B412 邀请生命 Inviting Life
B412邀请生命Inviting Life
史黛拉·拉霍拉·马图特斯 + 罗杰·派斯
史黛拉-拉霍拉-+马图特斯uid="4">图特斯+罗杰-派斯
Stella Rahola Matutes + Roger Paez
StellaRaholaMatutes + Roger Paez
作者简介
Author's Profile
史黛拉·拉霍拉·马图特斯，视觉艺术家。她在巴塞罗那ETSAB（UPC）获得建筑学硕士学位，伦敦金史密斯大学获得艺术硕士学位。她参与的展览包括“图书馆”巴塞罗那迪拉利卡画廊周末节、弗拉米斯博物馆的“被遗忘者的房间”、雕塑奖维拉卡萨斯基金会、MACBA的“眼火笔记”。
Stella-Lahora-Matutes, visual artist. She studied at ETSAB(UPC) in Barcelona She has an MA in Architecture and an MFA from Goldsmiths University of London. She has participated in exhibitions such as "The Library" at the Barcelona DilaricaGallery Week, "The Room of the Forgotten" at the Museo de las Fuerzas Armadas, and "The Lost Room" at the Museo de las Fuerzas Armadas. Room of the Forgotten,"Sculpture PrizeVilla Casas Foundation,MACBA's Eye Fire Notes'.
罗杰·派斯，建筑学博士，教授，研究员。巴塞罗那ETSAB（UPC）建筑师。纽约哥伦比亚大学AAD硕士，巴塞罗那UPC博士。AAI 1st Sexennium （AQU2021），AiB（www.aib.cat）创始人和获奖项目设计师。他是ELISAVA（UVic-UCC）MEATS研究实验室的负责人和主任、ETSALS（URL）的建筑设计教授。著有《公共空间临时干预的设计策略》《操作性绘图》和《插件：巴塞罗那城市建设设计》。
Roger-Pais, Doctor of Architecture, Professor and Researcher. Architect at ETSAB(UPC) in Barcelona. M.A., Columbia UniversityAAD, New York, M.A., BarcelonaUPCDr. AAI 1st Sexennium(AQU2021), AiB (www.aib.cat)founder and award-winning project designer. He is the founder and award-winning project designer of ELISAVA(UVic-UCC)MEATSResearch Laboratory Heads and Directors,ETSALS(URL) professor of architectural design. He is the author of Design Strategies for Temporary Interventions in Public Space, Operative Drawing and Plug-Ins: Designing Urban Construction in Barcelona.
作品简介
Synopsis
该作品从建筑材料重新解读路德维希·密斯·凡·德·罗（Ludwig Mies van der Rohe）和莉莉·赖希（Lilly Reich）的巴塞罗那馆。“美丽的失败”（2019-2021年）质疑了展馆建筑中两种材料——玻璃和石灰华的易碎性和脆弱性，“邀请生命”（2021—2023年）在石灰华板的研究中探索自然对材料的改变。石头上苔藓和真菌的生长经常被维护工作打断，目的是使建筑永恒不变、以符合其神话般的地位。生物群落对建筑材料的影响以及与其他有机物的联系，造成一种失衡和张力。这种失衡和张力在于变化——因为物质从来都不是稳定的。
The workReinterpretation of Ludwig from Building Materials-Miss-Van-De-Ro(Ludwig Mies van der Rohe)and Lily-Reich(Lilly Reich)'s Barcelona pavilion. "Beautiful Failure" (2019-2021) questioned two materials in the pavilion's architecture - the -glass and travertine-are fragile and vulnerable, and "Invitation to Life" (2021-2023year) explores nature's alteration of materials in a study of travertine slabs. The growth of mosses and fungi on the stone is often interrupted by maintenance work aimed at making the building timeless, in keeping with its mythical status. The influence of biomes on building materials and their connection to other organic matter creates an imbalance and tension. This imbalance and tension lies in change - because matter is never stable.
材质：石灰华
Material: travertine
规格：1080毫米×1080毫米
Specifications:1080mm×1080< span data-dl-uid="4">mm
创作年份：2021—2023
Year of creation:2021-2023
团队成员：沙伊达-阿尔沙里夫, 努尔-阿瓦基,埃洛蒂-博达尔,雷纳塔-布里西奥, 西尔维娅-坎帕尼尼, 伊莱达-塞莱普, 达恩-丹尼尔斯,玛丽亚-方特, 马尔-热内，塞纳-科卡奥卢,雅娜-拉蒂诺维奇,梅兰妮-莱昂, 戴安娜-梅赫雷斯,安娜-梅尔德拉加, 纳耶利-门德斯,路易丝-麦克斯托夫, 弗朗西斯卡-莫罗尼,洛娜-穆莱罗, 桑贾纳-帕拉姆汉斯,马纳-平托,保罗-萨拉, 伊科维纳-叙利奥,乔沙-瓦德, 克里斯蒂娜-瓦拉雷索, Hong-Kuan Wang,蒂芙尼-维特克, 诺亚-亚尔科尼, 阿卜杜勒拉赫曼-扎赫兰, Amber Zhang
Team members: Shaida Al-Sharif, Noor Awlaki, Elodie Bodal, Renata Brisio, Silvia Campanini, Ileida Selep, Dane Daniels, Maria Fonte, Mar Genet, Sena Kocaolu, Jana Latinovic, Melanie Leon, Diana Mehrez, Ana Meldraga, Nayeli Mendes, Louise McStuff, Francesca Moroni, Lorna Murero, Sanjana Paramhans, Mana Pinto, Paulo Macstuff, Francesca Moroni, Lorna Mulero, Sanjana Paramhans. Louise McStuff, Francesca Moroni, Lorna Mulero, Sanjana Paramhans, Mana Pinto, Paulo Sala, Icovina Syrio, Josha Wade, Cristina Valarezo, Hong-Kuan Wang, Tiffany Whittaker, Noah Yarconi, Abdulrahman Zahran, Amber Zhang
团队成员：Shayda Alsharif, Nour Awarki, Elodie Bodart, Renata Bricio,
团队成员：Shayda Alsharif, Nour Awarki, Elodie Bodart, Renata Bricio, .
Silvia Campanini, Ilayda Celep, Daan Daniels, Maria Font, Mar Gené,
Silvia Campanini, IlaydaCelep, Daan Daniels, Maria Font, Mar Gené, .
Sena Kocaoglu, Yana Latinovich, Melanie Leon, Diana Mehrez,
Sena Kocaoglu, Yana Latinovich, Melanie Leon, Diana Mehrez, .
Anna Meldraja, Nayeli Mendez, Luisa Mextorf, Francesca Moroni,
Anna Meldraja, Nayeli Mendez, Luisa Mextorf, Francesca Moroni, .
Lorna Mulero, Sanjana Paramhans, Mana Pinto, Paola Sala, Iakovina Syrianou,
Lorna Mulero, Sanjana Paramhans, Mana Pinto, Paola Sala, IakovinaSyrianou,
Qhosha Vad, Cristina Valarezo, Hong-Kuan Wang, Tiffany Whittaker,
Qhosha Vad, Cristina Valarezo, Hong-Kuan Wang, Tiffany Whittaker,
Noa Yarkoni, Abdelrahman Zahraan, Amber Zhang
NoaYarkoni, AbdelrahmanZahraan, Amber Zhang
B413 生态远见计划——生 Eco Vision Plan—SHENG
B413 Eco Vision Plan-SHENG Eco Vision Plan-SHENG
一系列作品以“生”为主题，自甲骨文草木萌发的字义为启始，连接生命、生态、生活、生产的不同图景。展览以生命设计、超物体、合成生物材料、后人类、第三自然、生态资本、响应式环境、气候设计、复原力等关键词为线索，涵盖来自9个国家及地区的22位艺术家设计师，包括哈佛大学、麻省理工学院、宾夕法尼亚大学等院校的12件艺术设计作品，尝试通过全新视角探求“生”活的变迁、“生”境的变局、“生”态的变革以及“生”存的变机，以期从中国生态语境和文化背景出发，探讨生态危机背后具有远见性的新机遇，呼唤一场跨文化、跨时空、跨领域的国际生态对话。
A series of workson the theme of "Birth. span>"as the theme,since the Oracle's word meaning of grass sprouting as the beginning,connecting different pictures of life, ecology, living and production. Using keywords such as Design for Life, Hyperobjects, Synthetic Biomaterials, Posthumanity, Third Nature, Eco-Capital, Responsive Environments, Climate Design, and Resilience as clues, the exhibition covers 9countries and regions. span>22artists and designers, including12from Harvard University, Massachusetts Institute of Technology, and University of Pennsylvania. Through a new perspective, it tries to explore the change of "life", the change of "living", the change of "living" situation, the change of "living" state, and the change of "living" survival, with a view to exploring the visionary new opportunities behind the ecological crisis from the ecological context and cultural background in China, and calling for an international ecological dialog across cultures, time and space, and across fields.
策展人：景斯阳
Curator:Jing Siyang
展览统筹：倪尔璐
Exhibition Coordinator: Ni Erlu
展览协调：吴景茜、黎超群
Exhibition Coordinator: Wu Jingxi, Lai Chaoqun
展览设计：沈星逸
Exhibition Design: Shen Xingyi
策展团队：赵恒阅、刘起、巩毅、王国栋、杭徵羽
Curatorial Team: Zhao HengYue, LiuQi,Gong Yi,Guo WangDong, and Guang Guodong. span data-dl-uid="4">,Guo Wang Dong,Hang Zhengyu
创作思考：
Creative Thinking:
此次“生态远见计划——生”展览通过前瞻性设计与艺术作品，倡导绿色生活方式和绿色革命，并倒逼生产方式向绿色转型。正如MOMA创始馆长阿尔弗雷德·巴尔所言，展览比其他媒介更具影响力，超越了设计作品的范畴，成为推动未来生活方式变革的强大工具。展览不仅描绘了未来的生态愿景，更为全球生态文明建设提供了新的思考路径。在中国生态文明建设背景下，本次展览融合了全球视野与中国经验。中国的生态发展道路与西方现代化模式不同，提供了独特的全球样本。展览旨在通过艺术和设计引发观众对生态危机的关注，激发青年设计师和艺术家参与全球生态文明进程，与世界共同探索生态未来的可能性。根据观众的反馈显示，不同年龄层次的观众都表达了积极的感受此次展览不仅为观众提供了视觉享受，更带来对生态未来的深刻思考，推动跨文化、跨领域的生态对话。
The "Eco Vision Project - Raw" exhibition promotes a green lifestyleand the green revolution, and to force a green transformation of production methods. As Alfred Barr, MOMA's founding director, said, the exhibition is more influential than any other medium, transcending the realm of design work to become a powerful tool for driving future lifestyle change. The exhibition not only depicts the ecological vision of the future, but also provides a new path of thinking for the construction of global ecological civilization. In the context of China's ecological civilization construction, this exhibition integrates global vision and Chinese experience. China's ecological development path is different from the Western modernization model, providing a unique global sample. The exhibition aims to arouse the audience's attention to the ecological crisis through art and design, to inspire young designers and artists to participate in the global ecological civilization process, and to explore the possibilities of an ecological future together with the world. According to the feedback from the audience, viewers of all ages expressed positive feelings about the exhibition which not only provides visual enjoyment for the audience, but also brings deep thoughts about the ecological future and promotes cross-cultural and cross-disciplinary ecological dialogues.
B413-1 2050年10月21日上午9:32当夏洛特滑倒时 Oct 21 2050 9:32 AM: When Charlotte Slipped
B413-1 2050年10月21日上午9:32当夏洛特滑倒时Oct 21 2050 9:32 AM: When Charlotte Slipped
艾伦·萨耶格 + 伊萨·何
Allen-Sayegh + Isa-Ho
Allen Sayegh + Isa He
作者简介
Author's Profile
艾伦·萨耶格，哈佛大学设计研究生院的设计评论家和高级交互技术研究员，也是哈佛大学反应环境和人工制品实验室REAL的主任。萨耶格从事学术研究和专业实践长达二十年，参与过各种规模的项目。他曾在不同的机构任教，并在美国、欧洲、中东和亚洲参与过许多不同的项目。INVIVIA，一个设计智囊团，成立初衷是相信没有一个特定的方法或学科有解决复杂问题的答案，跨学科方法才是创新的关键。自成立以来，便以这种合作方式一直保持着其跨学科的思维方式。
Allen-Sayegh, a design critic and senior interactive technology researcher at Harvard University's Graduate School of Design, and director of the Laboratory for Responsive Environments and Artifacts at Harvard University< /span>REAL, director of Harvard's Reactive Environments and Artifacts Laboratory. Sayegh has been engaged in academic research and professional practice for two decades, working on projects of all sizes. He has taught at various institutions and worked on many different projects in the United States, Europe, the Middle East, and Asia. INVIVIA, a design think-tank, was founded on the belief that no one particular methodology or discipline has the answer to complex problems, and that an interdisciplinary approach is the key to innovation. Since its inception, it has maintained its interdisciplinary mindset in this collaborative way.
作品简介
Synopsis
这幅3米×10米的壁画描述了对2050年世界的推测，海平面上升和技术的进步已经影响到我们社会和日常生活的各个方面。一眼望去，壁画说明了由气候变化造成的世界的物理划分——海平面以上和海平面以下。在水面下，夏洛特，这个自主系统，看着这个世界的居民所经历的欢乐和挣扎，以及他们在与自己不断变化的身份搏斗时留下的痕迹。更深入的研究发现了这个世界的几个二分法。有的人正在适应海洋生活，有的人则不适应；有的人已经接受了自主系统，有的人仍然很难信任它们。该作品促使我们思考如何应对环境中不可避免的变化。
This 3meter by 10m mural depicts a speculative view of the world in 2050, where rising sea levels and technological advances have affected every aspect of our society and daily lives. At a glance, the mural illustrates the physical division of the world - above and below sea level - caused by climate change. Below the water's surface, Charlotte, the autonomous system, looks at the joys and struggles experienced by the world's inhabitants and the marks they leave behind as they wrestle with their changing identities. A deeper look reveals several dichotomies in this world. Some are adapting to ocean life, others are not; some have embraced autonomous systems, others still find it hard to trust them. The workprompts us to think about how we respond to the inevitable changes in our environment.
材质：UV印刷、喷墨印刷（UV Printing, InkJet Printing）
Materials: UV Printing, Inkjet PrintingUV Printing, InkJet Printing).
创作年份：2021
Year of creation:2021
团队成员：INVIVIA设计团队
Team Members:INVIVIADesign Team
物种信息： 海带、海藻、谷物、松鼠、树木、鸟儿、岩石
Species information:Kelp, seaweed, grains, squirrels, trees, birds, rocks
运输碳排：6.47kg CO2
Transportation Carbon Emissions:6.47kg CO2
碳排价值：11.3RMB
Value of Carbon Emissions:11.3RMB
B413-2 变化的房间 The Room of Change
B413-2变化的房间The Room of Change
准确度工作室
Accuracy Studio
ACCURAT
作者简介
Author's Profile
准确度工作室，一家位于米兰和纽约的工作室，研究数据复杂性背后的美，在数据驱动的产品和服务中注入个性，建立起位于“知识”“行为”“人”之间的数据人文主义。变化，任何类型的变化，都是微妙的，不能从太近的地方注意到：我们所经历的大部分变化只有从远处和高处才能看到。该工作室的作品创造数据驱动的作品，创造了变形的视觉图案。
Studio Accuracy, a Milan- and New York-based studio, investigates the beauty behind the complexity of data, injects personality into data-driven products and services, and builds a data humanism that sits between"knowledge," "behavior," and "people. ">"Knowledge" "Behavior" "Person" between data humanism. Change, any kind of change, is too subtle to be noticed from too close: most of the changes we experience can only be seen from a distance and from a height. The studio's work creates data-driven pieces that create morphing visual patterns.
作品简介
Synopsis
《变化的房间》数据艺术装置是一个数据挂毯，探讨我们环境的多个方面在过去几个世纪中是如何变化的，它们如何仍在变化，以及它们将如何继续变化。该装置结合了几个不同的数据源，讲述了人们的故事以及他们与周围事物随着时间的推移而发生的关系，在叙述中分层提供密集和细化的信息，以强调变化在所有规模上是多么的普遍。该作品围绕8个宏观主题来组织信息，通过一些全球数据集（世界人口、平均温度、疾病率、能源消耗等）来说明大规模现象微观后果的单一和具体故事。
The Changing Rooms data art installation is a data tapestry that explores how multiple aspects of our environment have changed over the centuries, how they are still changing, and how they will continue to change. The installation combines several different data sources to tell the stories of people and their relationships with what surrounds them over time, layering dense and granular information within the narrative to emphasize how pervasive change is at all scales. The work organizes information around 8macro-themes, illustrating single and specific stories of the micro-consequences of large-scale phenomena through a number of global datasets (world population, average temperatures, rates of disease, energy consumption, etc.).
材质：大幅印刷纸（Large-scale printed paper）
Material: Large-scale printed paper(Large-scale printed paper)) uid="3">)
创作年份：2018
Year of creation:2018
运输碳排：11.893kg CO2
Transportation Carbon Emissions:11.893kg CO2
碳排价值：0.65RMB
Value of Carbon Emissions:0.65RMB
B413-3 改变 Cambio
B413-3改变Cambio
弗玛范塔西玛
FormaFantasiMa
Formafantasma
作者简介
Author's Profile
弗玛范塔西玛，一个以研究为基础的设计工作室，研究塑造当今设计学科的生态、历史、政治和社会力量。该工作室由安德烈·特里马奇和西蒙娜·法雷辛于2009年成立。工作室的目标是促进对我们的自然和建筑环境的深入理解，并通过设计及其材料、技术、社会和话语的可能性提出变革性的干预措施。
Formavantasima, a research-based design studio that investigates the ecological, historical, political, and social forces shaping the design discipline today. The studio was founded by Andre-Trimarchi and Simone- Faresin was founded in 2009. The goal of the studio is to promote a deeper understanding of our natural and built environments and to propose transformative interventions through design and its material, technological, social and discursive possibilities.
作品简介
Synopsis
Cambio来自中世纪拉丁语cambium，意为“改变、交换，是受伦敦蛇形画廊的委托，由弗玛范塔西玛研究的一件作品，是一项对木材产品的提取、生产和分销的持续调查项目。此项作品提出了关于木材如何生产以及其道德问题。随着时间的推移，这种商业形式的演变及其在全球的扩张，使得监管变得具有挑战性。它源于19世纪在殖民地上进行的生物开采，就其产生的收入和对地球生物圈的影响而言，它已成为世界上最大的产业之一。
Cambiofrom the Medieval Latincambium, meaning "Change, Exchange, a work commissioned by the Serpentine Gallery, London, and researched by Fermafantasima, is an ongoing investigative project into the extraction, production and distribution of wood products. This work raises questions about how wood is produced and its ethics. The evolution of this form of commerce and its global expansion over time has made regulation challenging. It has its roots in 19century bio-mining on colonized lands, and has become one of the largest industries in the world in terms of the revenues it generates and the impacts it has on the planet's biosphere.
类别：视频
Category: Video
创作年份：2020
Year of creation:2020
运输碳排：0.16697kg
Transportation carbon emissions:0.16697kg
CO2碳排价值：8.349RMB
CO2Value of Carbon Emissions:8.349RMB
B413-4 沼泽游戏 Swamp Game
B413-4 Swamp GameSwamp Game
诺梅达·乌尔博纳斯、格迪米纳斯·乌尔博纳斯
Nomeda-Urbonus, Gediminas-< span data-dl-uid="4">Urbonus
Nomeda Urbonas, Gediminas Urbonas
作者简介
Author's Profile
诺米达·乌尔博纳斯和格迪米纳斯·乌尔博纳斯是艺术家、教育家，以及乌尔博纳斯工作室的共同创始人，该工作室促进知识生产和艺术实践的不同节点之间的交流，以追求改变公民空间和促进集体想象力。乌尔博纳斯的作品在全球展出，包括圣保罗、柏林、莫斯科、里昂、光州、釜山、台北双年展、福克斯通三年展等，还有在威尼斯双年展和巴塞罗那当代美术馆举办的个人展览。
Nomida-Urbonas and Gediminas-< span data-dl-uid="4">Urbonas is an artist, educator, and co-founder of the Urbonas Studio, which facilitates exchanges between different nodes of knowledge production and artistic practice in the pursuit of transforming civic space and fostering collective imagination. Urbonas' work has been exhibited globally, including São Paulo, Berlin, Moscow, Lyon, Gwangju, Pusan, the Taipei Biennale, and the Folkestone Triennial, as well as solo exhibitions at the Venice Biennale and the Museu de Arte Contemporanea de Barcelona.
作品简介
Synopsis
这个探索性的游戏邀请我们去体验在有生命的沼泽中展开的共生关系。沼泽是一个完美的环境，可以感受到生物体和它们的栖息地之间脆弱而相互依赖的关系。游戏支持视角的变化，并允许我们通过漂浮成为沼泽生物来体验不同的物种，并发现食人玄学的主要规则：要成为他人，你必须被吃掉。游戏实验了立陶宛奥克斯图马拉荒原的生物群落模型，德国植物学家卡尔·阿尔伯特·韦伯（1856-1931）在那里进行了世界上第一个关于湿地的科学考察。混乱和刺激的沼泽地给了我们一个机会来测试“sympoiesis”这一概念——集体形成和成为集体——以便找到一种新的共存精神，一种认识到我们周围生态环境的诗意和政治力量的方式。
This exploratory game invites us to experience the symbiotic relationships that unfold in a living swamp. The swamp is the perfect environment to feel the fragile and interdependent relationship between organisms and their habitats. The game supports changes in perspective and allows us to experience different species by floating as swamp creatures and discovering the main rule of cannibalistic metaphysics: to become someone else, you must be eaten. The game experiments with a biome model of the Oxtumala wilderness in Lithuania, where German botanist Karl-Albert-< span data-dl-uid="4">Weber (1856-1931) conducted the world's first scientific study of wetlands there. The chaos and excitement of the Everglades gave us an opportunity to test the concept of "sympoiesis" - the concept of -collective formation and becoming-collective- in order to find a new spirit of coexistence, a way of recognizing the poetic and political power of the ecology that surrounds us.
材质：沉浸式游戏环境软件Three.js
材质：沉浸式游戏环境软件Three.js
创作年份：2020年起，持续中（2020-ongoing）
创作年份：2020年起，持续中（2020-ongoing）.
物种信息： 立陶宛的沼泽、植物、昆虫、鸟类、两栖动物、真菌、细菌或藻类
运输碳排：0.16485kg CO2
运输碳排：0.16485kg CO2
碳排价值：8.347RMB
碳排价值：8.347RMB
B413-5 罗米18生活一瞥、0.9克黄铜 A Glimpse into the Life of Romie 18，0.9 Grams of Brass
B413-5 Rome18Life at a Glance,< span data-dl-uid="4">0.9Grams of BrassA Glimpse into the Life of Romie 18,0.9 Grams of Brass
谭君妍
Adelaide Lala Tam
作者简介
谭君妍，来自香港，目前在荷兰鹿特丹工作。她于2018年以优异的成绩毕业于埃因霍温设计学院的食物设计系，并被列入50 NEXT。她探究设计师作为食物和设计之间的调解人的角色，并利用设计技能将人们与他们的食物的来源重新联系起来。她探索了原住民村庄、农场和食品生产设施，并经常研究这些大系统中的具体细节。2021年，她被BBC提名为女性100强。
Tam Kwan Yin, from Hong Kong, is currently working in Rotterdam, the Netherlands. She graduated with honors in 2018 from the Department of Food Design at the Design Academy of Eindhoven in 2018 and was inducted into the < span data-dl-uid="4">50 NEXT. She explores the role of the designer as a mediator between food and design, and uses design skills to reconnect people with where their food comes from. She explores Aboriginal villages, farms, and food production facilities, often examining specific details within these larger systems. In 2021, she was nominated by the BBC for the title of Woman 100stronger.
作品简介
Synopsis
罗米18生活一瞥
Romy18Glimpse of Life
该项目以视觉时间轴的形式展示了影响罗米18（阿德莱德在一头奶牛被屠宰前跟随了它3年）一生的物品。它包含了农场、埃因霍温生物动力农场和罗米18的家所使用的重要物品和产品，将观众带入农场环境。随着时间的流逝，你会越来越了解围绕动物世界而建造的人造材料。按照从上到下的线性顺序，您将看到一头生产牛奶和牛肉的两用奶牛从出生到死亡的全过程。
The project takes the form of a visual timeline of objects that influenced Romy18(Adelaide followed a cow before it was slaughtered3years) items from his life. It contains important objects and products used on the farm, the Eindhoven Biodynamic Farm and Romy18's home, transporting the viewer into the farm environment. As time passes, you become more and more aware of the man-made materials built around the animal world. Following a top-to-bottom linear sequence, you will see a dual-purpose cow that produces milk and beef from birth to death.
0.9克黄铜
0.9Grams of brass
该作品以一台自动售货机的形式，引发人们思考货币价值与道德价值之间的关系。在肉类行业中，生命的“价值”被隐藏在不对社会公开的屠宰过程中。这些动物的死亡不为人知，没有价值；而消费者的看法往往被误解、被扭曲。作品尝试在肉类产业中，重新评估生命的价值，通过改造构成电击枪弹壳的0.9克黄铜开始。扣动扳机后，弹壳是杀戮过程中留下的唯一碎片。从自动售货机出售的物品是由0.9克的黄铜弹壳制成的，价格与子弹本身相同，也与一头牛的生命成本相同。由此产生的黄铜回形针，作为一个日常使用的物品，时刻提醒着人们一个动物失去了生命。
Theartwork is in the form of a vending machine, which provokes people to think about the relationship between monetary value and moral value. In the meat industry, the "value" of life is hidden in the slaughtering process, which is not disclosed to society. The deaths of these animals are unknown and valueless, and consumer perceptions are often misunderstood and distorted. The work attempts to reassess the value of life in the meat industry, starting with the modification of the 0.9 grams of brass that make up the cartridges of a stun gun. After pulling the trigger, the shell casings are the only fragments left from the kill. Items sold from vending machines are made from 0.9 grams of brass casings and cost the same as the bullet itself, and the same as one cow's life cost. The resulting brass paper clip serves as an object of everyday use, a constant reminder of an animal's lost life.
材质：影像、喷漆曲别针
Material: image, spray-painted pin
创作年份：2019
Year of creation:2019
物种信息： 牛
Species information:Cattle
运输碳排：872kg CO2
Transport carbon emissions:872 kg CO2
碳排价值：50.58RMB
Value of carbon emissions:50.58RMB
B413-6 马塔德罗的果实 Fruits of Matadero
B413-6 Fruits of MataderoFruits of Matadero
奥尔坎·泰尔汗
Orkan-Terkhan
Orkan Telhan
作者简介
Author's Profile
奥尔坎·泰尔汗，跨学科艺术家，设计师和教育家，宾夕法尼亚大学韦茨曼设计学院美术-新兴设计实践副教授，Biorealize联合创始人。他专注于合成生物学和生物设计，研究重点是反思对象、界面和媒体的设计。特尔汗希望通过设计为社会创造一个更具责任感的未来。他一直对设计和技术之间的关系充满兴趣，并且密切关注着生态、环境和气候变化等重大议题。他通过使用不同的技术框架，从合成生物学到人工智能，试图为这些大问题寻找解决方案。
Orkan-Telkhan, Interdisciplinary Artist, Designer, and Educator, Fine Arts, Weitzman School of Design, University of Pennsylvania-Associate Professor of Emerging Design Practices, and co-founder of Biorealize. He specializes in synthetic biology and biodesign, and his research focuses on reflecting on the design of objects, interfaces, and media. Terhan wants to create a more responsible future for society through design. He has always been interested in the relationship between design and technology and is closely following major issues such as ecology, environment and climate change. By using different technological frameworks, from synthetic biology to artificial intelligence, he tries to find solutions to these big problems.
作品简介
Synopsis
作品是马德里文化中心为解决西班牙的气候变化问题所做的五个委托项目之一。本作品让公众能够参与以城市热岛为主的气候变化项目中。泰尔汗针对“没有树木”这个特点创作了一个树荫。人类喜欢以“吃东西”的方式带来生理上的冷却效应而流汗。树上的自动售货机，通过发酵有机体来给自己充电。而其售卖的冰棒的味道是根据不同强度的香料设计的，并用微生物制造风味、用蛋白质和营养物质带来不同程度的出汗感受，如2.5度、3.3度。由此，作品回应了2015年第21届联合国气候变化大会和《巴黎协定》期间做出的全球变暖限度承诺。
The work is one of five commissioned projects by the Centro Cultural de Madrid to address climate change in Spain. This work enables the public to participate in climate change projects focusing on urban heat islands. Khan created a shade tree in response to the absence of trees. . Humans like to sweat by "eating" to bring about a physiological cooling effect. Vending machines in trees recharge themselves by fermenting organisms. The flavors of the ice lollies they sell are based on different strengths of spices, and microbes are used to create flavors, proteins and nutrients to bring on different levels of sweat, such as 2.5degrees, 3.3degrees. The work thus responds to the 201521st21commitments on global warming limits made during the UN Climate Change Conference and the Paris Agreement.
材质及规格：两张海报，75厘米×100厘米×2.5厘米；一只机械鹦鹉及3D打印支架，15厘米×60厘米×15厘米；一个孵化器，18厘米×18厘米×18厘米；一个树脂模型冰棒，5厘米×10厘米×3厘米
Materials and Specifications: two posters,75cm x 100cm x 2.5cm; a mechanical parrot and 3D printed stand,< span data-dl-uid="3">15 cm x 60 cm x 15 cm; an incubator,18 cm x 18 cm x 18 cm; a resin model popsicle,5 cm x 10 cm x 3 cm
创作年份：2018
Year of Creation:2018
物种信息： 微生物金发酵有机体
Species information:Microbial gold-fermented organisms
运输碳排：158.086kg CO2
Transportation Carbon Emissions:158.086kg CO2
碳排价值：9.17RMB
Value of Carbon Emissions:9.17RMB
2 × framed posters, 75×100×2.5cm; 1 × robotic parrot with 3D printed stand, 15×60x15cm; 1 × incubator, 18×18×18cm; 1 × resin cast popsicle, 5×10×3cm
2× framed posters, 75×100×2.5cm1× robotic parrot with 3D printed stand, 15×60x15cm; 1×incubator, 18×18×18cm1 ×resin cast popsicle5×10×3cm
B413-7 残缺不全的美食 The Remains of Disembodied Cuisine
B413-7残缺不全的美食The Remains of Disembodied Cuisine
奥龙·卡特斯、伊纳特·祖尔
Auron-Cartes,Inart-Zur
Oron Catts, Ionat Zurr
Oron Catts, Ionat Zurr
作者简介
Author's Profile
奥龙和伊纳特的兴趣是“生命”，更确切地说，是在新知识及其应用的基础上对生命关系和看法的探讨。他们经常与其他艺术家和科学家合作，开发了一系列不断发展的生命概念的作品。二十多年来，TC&A项目在全世界范围内开发了艺术作品，策划了展览，撰写了论文，创作了表演。他们的项目涉及实验室种植的食物、组织培养的服装、半活体雕塑、农业技术以及人类和非人类之间不断变化的关系。他们的想法和项目超越了艺术的范围，其作品经常被引用为新材料、纺织品、设计、建筑、伦理学、小说和食品等不同领域的灵感。
Oron and Inat's interest is in "life", more specifically the exploration of relationships and perceptions of life based on new knowledge and its application. Often working in collaboration with other artists and scientists, they have developed an ever-evolving body of work on the concept of life. For more than two decades, the TC&A program has developed artworks, curated exhibitions, written papers, and created performances around the world. Their projects have involved lab-grown food, tissue-cultured clothing, semi-living sculptures, agricultural techniques, and the ever-changing relationship between humans and non-humans. Their ideas and projects transcend the boundaries of art, and their work is often cited as inspiration for fields as diverse as new materials, textiles, design, architecture, ethics, fiction, and food.
作品简介
Synopsis
这是一个关于非本体美食（Disembodied Cuisine）的视频装置，首次记录了人类吃在实验室里生长的肉，而不是动物的身体。这种肉是用组织工程技术制造的半活体牛排。该项目批判了“无受害者的乌托邦”的愿景，在这个愿景中，我们将能够吃到肉而不需要屠宰动物。该项目提供了“无受害者”的肉类消费的幻觉，用于食物消费的动物的杀戮和痛苦将被减少。然而有可能使半活体成为一个新的被剥削的类别。第一块半活体牛排是由产前的绵羊细胞（骨骼肌）培育出来的，在子宫内组织工程技术研究中收获。
It's a video installation about Disembodied Cuisine (Disembodied Cuisine) is a video installation that for the first time documents humans eating meat grown in a lab instead of an animal's body. The meat is a semi-living steak created using tissue engineering techniques. The project critiques the vision of a "victimless utopia," in which we would be able to eat meat without slaughtering animals. The project offers the illusion of "victimless" meat consumption, where the killing and suffering of animals for food consumption will be reduced. However, there is a risk that half-lives will become a new category of exploitation. The first semi-living steak was grown from prenatal sheep cells (skeletal muscle) harvested for in utero tissue engineering research.
材质：视频、混合材料
Material: video, mixed material
创作年份：2004
Year of Creation:2004
物种信息： 半活体牛排
Species information: Semi-living steak
运输碳排：0.3297kg CO2
Transport carbon emissions:0.3297 kg CO2
碳排价值：10.28RMB
Value of carbon emissions:10.28RMB
B413-8 我们美好而又破碎的世界 Our Beautiful Broken World
B413-8 Our Beautiful Broken WorldOur Beautiful Broken World
理查德·韦勒
Richard-Weller
Richard Weller
作者简介
Author's Profile
理查德，迈尔森城市化基金会主席、宾夕法尼亚大学景观系系主任与伊恩·麦克哈格中心联合执行总监，研究领域为城市规划、区域与国家规划。他是被宾夕法尼亚大学出版社认可的设计公司——Room 4.1.3的前联合主任，并且他著有一本专著（2005）。魏茨曼设计学院包括建筑、美术、景观建筑、建筑、城市规划和历史保护等系，是世界上最重要的设计机构之一。
Richard, President of the Myerson Foundation for Urbanism and Department of Landscape Architecture at the University of PennsylvaniaDirector with the Ian- Co-Executive Director of the McHarg Center in the areas of urban planning and regional and national planning. He is recognized by the University of PennsylvaniaPress as a design firm - Room 4.1.3is the former co-director of Room 4.1.3, and is the author of a monograph (2005). The Weizmann Institute of Design, which includes the departments of Architecture, Fine Arts, Landscape Architecture, Building, Urban Planning, and Historic Preservation, is one of the world's foremost design institutions.
作品简介
Synopsis
该作品借“蝴蝶”这一形象，同时表征与隐喻人类正在积极努力尝试恢复生态系统的景象。蝴蝶是美丽的。它们长着翅膀，为花朵授粉。人类给它们起拉丁名，将它们制作成标本，并在它们身上插针。科学家命名“蝴蝶效应”，即一件小事导致一件大事的发生。人们也说他们在感到焦虑时感受到“蝴蝶”。因此，蝴蝶是人类世的一个很好的隐喻：美丽、科学、焦虑。这只蝴蝶有很多翅膀，是一种世界性的蝴蝶。每个翅膀都是对人类正在积极努力尝试恢复生态系统的景观的精确描摹。在这些领土上，人类的行为就像蝴蝶，而不是蝗虫的瘟疫。
The work uses the image of the butterfly as both a representation and a metaphor for humanity's ongoing efforts to try to restore the ecosystemscape. uid="2">Scape. Butterflies are beautiful. They have wings and pollinate flowers. Humans give them Latin names, make specimens of them and stick pins in them. Scientists have named it the "butterfly effect", where one small thing leads to a big thing. People also say they feel "butterflies" when they feel anxious. Thus, the butterfly is a good metaphor for the humanworld: beauty, science, anxiety. This butterfly has many wings and is a cosmopolitan butterfly. Each wing is an accurate depiction of a landscape where humans are actively working to try to restore ecosystems. In these territories, humans are behaving like butterflies, not plagues of locusts.
材质：打印、激光切割木材
Material: Printed, laser cut wood
创作年份：2022
Year of creation:2022
团队成员：理查德·韦勒（Richard Weller）、Levinthal Robert
Team members: Richard-Weller(Richard Weller), LevinthalRobert
运输碳排：158.086kg CO2
Transportation Carbon Emissions:158.086kg CO2
碳排价值：9.17RMB
Value of Carbon Emissions:9.17RMB
B413-9 反灭绝图书馆 Anti-Extinction Library
B413-9 Anti-Extinction LibraryAnti-Extinction Library
Terreform ONE
作者简介
Author's Profile
Terreform ONE,一个非盈利的建筑和城市设计研究小组。这个特别的名称来自以下两个词的组合:“terre”（地球、土壤）和“reform”（重建、重 建、再造）。Terreform ONE不是在人为地重塑地球，而是致力于通过开创性的建筑生物技术寻求因地制宜改造地球的方法。Terreform ONE通过在建筑、交通、基础设施、水、食品、废物处理、空气质量和能源方面的创新来培养生态复原力。他们的创作过程包括推测新兴技术将如何影响未来城市世代和当地生物多样性，专注于生态规划、生物技术建筑、城市系统和公共艺术的交叉点，努力开发包容性空间和系统，关注环境和社会正义。
Terreform ONE, a nonprofit architecture and urban design research group. This particular name comes from a combination of the following two words:"terre< span data-dl-uid="6">"(earth, soil) and "reform"( rebuild, reformrebuild, re-create). Terreform ONE is not about artificially reshaping the Earth, but rather is dedicated to finding locally adapted ways of transforming the Earth through groundbreaking architectural biotechnology. Terreform ONE fosters ecological resilience through innovations in architecture, transportation, infrastructure, water, food, waste, air quality, and energy. Their creative process includes speculating on how emerging technologies will impact future urban generations and local biodiversity, focusing on the intersection of ecological planning, biotechnological architecture, urban systems, and public art, working to develop inclusivespacesand systems,with a focus onenvironmental and social justice.
作品简介
Synopsis
Terraform One在纽约东河布鲁克林海军工厂建造了一个反灭绝图书馆，其中存放濒危物种的胚胎细胞和稀有生命形式的DNA。低温胚胎被放置在一个象征性的“鸡蛋”的形式中，随着时间的推移会逐渐解构。图书馆中每个物种都带有一个基因标记，这些编码标记代表着“物种平等”的立场。这项作品倡导并促进解决气候危机。它就像一片地区的胚胎银行，并引导当地社区参与，允许任何人提交当地物种。
Terraform Onehas constructed an anti-extinction library at the Brooklyn Navy Yard in New York's East River, which houses embryonic cells from endangered species and rare life formsDNA. Cryogenic embryos are placed in the form of a symbolic "egg", which is gradually deconstructed over time. Each species in the library carries a genetic marker that is coded to represent the position of 'species equality'. This work advocates and promotes solutions to the climate crisis. It acts as an embryo bank for the region and engages the local community, allowing anyone to submit a local species.
材质：混合材料、3D打印（Mixed media, 3D print）
Materials: Mixed media,3DPrintingMixed media, 3D print)). 3D print)
创作年份：2020
Year of creation: 2020
团队成员：米切尔-乔基姆（Mitchell Joachim）, Vivian Kuan
Team members: Mitchell Joachim(Mitchell Joachim), Vivian Kuan
运输碳排：29.52kg CO2
Transportation Carbon Emissions:29.52kg CO2
碳排价值：1.71RMB
Value of Carbon Emissions:1.71RMB
B413-10 生物圈 The Biosphere Project
B413-10 BiosphereThe Biosphere Project
华金·法尔加斯
Joaquin Fargas.
Joaquin Fargas
作者简介
Author's Profile
华金·法尔加斯，其作品集中于与生命、生命的保存以及生物与未来之间的相互关系有关的可能或乌托邦式的建议。在他的工作中，他整合了生物材料和技术媒体旨在打破障碍并产生可能的对话和混合生态。他是教科文组织拉丁美洲和加勒比科技普及网络的执行主任。他目前是阿根廷圣伊西德罗探索艺术、科学和技术中心的主任，也是美洲阿比尔塔大学-UAI拉丁美洲生物艺术实验室的主任。
Joaquin-Fargas,his work focuses on possible or utopian proposals related to life, its preservation, and the interrelationship between living things and the future. In his work, he integrates biomaterials and technological media aimed at breaking down barriers and generating possible dialogues and hybrid ecologies. He is the Executive Director of the UNESCO Network for the Popularization of Science and Technology in Latin America and the Caribbean. He is currently the Director of the Center for Art, Science and Technology in San IsidroRo Quest, Argentina, and the Director of the Universidad de las Americas de la Alberta-UAI. span>Director of the Latin American Laboratory of Biological Arts.
作品简介
Synopsis
生物圈项目由隔离在密封容器内的自然生态系统组成。这些容器只允许热和光的外部影响。这些系统，就像我们的星球一样，依赖光作为能量来源，以促进它们内部发生的生命周期的发展和持续存在。这些系统以极小的规模代表了我们的星球，并显示出脆弱性以及对其关注的重要性和紧迫性。展品作为地球的隐喻被展示在一个无限小点的尺度上，球体由玻璃体、有机玻璃等物质构成，被放置在不同高度的支架上，或者悬挂在天花板上。
Biosphere projects consist of natural ecosystems isolated within sealed containers. These containers allow only external influences of heat and light. These systems, like our planet, rely on light as a source of energy to facilitate the development and continued existence of the life cycles that occur within them. These systems represent our planet on a very small scale and demonstrate vulnerability and the importance and urgency of their attention. The exhibit is presented as a metaphor for the Earth on the scale of an infinitesimal point, with spheres made of vitreous, plexiglass, and other substances that are placed on stands of varying heights or suspended from the ceiling.
材质：亚克力球、钢架、植物、水
Material: acrylic ball, steel frame, plants, water
创作年份：2023
Year of creation:2023
B413-11 雨林演替——腊茗 Rainforest Succession—La Mianm
B413-11雨林演替--腊茗Rainforest Succession-La Mianm
景斯阳 + 倪尔璐 + 李鑫祥 + 良食—食物系统中国行动平台
Jing Siyang+ Nielu + Li Xinxiang + Liangshi - FoodSystems China Action Platform
作者简介
Author's Profile
景斯阳，设计师，中央美术学院设计学院生态危机设计教研室主任，Eco-Vision Plan发起人、策展人。获得哈佛大学和宾夕法尼亚大学双硕士学位，并曾于麻省理工学院媒体实验室、德国慕尼黑工业大学求学。她曾策划“生态远见计划-生”、联合国生物多样性大会展览，作品曾参加深港双年展、全国美展。
Jing Siyang is a designer, director of the Eco-Crisis Design Department of the School of Design at the Central Academy of Fine Arts (CAFA), and the initiator and curator of the Eco-Vision Plan. span data-dl-uid="3">initiator and curator. She received her master's degrees from Harvard University and the University of Pennsylvania, and studied at the MIT Media Lab and the Technical University of Munich. She has curated the "Ecological Visionary Project-Birth", the United Nations Conference on Biological Diversity (UNCBD) exhibition, and her works have been exhibited in the -Biological Diversity Conference (UNCBD). dl-uid="6">Shengang Biennial Exhibition, National Art Exhibition.
倪尔璐，设计师，生态远见计划创始团队之一，中央美术学院生物艺术设计硕士。
Ni Erlu, designer, one of the founding team of Eco Visionary Program, Master of Biological Art Design from Central Academy of Fine Arts.
李鑫祥，设计师，中央美术学院社会设计方向在读生。
Li Xinxiang, designer, a student of social design at the Central Academy of Fine Arts.
绿会良食专项基金（简称“良食基金”），成立于2017年，专注推动健康可持续食物体系转型。
Green Council Good Food Specialized Fund ("Good Food Fund" for short) was established in2017. span>in 2017, focusing on promoting the transformation of a healthy and sustainable food system.
作品简介
Synopsis
作为一个长期项目，《雨林演替——腊茗》旨在通过传统茶文化和少数民族传统食材保护，促进生态与经济可持续发展以及传统布朗族文化传承。以世界非物质文化遗产“景迈山的古茶林”“普洱茶”以及雨林中的布朗族食材为研究对象，作品对传统食物展开了调研与设计研究，筹划了参与性晚宴与纪录片等。通过“食宴”“食币”“食语”“食忆”四个概念，将布朗族与古茶林和谐共存的传统生态文化以创新的方式——以食物为媒，邀请三代布朗族人进行跨越时空的代理对话。该项目得到了良食——食物系统中国行动平台、中国少数民族传统食材收集计划，中央美术学院设计学院和生态远见计划的支持。
As a long-term project, "Rainforest Succession - La Ming" aims to promote ecological and economic sustainable development as well as traditional Brown cultural heritage through traditional tea culture and ethnic minoritytraditional food ingredients conservation, to promote the ecological and economic sustainable development and traditional Brown cultural heritage. Taking the world intangible cultural heritage of "ancient tea forests in Jingmai Mountain", "Pu'er tea" and the ingredients of the Brown ethnic group in the rainforest as the dl-uid="4">Objects of research, the work conducted research and design studies on traditional food, and planned participatory dinners and documentaries. Through the four concepts of "Food Banquet", "Food Coin", "Food Language" and "Food Memory", the traditional ecological culture of the Brown ethnic group and the ancient tea forests coexisting in a harmonious and innovative way. The four concepts of "Food Banquet", "Food Coins", "Food Words" and "Food Memories" will harmonize the traditional ecological culture of the Brown people and the ancient tea forest, and invite three generations of Brown people to have a dialog across time and space by using food as a medium. The project was supported by Good Food - Food Systems China Action Platform, China Ethnic MinorityTraditional Ingredients CollectionProgram, the School of Design at the Central Academy of Fine Arts and the Eco-Vision Project.
材质：综合材料、木头、影像
Materials: mixed materials, wood, video
创作年份：2023
Year of creation:2023
团队成员：良食—食物系统中国行动平台
Team Members:Good Food-FoodSystem China Action Platform
B413-12 食物地理学 Food Geography
B413-12 Food Geography Food Geography
食物地理学小组
Panel on Food Geography
Food Geography Group
作者简介
Author's Profile
由中央美术学院设计学院副院长韩涛、中央美术学院设计学院危机与生态设计方向召集人景斯阳发起带领的中央美术学院食物地理学小组Food Geography Group，课题作品参与者包括檀松冶、邓佳伟、王露、李晨雪、吴景茜、王思睿、杨洁、杨佳煜等。
The Food Geography Groupinitiated by Han Tao, Associate Dean of the School of Design at the Central Academy of Fine Arts (CAFA), and Jing Siyang, Convener of the Crisis and Ecological Design Direction of the School of Design at CAFAFood Geography Group. span>The participants of the project include Tang Songye, Deng Jiawei, Wang Lu, Li Chenxue, Wu Jingxi, Wang Sirui, Yang Jie, and Yang Jiayu.
作品简介
Synopsis
该作品在想象地理学的基础上通过绘图术来分析与理解特定食物在空间、地理学上的历史发展、生产制造、消费与传播方式。食物不仅是每个人日常生活的必需品，也是连接人与人、人与自然的要媒介。正如迈克尔·波伦所说，“我们进食的方式代表了人类和自然界最深刻的联系”。食物地理学小组用不同的尺度作为研究框架，从不同的视角出发去分析不同种类的食物，在细胞尺度、身体尺度、房间尺度、 社区尺度、城市尺度、地图尺度和元宇宙尺度中观察和分析，最终挑选了喂食异托邦、粒粒生息、酒神降临、碳基共同体四组作品进行展览。
Thework analyzes and understands the spatial and geographic historical development, production and manufacturing, consumption and dissemination of specific foods through mapping techniques based on imaginative geography. Food is not only a necessity for everyone's daily life, but also a key medium for connecting people to people and people to nature. As Michael Pollan puts it, "the way we eat represents the deepest connection between humans and the natural world." The Food Geography team uses different scales as a research framework to analyze different kinds of food from different perspectives, observing and analyzing food at the cellular scale, the body scale, the room scale, the community scale, the city scale, the map scale, and the meta-cosmic scale. uid="4">, and ultimately picked Feeding Isotopes Bongs, Grain Born, Wine God Descends, and Carbon-based Community are the four groups of works on display.
材质：艺术微喷、纸媒
Material: art microblast, paper media
创作年份：2022
Year of creation:2022
喂食异托邦
FeedingIso-ToBang
檀松冶 + 邓佳伟
Dan Songye + Deng Jiawei
该作品根据不同的社会尺度，构建出一幅以面包作为资源循环的地下异托邦景象。作为人对于物质需要中温饱的象征，面包已经化身成为人最基本的生存权利。作者檀松冶和邓佳伟将“面包”隐喻成权利中心用来控制民众的政治手段，使其成为统治工具，制造饥饿焦虑、食物教育、膳食指南等等一系列行为，组成规训和诱导民众的方法和规则。
The workconstructs a picture of bread as a resource cycle according to different social scalesunderground heterotopiasscape. As a symbol of man's material need for sustenance, bread has been incarnated as man's most basic right to survival. The authors, Tang Songye and Deng Jiawei, use "bread" as a metaphorfor the powercenters used to control the people. uid="8">political handstripsthatmake it a tool of domination, creating hunger anxiety, food education, dietary guidelines, and a host of other behaviors that make up the methods and rules for disciplining and inducing the population.
酒神降临
The God of Wine.
吴景茜 + 王思睿
Jingxi Wu+ Sirui Wang
在作品“酒神降临”中，作者以葡萄酒作为研究对象，古印度的人体脉轮图作为制图的载体。脉轮系统将人体分为七个部分，将其对应七个尺度、七个世界、葡萄酒生产的七个步骤，并用神话寓言的方式编写了一个关于酒神狄俄尼索斯的故事。既赞颂了酒神精神中美妙的艺术创造性，也展现了酒神欢宴中那狂热的毁灭性。
In the work "The Descent of the Wine God", the author uses wine as the object of study, and the human bodychakrachart as a vehicle for cartography. The chakra systemdivided the human body into seven parts, corresponding them to the seven scales, the seven worlds, the seven steps of wine production, and wrote a mythological fable about the god of wineDiOnisos. It celebrates both the wonderful artistic creativity in the spirit of the god of wine and the wildly destructive nature of his feasts.
粒粒生息
each grain grows its own
王露 + 李晨雪
Wang Lu+ Li Chenxue
该作品以地图的形式，从生产与消费的角度，讲述了一粒咖啡豆与人类历史进程的关系。从最初的“阿拉伯酒”到如今上班族手中的精神良药，怎么也不会想到你喝的某一杯咖啡会影响到远方栖息地的候鸟。作为植物，它是联系人与生态系统的媒介；作为食物，它又是社会经济与人类活动的见证。本地图将咖啡豆作为研究对象，以整个咖啡流水线制造工厂的空间结构为载体，将研究对象和事件从微观到宏观、个体到整体（从右到左）编排在了“流水线”的各个节点。
The work, in the form of a map,from the point of view of production and consumption, tells the story of the relationship of a coffee bean in relation to the course of human history. From the original "Arabian wine" to the spiritual medicine in the hands of today's office workers, how could it be imagined that a certain cup of coffee you drink will affect the distant habitats of the migratory birds. As a plant, it is an intermediary between contacts and ecosystems; as food, it is a witness to socio-economic and human activities. This map takes the coffee bean as the object of study, takes the spatial structure of the entire coffee assembly line manufacturing plant as the carrier, and arranges the objects and events of study from micro to macro, from individual to whole (from right to left) in each node of the "assembly line".
碳基共同体
Carbon-based Community
杨佳煜 + 杨洁
Yang Jia Yu + Yang Jie
本次研究以鸡蛋为对象、以人为纽带，重构一个“新的人”。所谓“新的人”便是一种碳基共同体。作品依据某些客观事实的基础上，从鸡蛋自身的角度，陈述的历史发展脉络和信息轨迹图——用来探寻人与鸡蛋之间的关系以及探寻其共存本质。
This study reconstructs a "new human being" by taking the egg as the object and the human being as the link. The so-called "new man"is a carbon-based community. The work is based on some objective facts, from the perspective of the egg itself, the historical development and information trajectory map - used to explore the relationship between man and the egg and the nature of their coexistence.