感谢 时境建筑予gooood分享以下内容。更多关于他们：Atelier Alter on gooood。
Appreciation towards Atelier Alter for providing the following description:

作品简介
Introduction

我们在搜寻深圳这城市的根。
We are searching for the roots of Shenzhen, this city.

▼项目视频，Video © 时境建筑

昂扬进取的是深圳，异乡人的思绪却在南头系成了结。钢筋诗意生长废弃的建筑材料与电子元器件堆砌成方，幻化为遥映南头古城垣考古探方遗存的迷失之地。碎镜映出破碎的面孔，异乡人的身份认同却破碎难圆。

While Shenzhen marches forward with vigor, the thoughts of strangers are entwined in Nantou. Steel poetry grows from discarded building materials and electronic components, stacking into a square, transforming into the lost realm reflecting the archaeological exploration of the remnants of the ancient city wall in Nantou. Shattered mirrors reflect fragmented faces, but the identity of the stranger remains shattered and difficult to reconcile.

▼装置概览，Overall view © 时境建筑

场地位于深圳南头古城内的旧城墙上，场地外的大棚就是考古的遗迹保护现场，而场地上的老房子就坐落在老城墙上。探方，是做考古的对场地用方格的形式发掘的方法，通过分划考古现场成可量的方格并编号，逐步的发掘并并将里面的文物描绘出来。

The site is located on the old city wall within Nantou Ancient City in Shenzhen. The tents outside the site serve as the archaeological excavation protection area, while the old houses on the site are situated atop the ancient city wall. ‘Exploration square’ refers to the archaeological method of excavating a site using a grid, dividing the archaeological site into quantifiable squares and numbering them, gradually uncovering and depicting the artifacts within.

▼场地区位，Site plan © 时境建筑

我们认为古城本身就是深圳城市起源的一部分，我们试图通过一个作品来搜寻这城市的根，过去的，和现在的：探方其实是一个历史的截面与碎片的描绘方法，这个行为本身就可以是对场地的历史的关照；同时，深圳是一个移民的城市，很多人被看作没有根，我们通过这个作品的当下性来抓取深圳的异乡人的属性的缩影，所以在这个方形的格局中放置了来自深圳各个地方的建筑材料 – 即城市的发展和劳动者的痕迹；其间还拥有闪亮的反射的镜面碎片，映出参观者和他们眼中的当下的深圳和考古遗迹。

▼地理坐标，Geographical coordinates © 时境建筑

▼风物的汇集，Conpression of materials © 时境建筑

▼城市建设的“遗迹”，”Relic” of Urban Construction © 时境建筑

We believe that the ancient city itself is a part of the origin of the city of Shenzhen. Through this work, we attempt to search for the roots of this city—both past and present. The exploration square is, in fact, a method of portraying a cross-section and fragments of history. This act itself is a historical care for the site. Additionally, Shenzhen is a city of immigrants, where many are considered to lack roots. Through the immediacy of this work, we capture a glimpse of the attributes of strangers in Shenzhen. Therefore, we placed building materials from various parts of Shenzhen within this square pattern—representing the development of the city and the traces of laborers. The installation also features shiny reflective mirror fragments, reflecting visitors and their perception of the current Shenzhen and archaeological remains.

▼方形的格局，Square pattern © 时境建筑

正好有一棵硕果累累的老龙眼树，它的根是从古城墙上长出来的，这种茂盛的生命力，从树冠到树根笼罩着这个装置作品，郁葱葱的阳光洒到装置上的碎芒上，反射到观者的眼中。

Coincidentally, there is a lush longan tree bearing abundant fruits. It grows from the wall, and this vigorous vitality envelops the installation artwork from the crown to the roots. The lush sunlight spills onto the shards on the installation, reflecting into the eyes of the observers.

▼老龙眼树下的装置，Installation under the old longan tree © 时境建筑

作者语
Author’s Note

想家吗？不想。想家吗？想家……
Homesick? No. Homesick? Yes…

我是南方人，南方是我的家。我长期漂泊在外……这份作品是我潜意识里乡愁的物化。直觉告诉我，这次我们需要一个与这座城市的精神所在连接的作品，一个批判性地重新思考深圳的历史与文化价值的解读——一首独属于城中村的城市摇滚。

I am a southerner, and the South is my home. I have long been drifting away… This work is the embodiment of my subconscious homesickness. Intuition tells me that this time we need a piece of art that connects to the spirit of this city, a critical reinterpretation of Shenzhen’s history and cultural values – a city rock and roll exclusively for the urban villages.

▼设计者眼中的深圳，Authors view of Shenzhen © 时境建筑

项目坐落在海上丝绸之路遗迹考古现场的边上——南越国的根；南头古城城墙之上——城市的根；从墙基中长出的茂密龙眼树之下——万物生长的自然的根；个人乡愁的载体之中——创作者的根……而创作的主题却是关乎一群原本根不在此的打工人的精神归属……这是折叠的现实，是个人的溯源、城市的溯源、集体记忆的溯源……

▼城市建设的“遗迹”，Audience in the space of work © 时境建筑

The project is situated on the edge of the archaeological site of the Maritime Silk Road – the roots of the Nanyue Kingdom; on the walls of Nantou Ancient City – the roots of the city; beneath the dense longan tree growing from the wall’s foundation – the natural roots of all things; within the carrier of personal homesickness – the roots of the creator… Yet, the theme of the creation is about the spiritual belonging of a group of migrant workers who originally have no roots here. This is a folded reality, a tracing back of individuals, the city, and collective memory…

▼材料收集过程，Content collecting process © 时境建筑

我们这次明显需要打破美的边界，尝试新的手法，从美的悖论走向美。这是一个很好的探索波德莱尔（Baudelaire）美学体系的机会。我们需要一件历经苦难的，千锤百炼的，折射平凡人生光芒的，凝聚市井生活的痕迹的作品，一件真正有人文深度的作品。

This time, we clearly need to break the boundaries of beauty, try new methods, move from the paradox of beauty towards beauty. This is a great opportunity to explore Baudelaire’s aesthetic system. We need a piece that has undergone hardships, been refined, reflects the brilliance of ordinary life, and embodies the traces of everyday life – a work with true human depth.

▼生动的深圳意象，With vivid Shenzhen activities © 时境建筑

延续了场地边上的考古网格，在网格之上，我们采取了现场垃圾与镜面碎片拼合成一个完整现实的手法，打破了原有生活物品的标签。随着物质性的消解，象征性得以升华：生活物件的碎片不再是它们本身，而变成了象征性的符号；镜面构件也消解于无形，融入日常生活的物质化碎片当中。物体延异（Derrida)与本意的分化，是成为艺术品的关键。

Continuing the archaeological grid next to the site, on top of the grid, we used the method of combining on-site garbage with mirror fragments to create a complete reality, breaking the labels of original life items. As materiality dissolves, symbolism is elevated: the fragments of everyday objects are no longer themselves but become symbolic signs; mirror components dissolve into invisibility, merging into the material fragments of daily life. The differentiation between object and intention, following Derrida, is crucial to becoming a work of art.

▼装置细部，Close view © 时境建筑

夹杂在物质碎片中的镜面碎芒，折射出许许多多的“我”的倒影——真实的我、变形的我、虚幻的我、有着距离感的我……而这些无数的“我”又拼合成一个整体的自我认知——这也是无数的“你”与“我”寻找自我的一种方式。

Mirror shards interspersed among material fragments reflect countless reflections of “me” – the real me, the distorted me, the illusory me, the distant me… And these countless “me” are pieced together into a holistic self-awareness – a way for countless “you” and “me” to seek self-discovery.

▼碎片反射参观者的形象，Reflection of audience face in it © 时境建筑

▼材料细部，Material details © 时境建筑

在“物”与“我”的对抗、并置、融合中，重塑自我——这是个人的历史，也是深圳的发展史，是深圳精神现实中的真实与力度之美，这便是我们寻找的，时代下移民城市深圳的文化深度与厚度。

In the confrontation, juxtaposition, and fusion of “objects” and “me,” the reshaping of the self – this is personal history, as well as the development history of Shenzhen. It is the beauty of the real and intensity in the spiritual reality of Shenzhen, and this is what we are searching for – the cultural depth and thickness of the immigrant city of Shenzhen in this era.

吾乡与异乡，试问岭南应不好，却道，此心安处是吾乡。
探方，探的是历史，是记忆，是自我……
长亭更短亭，何处是归程？

Homeland and foreign land, I ask, is Lingnan not good enough? But I say, where the heart is at ease, there is my homeland.
Exploration squares, exploring history, memory, and self…
The long pavilion becomes shorter, where is the way home?

▼海报展示，Poster © 时境建筑

▼效果图，Rendering © 时境建筑

地址：深港城市/建筑双城双年展深圳市南头古城分展场
策展人：韩晶，张宇星（趣城工作室）
作者：张继元，卜骁骏（时境建筑）
布展：李佳莹，温子鉴（时境建筑）
加工：深圳风之语公共艺术有限公司
尺寸：4M X 4M X 1.4M
材料：钢、碎石、旧瓦、塑料、亚克力、铁丝网
摄影：时境建筑

Location: Shenzhen-Hong Kong Urban/Architecture Biennale, Nantou Ancient City Exhibition Venue
Curators: Han Jing, Zhang Yuxing (ARCity Office)
Artists: Zhang Yingfan, Bu Xiaojun (Atelier Alter Architects)
Installation: Li Jiaying, Wen Zijian (Atelier Alter Architects)
Fabrication: Shenzhen Fengzhiyu Public Art Co., Ltd.
Dimensions: 4m x 4m x 1.4m
Materials: Steel, Broken Stones, Old Tiles, Plastic, Acrylic, Wire Mesh
Photography: Atelier Alter Architects

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