作品坐落于广州市天河区，原址是一所旧小学，周边是老旧村民住宅和公寓，随着城市现代化的发展，学校已经搬走了很多年，附近社区的老市集和传统市井文化也逐渐消失。但是岭南文化基因中的务实精神与市井活力，为公共艺术介入摆摊文化提供了天然土壤。广州骑楼下的"走鬼档"和茶楼旁的墟市传统，印证了岭南人"生意出街"的在地智慧。为此旧小学建筑目前由数字潮牌爱范儿运营。为了激活老旧社区，在这一地区开展新城市市集，我们建立一个标志性的Pavilion为中心来承载各类集会、演讲等文化活动。

作品用一种非常简单的方式介入，植入可以让人人参与搭建设计的模块化的新空间元素来把原来旧的元素调动起来，由可以持续改变搭建形态的“积木”形成一个“永远未完成”的院落围合的空间格局。这里能看到持续变化的场景，人们能在院子里做一些文化活动，聊天和参观。从材料到构造，都是用最简单但精准的方式。做一个轻接触去打补丁，而不是对原有环境的粗暴破坏。我们中国城市化经历过太多不加任何判断思考的拆除和重盖，你会发现很多生活过的地方变成了更现代、更先进的状态，但是它跟人的联系其实非常少。

我们采取了结构和广州城市界面完全统一的方式，变化中的城市，使用盒子的形式抽象化表达城市的层叠和打补丁感。在这个老建筑的场地上，业主在这里经常做新的活动，因此，我们认为每一次新活动的介入都是场地生命的延续。创造一个更高品质的场所。

功能上这是一个上演各类社区事件的剧场。凝聚了事件和情感，给当地居民带来丰富的文化生活，也利用这些积木搭建举办各种公共文化活动，所以项目不存在完全建成或者未建成，他是一种不断改变的状态，变成快闪咖啡厅，讲座、音乐会、舞蹈等等，为当地居民提供一个与外界先锋文化相互交流的平台。

通过人人参与，整个 patch-city pavilion 能把场地周围的元素都调动起来，让它们和建筑一起形成一个生动的场所。人人都可以根据不同活动改变积木的形态和使用方法。

动线方式是设置了一条流线，因为建筑处于社区边界，所以建立一个连接外部城市道路，又能带人穿越建筑到后面的花园里，这条流线可以说是既属于城市的公共空间，同时也可以是内部空间。我们希望建筑能够唤起沉浸的、剧场性的空间氛围，它可以包容各种活动和生活。

这是一个非常有趣的搭积木过程，当吊车师傅挑起积木模块，我们在现场和参与市集的年轻人一起进行即兴的调整，我们要建立的不是一个单一场景，而是建立一种立体的互动关系，这样才能让周围发生的故事更加生动，更有叙事性，构成了一幕一幕生动的画面，98个盒子就是承载了98个故事，这就出现了丰富的人物关系和剧场感。”整个Pavilion是由98个预制模块组成的，主材料只有两种，使用雪佛板和最少量的钢结构组成，可以灵活进行打配和组合。

在后续的使用中，人人都对这个公共装置作品做出了自己用法和改变形态，有的人在这里围着整个结构跳舞，有的人唱歌，演讲，舞台剧，甚至举办艺术展览，这一切都是对老建筑社区的生命延续。本项目随后获得了FRAME AWARD2022年度文化空间奖。

The work is located in Tianhe District, Guangzhou City. The original site is an old primary school, surrounded by old villagers' houses and apartments. With the development of urban modernization, the school has moved away for many years, and the old market and traditional market culture in nearby communities have gradually disappeared. However, the pragmatic spirit and the vitality of the market in Lingnan culture gene provide a natural soil for public art to intervene in the culture of setting up stalls. The "walking ghost stalls" under the arcade in Guangzhou and the tradition of the market next to the teahouse confirm the local wisdom of the people of Lingnan who "do business out of the street. For this reason, the old primary school building is currently operated by the digital tide brand Love Faner. In order to activate the old community and develop a new city market in this area, we have established an iconic Pavilion as the center to host various cultural activities such as gatherings, speeches and so on.

The work intervenes in a very simple way, implanting new modular space elements that can allow everyone to participate in the design of the building to mobilize the original old elements, and forming a "never unfinished" courtyard enclosure from the "building blocks" that can continuously change the form of the building. Here you can see the scene of continuous change, people can do some cultural activities in the courtyard, chat and visit. From materials to construction, it is the most simple but accurate way. Do a light touch to patch, rather than rough damage to the original environment. Our urbanization in China has experienced too many demolition and re-construction without any judgment and thinking. You will find that many places where you have lived have become more modern and advanced, but it has very little connection with people.

We have adopted a completely unified way of structure and Guangzhou city interface. The changing city uses the form of box to abstract and express the sense of stacking and patching of the city. On the site of this old building, the owners often do new activities here. Therefore, we believe that every intervention of new activities is the continuation of the life of the site. Create a more high quality place.

Functionally, this is a theater where all kinds of community events are staged. It condenses events and emotions, brings rich cultural life to local residents, and also uses these building blocks to build and hold various public cultural activities. Therefore, the project is not completely completed or uncompleted. It is a state of constant change and becomes a flash. Café, lectures, concerts, dances, etc., provide a platform for local residents to communicate with the outside pioneer culture.

through the participation of everyone, the whole patch-city pavilion can mobilize all the elements around the site and make them form a vivid place together with the buildings. Everyone can change the shape and use of building blocks according to different activities.

The way of moving line is to set up a streamline. Because the building is at the boundary of the community, a road connecting the external city is established, and people can pass through the building to the garden behind. This streamline can be said to belong to the public space of the city, and it can also be the internal space. We want the building to evoke an immersive, theatrical space that can accommodate a variety of activities and lives.

This is a very interesting process of building blocks. When the crane master picked up the building blocks, we made impromptu adjustments with the young people participating in the bazaar. What we want to build is not a single scene, but a three-dimensional interactive relationship. Only in this way can the stories around us be more vivid and narrative, forming a vivid picture scene by scene. 98 boxes carry 98 stories, this is the emergence of a rich relationship between the characters and the sense of theater." The whole Pavilion is composed of 98 prefabricated modules. There are only two main materials. It is composed of Chevrolet and the minimum amount of steel structure, which can be flexibly matched and combined.

In the subsequent use, everyone has made their own usage and changed the form of this public installation work. Some people dance around the whole structure here, some people sing, give speeches, stage plays, and even hold art exhibitions. All these are the life continuation of the old building community. The project was subsequently awarded the FRAME AWARD2022 Cultural Space of the Year award.

我们的研究的课题是关于除了做最终的彻底的拆，改，新建等一系列动作之外，用很实验性的轻介入方式，叠加在这些现有建筑组成的公共空间上，让这些社区的人人都能参与意见和使用它，让大家来决定这件作品与现存建筑，公共空间以及社区的关系，以这样的角度启发人们实验对该公共区域的未来可能性。

为此我们在过去一些年的尝试中创作了数件实验作品，在很多积极的方面影响着这些社区，但受限于商业现实的各方利益，仍有巨大深度挖掘的可能性。在我们目前的作品：根据岭南文化基因中的务实精神与市井活力，为公共艺术介入摆摊文化提供了天然土壤。广州骑楼下的"走鬼档"和茶楼旁的墟市传统，印证了岭南人"生意出街"的在地智慧，衔接广州城市年轻人摆摊文化，创作出让人们更愿意，也更成功的加入，这些方式都在于通过各种创作项目，通过在专家和大众中间推广公共艺术文化，进而影响社区现存公共空间的文化氛围，影响行动的目的，行动的方法，并最终形成一种建设性的批判性意识和更加丰富的融合建筑和公共艺术创作环境。

下面我列举目前的代表作案例，在上海国际家具展的临时展厅建筑装置Pavilion S，作品由最基础的胶合板材料组成，用1.22米见方的胶合板搭建出由最基本几何状态之一的正方体组成的临时家具展厅，作为建筑装置的生命周期结束以后，又通过100%回收再设计转化成410套家具桌椅为福建山村，这个尺度适合做成茶桌、饭桌和课桌等，挺适合他们的生活方式。刚好比较像茶桌，也能吃饭，反而特别适合乡村。当地人参与进来用各种不同的当地文化习惯使用这些回收桌椅，比如常见的流水席，大家把这些六边形的桌子组成蜂巢的形式聚在一起吃饭和活动。整个项目都是用低技术的胶合板进行城市搭建，随后又在乡村转化为另一种形式重生。本项目也获得了 2021美国Architizer A+Awards 建筑+改造再利用奖、Architizer A+Awards快闪店和临时建筑奖、2024英国IPA地产五星最佳公共服务奖等国际殊荣。随后的本次参赛项目Patch-City也是延续了社区人人参与和适应当代中国商业环境儿进行的迭代式设计，可持续，模块化来在变化中满足社区建设需求，而非单一形式的占用公共空间

这样的创作研究方向好像一个工具包，不仅让公共空间延续生命或转化形式，还可以激活社区参与者积极提出问题并与作品一起和有着类似挑战的人们建立联系的方式。

The subject of our research is about, in addition to the final and thorough demolition, renovation, new construction and other actions, using a very experimental light intervention method, superimposed on the public space composed of these existing buildings, so that everyone in these communities can participate in the opinions and use it, and let everyone decide the relationship between this work and the existing buildings, public space and community, in such an angle one is inspired to experiment with future possibilities for this public area.

For this reason, we have created several experimental works in the past few years, which have affected these communities in many positive ways. However, due to the interests of all parties in the commercial reality, there are still great possibilities for deep exploration. In our current works: according to the pragmatic spirit and the vitality of the market in Lingnan culture gene, it provides a natural soil for public art to intervene in the culture of setting up stalls. The "ghost stalls" under the arcade in Guangzhou and the tradition of the market next to the teahouse confirm the local wisdom of Lingnan people in "business out of the street", linking up the culture of young people setting up stalls in Guangzhou city, creating and making people more willing and more successful to join in. These ways all lie in influencing the cultural atmosphere of the existing public space in the community through various creative projects, promoting public art and culture among experts and the public, affect the purpose of action, the method of action, and ultimately form a constructive critical awareness and a richer fusion of architecture and public art creation environment.

Next, I will list the current representative works. In the temporary exhibition hall of Shanghai International Furniture Fair, Pavilion S, the works are composed of the most basic plywood materials. The 1.22-meter-square plywood is used to build a temporary furniture exhibition hall composed of cubes in one of the most basic geometric states. After the life cycle of the construction device is over, it is converted into 410 sets of furniture tables and chairs through 100 recycling and redesign for Fujian Mountain Village, this scale is suitable for making tea tables, dining tables and desks, etc., which is quite suitable for their lifestyle. Just like a tea table, can also eat, but especially suitable for the countryside. Local people participate in the use of these recycled tables and chairs with a variety of different local cultural habits, such as the common running water table, and people gather these hexagonal tables in the form of a beehive for meals and activities. The entire project is urban construction with low-tech plywood, which is then transformed into another form of rebirth in the countryside. The project has also won international awards such as the 2021 American Architizer A + Awards Building + Renovation and Reuse Award, the Architizer A + Awards pop-up shop and temporary building award, and the 2024 British IPA Real Estate Five-Star Best Public Service Award. The subsequent entry, Patch-City, also continues the iterative design that everyone in the community participates in and adapts to the contemporary Chinese business environment. It is sustainable and modular to meet the needs of community construction in the process of change, rather than occupying public space in a single form.

This direction of creative research is like a toolkit that not only allows public spaces to continue life or transform forms, but also activates ways for community participants to actively ask questions and connect with the work and people with similar challenges.

王左千，1990年生，公共艺术家、RIBA英国皇家特许建筑师，现为诺亿设计研发创始人。2017年毕业于英国皇家艺术学院建筑学硕士，现就读中央美术学院当代艺术博士。他以可持续设计为核心理念，主张通过本地生活的日常行为出发激活旧建筑，融合环保材料与多元空间功能，推动历史与现代的深度对话。诺亿设计研发秉承“场地文化”、“环境共生”的理念，先后主导阿里虚拟城市规划、阿迪达斯首尔旗舰店等标志性项目，并在北京、上海等地完成多个旧改及公共艺术项目。公司作品屡获德国红点奖、IF设计奖、FRAME最佳文化空间、AD100Young、美国A+设计奖、腾讯金腾奖、2024英国IPA地产五星最佳公共服务奖等国际殊荣，一直努力实践跨界设计的前瞻性和社会责任感。

Wang Zuoqian, born in 1990, is a public artist and RIBA Royal Chartered Architect. He is now the founder of Nuoyi Design and Research. He graduated from the Royal College of Art in 2017 with a master's degree in architecture and is currently studying for a doctorate in contemporary art at the Central Academy of Fine Arts. Taking sustainable design as the core concept, he advocates activating old buildings through the daily behavior of local life, integrating environmental protection materials and multiple space functions, and promoting the deep dialogue between history and modernity. Adhering to the concepts of "site culture" and "environmental symbiosis", NOYI has successively led landmark projects such as Ali virtual city planning and Adidas Seoul flagship store, and has completed a number of old renovation and public art projects in Beijing, Shanghai and other places. The company's works have repeatedly won the German Red Dot Award, IF Design Award, FRAME Best Cultural Space, AD100Young, American A Design Award, Tencent Jinteng Award, 2024 British IPA Real Estate Five-Star Best Public Service Award and other international awards, and has been working hard to practice the forward-looking and social responsibility of cross-border design.