：四川文艺出版社，2020）

◾ 林孔翼辑，《成都竹枝词》（成都：四川人民出版社，1986）

◾ 傅崇矩编，《成都通览》（1909年首版）（成都：成都时代出版社，2006）

◾ 李劼人，《死水微澜》（1936年首版）（北京：人民文学出版社，1955）

◾ 李劼人，《暴风雨前》（1936年首版）（北京：人民文学出版社，1956）

◾ 李劼人，《大波》（北京：人民文学出版社，1958）

◾ 李劼人，《李劼人说成都》（成都：四川文艺出版社，2001）

◾ 流沙河，《老成都：芙蓉秋梦》（重庆：重庆大学出版社，2014）

◾ 郑光路，《成都旧事》（成都：四川人民出版社，2007）

◾ 袁庭栋，《成都街巷志》（成都：四川文艺出版社，2018）

02-2 Geography

◾ Tim Cresswell, In Place/Out of Place: Geography, Ideology and Transgression (Minneapolis: University of Minnesota Press, 1994)

◾ Tim Cresswell, Place: A Short Introduction (Hoboken: Wiley-Blackwell, 2014)

Tim Cresswell著, 王志弘、徐苔玲译，《地方：記憶、想像與認同》（新北市：群學出版，2006）

◾ David Harvey, Spaces of Hope (Berkeley: University of California Press, 2000)

大卫·哈维著，胡大平译，《希望的空间》（南京：南京大学出版社，2006）

◾ Lucy Lippard, The Lure of the Local: Senses of Place in a Multicultural Society (New York: The New Press, 1997)

◾ Doreen Massey, “A Global Sense of Place” in Trevor Barnes and Derek Gregory eds, Reading Human Geography (London: Edward Arnold Publishers, 1997), 315-323

◾ Edward W. Soja, Thirdspace: Journeys to Los Angeles and Other Real-and-imagined Place (Hoboken: Blackwell Publishers, 1996)

Edward W. Soja著, 陆扬译，《第三空间：去往洛杉矶和其他真实和想象地方的旅程》（上海：上海教育出版社，2005）

◾ Edward Relph, Place and Placelessness (London: Pion Limited, 1976)

爱德华·雷尔夫著，刘苏、相欣奕译，《地方与无地方》（北京：商务印书馆，2021）

◾ Yi-Fu Tuan, Space and Place: The Perspective of Experience (Minneapolis: University of Minnesota Press, 1977)

段义孚著，王志标译，《空间与地方：经验的视角》（北京：中国人民大学出版社，2017）

◾ Yi-Fu Tuan, Topophilia: A Study of Environmental Perception, Attitudes, and Values (New York: Columbia University Press, 1990)

段义孚著，志丞、刘苏译，《恋地情结：对环境感知、态度与价值》（北京：商务印书馆，2018）

02-3 Anthropology

◾ Clifford Geertz, Local Knowledge: Further Essays In Interpretive Anthropology (Basic Books, 1985)

克利福德·格尔兹，《地方知识：阐释人类学论文集》（北京：商务印书馆， 2014）

◾ James C. Scott, Seeing Like a State: How Certain Schemes to Improve the Human Condition Have Failed (New Haven: Yale University Press, 1999)

詹姆斯·C.斯科特，《国家的视角: 那些试图改善人类状况的项目是如何失败的》（北京：社会科学文献出版社，2017）

◾ Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity (New York: Verso, 1995)

马克·欧杰，《非地方:超现代性人类学导论》（台北：田园城市，2017）

02-4 Shared Theory

◾ Elinor Ostrom, Governing the Commons: the Evolution of Institutions for Collective Action (Cambridge: Cambridge University Press, 1990)

埃莉诺·奥斯特罗姆《公共事物的治理之道：集体行动制度的演进》（上海：上海译文出版社，2000）

◾ Michael Hardt and Antonio Negri, Commonwealth (Cambridge: Harvard University Press, 2009)

迈克尔·哈特、安东尼奥·奈格里，《大同世界》（北京：中国人民大学出版社，2016）

◾ Donna Haraway, The Companion Species Manifesto: Dogs, People, and Significant Otherness (Chicago: Prickly Paradigm Press, 2003)

02-5 Public Art/Social Participation Art

◾ Philip Jodidio, Serpentine Gallery Pavilions (Munich: Taschen, 2011)

◾ Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship (New York: Verso, 2012)

克莱儿·毕莎普，《人造地狱:参与式艺术与观看者政治学》（台北：典藏艺术家庭，2015）

◾ Nato Thompson, Living as Form: Socially Engaged Art from 1991-2011 (Cambridge: The MIT Press, 2012)

◾ Ou Ning, Utopia in Practice: Bishan Project and Rural Reconstruction (Singapore: Palgrave Macmillan, 2020)

02-6 Art and Curation

◾ Hou Hanru, On the Mid-Ground (Beijing: Timezone 8, 2003)

侯瀚如，《在中间地带》（北京：金城出版社，2013）

◾ Hou Hanru with Mary Ellyn Johnson, Paradigm Shifts: Walter and McBean Galleries Exhibitions and Public Programs, San Francisco Art Institute, 2006-2011(San Francisco: San Francisco Art Institute, 2011)

◾ 侯瀚如、奥布里斯特《策展的挑战：侯瀚如与奥布里斯特的通信》（北京：金城出版社，2013）

◾ Miwon Kwon, One Place after Another: Site-Specific Art and Locational Identity (Cambridge: The MIT Press, 2004)

◾ Fram Kitagawa, Art Place Japan: The Echigo-Tsumari Art Triennale and the Vision to Reconnect Art and Nature (Hudson: Princeton Architectural Press, 2015)

◾ Jennifer Raiser, Burning Man: Art on Fire (New York: Race Point Publishing, 2016)

◾ Brian Doherty, This Is Burning Man: The Rise of a New American Underground (Dallas: BenBella Books, 2006)

02-7 Architecture and Place-making

◾ UED 111期杂志，董功专辑《直向十年Vector Architects 2008-2017》（北京：城市·环境·设计杂志社，2018）

◾ AV Monographs 220, Vector Architects: Cosmopolitan Vernacular (Madrid: Avisa, 2020)

◾ Jonathan Fineberg, Christo and Jeanne-Claude: On the Way to The Gates, Central Park, New York City (New Haven: Yale University Press, 2004)

◾ James Corner Field Operations, Diller Scofidio & Renfro, The High Line (London: Phaidon Press, 2015)

◾ Christopher Alexander, Sara Ishikawa, Murray Silverstein with Ingrid Fiksdahl-King, Shlomo Angel, A Pattern Language: Towns, Buildings, Construction (New York: Oxford University Press, 1977)

◾ 夏铸九，《理论建筑》（台北：台湾社会研究杂志社，1992）

◾ 夏铸九，《空间，历史与社会：论文选1987-1992》（台北：台湾社会研究杂志社，1993）

◾ 夏铸九，《公共空间》（台北：文建会/艺术家杂志社，1994）

◾ 夏铸九，《窥见魔鬼的容颜》（台北：唐山出版社，2015）

◾ 夏铸九，《异质地方之营造：理论与历史》（台北：唐山出版社，2016）

◾ 夏铸九，《异质地方之营造：由城乡流动到都会区域》（台北：唐山出版社，2016）

◾ 夏铸九，《异质地方之营造：公共空间，校园及社区营造》（台北：唐山出版社，2016）

◾ 夏铸九，《空间再现：断裂与修复》（上海：同济大学出版社，2020）

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