隨形順應(yīng)，水係南海

Flowing and Adapting, Be Like Water

“藝術(shù)在樵山 - 廣東南海大地藝術(shù)節(jié)”由佛山市南海區(qū)人民政府主辦，是大地藝術(shù)節(jié)中國團(tuán)隊(duì)（瀚和文化），運(yùn)用“藝術(shù)創(chuàng)生”的方法論，以推動地方振興發(fā)展為宗旨，開展的國內(nèi)首個全域性地域型藝術(shù)節(jié)。

“Art at Qiaoshan - Art Field Nanhai GuangDong 2024” is hosted by the People’s Government of Nanhai District, Foshan City and is a full presentation of “Art Field China” adhering to the principles of “l(fā)ocality, comprehensiveness, cooperativity and sustainability”.

本屆主題“水係南海”，即“水就是南海”的意思。這是一句既有粵語方言味道，又帶著少許古文風(fēng)格的表述。它通過一個預(yù)設(shè)，希望人們帶著好奇，帶著猜想和探問，再一次走近南海，在不斷接觸具體物象的過程中，感知背后的哲思與抱負(fù)。從古遠(yuǎn)到未來，水是南海的社會生態(tài)，也是文化的心態(tài)和奮斗的姿態(tài)，更是生生不息的發(fā)展常態(tài)。

The theme “Be Like Water”, a phrase carries the charm of Cantonese dialect with a touch of classical Chinese, has an underlying mean ing akin to “Water defines Nanhai.” It sets a scenario, aiming to spark curiosity, speculation and the desire to explore, guiding people to revisit Nanhai. Through continuous encounters and perception of tangible elements, they can grasp the philosophy and aspirations behind. From ancient times to the future, water serves as the cornerstone of Nan hai’s social ecology, as well as a vivid portrayal of its cultural mindset, its spirit of perseverance, and its ongoing growth.

漁耕小舍——湖邊的微美術(shù)館

Fishing and Farming Cabanas_Micro Art Museums by the Pond

王子耕

PILLS 工作室創(chuàng)始人、主持建筑師

第二屆廣東南海大地藝術(shù)節(jié)“漁耕粵韻”板塊策展人

本屆南海大地藝術(shù)節(jié)我們受邀策展“漁耕粵韻”片區(qū)。“漁耕粵韻”是位于西樵山下的傳統(tǒng)?；~塘景觀園區(qū)，基于南海特有的自然生態(tài)特征和可持續(xù)發(fā)展考量，我們邀請6組建筑師和藝術(shù)家組合改建環(huán)湖沿線的原有房屋，形成以“水”為敘事的環(huán)湖微型美術(shù)館群，以呼應(yīng)場地文脈和本屆大地藝術(shù)節(jié)的主題。每一組作品都是建筑師和藝術(shù)家合作的產(chǎn)物，每一座微美術(shù)館都可以被視為一件關(guān)于“水”的闡釋的獨(dú)特空間。

For Art Field Nanhai 2024, we have been invited to curate the "Yugengyueyun" area. This area is located in the traditional mulberry-dyke fish ponds at the foot of Xiqiao Mountain. Based on the unique natural ecological characteristics of Nanhai and considerations for sustainable development, we have invited six groups of architects and artists to renovate the original houses along the lake, creating a series of micro lakeside art museums centered around the narrative of "water." These installations respond to the site’s cultural context and the theme of this year's Art Field Nanhai. Each group’s work is the result of a collaboration between architects and artists, and each “micro art museum” can be seen as a unique space offering an interpretation of "water."

徐浪與馮瑞合作的《垂直的自然》，以清水混凝土的建造模糊了“層”與“界面”，似人造山石般融入自然，使游逛充滿了視覺和體驗(yàn)的變化。藝術(shù)家的馬賽克作品借由混凝土的縫隙填補(bǔ)并擴(kuò)展了空間關(guān)于自然的抒寫。

The project "Vertical Nature" by Xu Lang and Feng Rui uses cast-in-place concrete to blur the boundaries between "layers" and "surfaces," integrating with nature like artificial mountain rocks. The experience of walking through this space is full of visual and sensory variations. The artist’s mosaic work fills the gaps in the concrete, expanding the space’s expression of nature.

羅宇杰與彭斯的合作《井木間》則以“井干”式的木構(gòu)造簡潔優(yōu)美地構(gòu)造出一個圍合性空間，觀眾需要屈伸進(jìn)入再抬頭仰望藝術(shù)家的作品，也可攀爬其上，近距離感受懸置在頂部的作品。建筑師從觀者的一系列動作預(yù)期，探討了作品與空間的多種感受的可能性。

In "Stacked Wood Chamber," a collaboration between Luo Yujie and Peng Si, a simple and elegant wooden structure shaped like a "well shaft" creates an enclosed space. Visitors need to bend down to enter and then look up to observe the artist’s works, or they can climb to experience the works suspended at the top. The architects explore various sensory possibilities between the work and the space through the expected movements of the viewer.

在《山海禪燈》中，建筑師王欣追擬宋代的“草廬”與倪瓚的“容膝齋”，以原有建筑范圍設(shè)置臨山底座，登臨一座六角亭，內(nèi)設(shè)茶席，僅容3人。小樓在更大的尺度上構(gòu)成了整個區(qū)域的一盞“禪燈”，同時(shí)也是一座微型的美術(shù)館，藝術(shù)家孫玥創(chuàng)作的燈具放置其間，構(gòu)成了別具一格的文人精神圖景。

In "Lighthouse of Nature," architect Wang Xin draws inspiration from the Song Dynasty "grass hut" and Ni Zan’s "Rongxi Pavilion," setting up a base at the foot of the mountain within the original building’s boundaries. A hexagonal pavilion with a tea area for three people is placed on top. The small building serves as a "Zen light" for the entire region and also acts as a miniature art museum, with lighting created by artist Sun Yue, forming a distinctive literary and spiritual atmosphere.

建筑師范久江的作品《霽竹亭·水邊》在原址上巧妙地重構(gòu)了一座懸置的八角亭，在保留原有休憩及觀景功能的同時(shí)創(chuàng)造了新的觀看體驗(yàn)。藝術(shù)家薛峰把這次與建筑師的合作日常以文字的形式留在湖中，以一種輕松凝練的方式構(gòu)筑了現(xiàn)場、敘事與構(gòu)筑物之間的關(guān)系。

Architect Fan Jiujang’s "Jizhu Pavilion – Waterside" cleverly reconstructs a suspended octagonal pavilion on the original site, preserving its function as a rest and observation point while offering a new viewing experience. Artist Xue Feng leaves a daily record of the collaboration with the architect in the form of text, establishing a relationship between the site, the narrative, and the structure in a concise and relaxed manner.

在《南海聲殿》的創(chuàng)作中，王灝以混凝土簡潔有力地回應(yīng)了當(dāng)?shù)氐膫鹘y(tǒng)形式的現(xiàn)代轉(zhuǎn)化，并巧妙地使原有廊架空間成為空間序列的輔助。聲音藝術(shù)家秦思源以南海養(yǎng)魚池的聲音采樣完成的三組聲音交互作品，使“水”有了新的觸感，并與建筑空間共同構(gòu)筑出一座關(guān)于聲音的建筑。藝術(shù)家史劼水墨創(chuàng)作成為這座聲音殿堂的形象碑文。

In "Nanhai Sound Chapel," Wang Hao uses concrete to respond powerfully to the modern transformation of local traditional forms, while cleverly using the existing corridor structure as a supporting element in the spatial sequence. Sound artist Qin Siyuan creates three interactive sound works sampled from the sounds of the local fish ponds, bringing a new tactile dimension to the "water" and co-creating a space about sound with the architectural environment. Artist Shi Jie’s ink painting serves as the monument to this sound hall.

吳林壽在《野草博物館》中實(shí)驗(yàn)性地以黑色充氣膜形成建筑外維護(hù)，形成野草生長的縫隙和聚集水氣的條件，配合屋頂?shù)撵F氣裝置，使建筑成為一個在南海濕潤環(huán)境下自我生長的建筑。沈瑞筠的作品《春風(fēng)吹又生》收集、種植并記錄了本地的野草，將視線聚焦于這些無名野草，關(guān)注平凡而堅(jiān)韌生命力量。

Wu Linshou’s experimental work "Wild Grass Museum" uses black inflatable membranes as the building's external enclosure, creating gaps for wild grass growth and conditions to accumulate moisture. The misting installation on the roof allows the building to grow autonomously in the humid environment of Nanhai. Shen Ruiyun’s "Spring Breeze Blows and Regenerates" collects, plants, and documents local wild grasses, focusing the viewer’s attention on these unnamed, humble plants and drawing attention to their ordinary yet resilient life force.

這6組作品以各自不同的視角去闡釋“水係南?！钡闹黝}，它們既是建筑與藝術(shù)的合作共生，也是作品與環(huán)境的在地共生，更是新舊映照的關(guān)系共生。

These six projects each offer a unique perspective on the theme "Be Like Water." They are not only collaborative efforts between architecture and art, but also exemplify the symbiosis between the works and their environment, as well as the interplay between the old and new.

—— 王子耕

垂直的自然

Vertical Nature

徐浪

國家一級注冊建筑師

合造社建筑事務(wù)所創(chuàng)始人、主持建筑師

馮瑞

藝術(shù)家，策展人

卡斯塔利亞藝術(shù)研究協(xié)會成員

一座象征人與自然共生的雕塑建筑，旨在探索人工與自然的動態(tài)融合。人工馬賽克青苔自上而下覆蓋建筑表面，而自然生態(tài)的青苔則從地面向上生長，逐漸在中部交匯融合。隨著時(shí)間的推移，這座建筑將成為一個動態(tài)、有機(jī)的生命體。最終，人工與自然的青苔將融為一體，模糊了它們的界限，形成一個無法區(qū)分的整體。

建筑臨水而建，水不僅融入了建筑的肌理，更成為其靈魂的呼吸。水與建筑相依，宛如自然與人類的低語對話。清澈的水流悄然滲入，循著隱秘的路徑，匯入建筑的心臟，涓涓流淌，滋養(yǎng)著青苔，使其蓬勃生長。自然水體與人造建筑緊密相連，使建筑仿佛擁有了脈動的生命。作品構(gòu)造了空間與時(shí)間的垂直向度，象征其隨著時(shí)間的流逝成為自然的一部分，成為未來的遺跡。

A sculptural building that symbolizes the coex istence of humans and nature, aiming to explore the dynamic integration of artificial and natural elements. Artificial mosaic moss covers the sur face of buildings from top to bottom, while natural ecological moss grows from the ground upwards and gradually intersects and blends with artificial moss in the middle. Over time, this building will become a dynamic and organic life form, show casing the subtle balance and interaction be tween nature and artificiality. In the end, artificial and natural moss will blend together, blurring their boundaries and forming an indistinguishable whole. Buildings are built near water, and water not only blends into the texture of the building, but also becomes the breath of its soul. Water and architecture are interdependent, like a whispered dialogue between nature and humanity. The clear water quietly seeps in from the water’s edge, fol lowing a hidden path and flowing into the heart of the building. It trickles down, nourishing the moss and making it grow vigorously. The natural water body is closely connected to the artificial building, making the building seem to have pulsating life. The construction of the work is not only vertical in space, but also encompasses vertical in time, symbolizing that it will become a part of nature and a relic of the future as time passes.

井木間

Vertical Nature

羅宇杰

羅宇杰工作室創(chuàng)始人

中央美院建筑學(xué)院建造基礎(chǔ)課題組教師

彭斯

藝術(shù)家，畫家

中國美術(shù)家協(xié)會會員

《井木間》順應(yīng)現(xiàn)有屋舍的結(jié)構(gòu)柱距尺寸，榫卯框架重新立架，四周輔以縱橫疊壓的傳統(tǒng)“井干”式樣為建造原型轉(zhuǎn)譯進(jìn)行圍合，四至向內(nèi)自地升混凝土之柱絀，柱絀為榫，向上卯接四方木束柱，每組束柱向外挑斜梁，兩兩斜梁放置外圍護(hù)井干板，上下疊檐產(chǎn)生縫隙，縫隙處見微光，層疊往復(fù)之圍板于頂部收攏，中心聚集處為頂窗，亦是此間之唯一畫作展陳。

進(jìn)入此間的人們需要俯身而入——身體上的“屈”的起始，進(jìn)入后封閉勻質(zhì)的內(nèi)壁格柵引導(dǎo)觀者的視線仰望頂部光窗——藝術(shù)家的藍(lán)色主題抽象畫作。藍(lán)色顏料的筆觸摻伴著自然光, “井木間”成一幅藝術(shù)作品的展廳, 畫作在瞬息萬變的光影下，每時(shí)每刻都與人工描繪共同促就不一的光景幻畫。

In line with the structural column spacing of the existing house, the mortise and tenon frame is re-erected, and people who enter here need to lean over to enter—the beginning of the “bending” of the body, and the closed and homogeneous inner wall grille after entering guide the viewer’s gaze to look up at the top light window—the art ist’s abstract painting with blue theme, the brush strokes of blue paint are mixed with natural light, and the paintings are under the ever-changing light and shadow. Every moment is a different scene of illusion with artificial depictions.

山海禪燈

Lighthouse of Nature

王欣

造園建筑工作室主持建筑師

中國美術(shù)學(xué)院建筑藝術(shù)學(xué)院教授

《烏有園》主編

孫玥

陶藝家，獨(dú)立策展人

Key-Craft陶藝工作室創(chuàng)始人

《山海禪燈》分為兩個組成部分：屋頂與山亭。屋頂為山，山亭為明燈。籍此象征樵山在南海作為“燈塔”的歷史風(fēng)景之地位。這是一座山中茶亭，也是一座禪燈，一座可以進(jìn)入的品茶內(nèi)觀的禪燈。禪燈照亮的不僅是環(huán)境，更是人的內(nèi)心，小中見大，禪茶一味。籍此呼應(yīng)“佛山”與“禪城”的歷史由來，以當(dāng)代的方式為禪做新的表達(dá)。

作品下半部分的瓦片水紋屋頂，既是山的意象也是海的意象，是山海的建筑化。上半部分是亭亭玉立的巨燈，是山之亭，也是海之幢。屋頂與原有建筑屋頂重合，巨燈是沖破屋頂?shù)摹按汗S”，象征枯木逢春，舊筑重生。建筑師依據(jù)原有廊亭的范圍營造一個屋頂，作為“山”的存在，在屋脊之上營造一個鋼結(jié)構(gòu)六角茶亭，為禪燈。屋頂之“山”作為登臨禪燈的前序，拾階而上。屋脊上有平臺棧道通向禪燈，禪燈內(nèi)設(shè)茶席，僅容3人。禪燈是一座最小的美術(shù)館，內(nèi)放置藝術(shù)家孫玥的藝術(shù)品一件，禪燈晚上通亮，成為一座小小的燈塔。

山海禪燈，亦燈亦亭，也是為了追擬宋代的“草廬”與倪瓚的“容膝齋”，那是中國士人傲骨的“小樓精神”。燈亭雖小，卻是人傲立于天地之間的姿態(tài)，夜山上的明燈。

“Lighthouse of Nature” consists of two components: the roof and the small pavillion. The roof represents the mountain, while the pavilion is the light. This symbolizes the historical and scenic significance of Qiao Mountain acting as a “l(fā)ighthouse” in Nanhai. It is a tea pavilion in the mountain and also a Zen lighthouse that one can enter to meditate or having tea ceremony. The lighthouse illuminates not only the environ ment but also the human heart, reflecting the big world in the small one. This also echoes the historical origins of “Foshan” and “Zen City,” providing a contemporary expression of Zen. The “Lighthouse of nature” seeks to evoke the “grass hut” of the Song Dynasty and Ni Zan’s “Rongxi Pavilion”, which represents the “spirit of the small house” of Chinese scholar. Though the lighthouse is small, it reflects the stance of individ uals standing proudly between heaven and earth—an eternal light in a dark mountain.

霽竹亭·水邊

Lighthouse of Nature

范久江

久舍營造工作室創(chuàng)始人、主持建筑師

同濟(jì)大學(xué)建筑與城市規(guī)劃學(xué)院實(shí)驗(yàn)班導(dǎo)師

薛峰

藝術(shù)家

近期個展：“薛峰：敘拉古之路”

方案對園區(qū)的亭子進(jìn)行了抬升和重構(gòu)，通過層層退臺的方式，讓亭子有了明確的方向性，并以看臺的姿態(tài)面向最佳視野——西樵山。亭子創(chuàng)造出一個全新的視角，能更好地欣賞近水遠(yuǎn)山。利用輕鋼結(jié)構(gòu)，結(jié)合鋼索和建筑膜等材料，設(shè)計(jì)在原址上重構(gòu)一個更輕盈的八角亭裝置，保留原有休憩及觀景功能，并置入新的體驗(yàn)（水波光影、登高遠(yuǎn)望等）。

新的亭子，建筑師命名為“霽竹亭”?！办V”——雨止也。南粵素來多雨，最美不過雨后初晴。所謂“云銷雨霽，彩徹區(qū)明”，屋頂?shù)闹行那度胍粋€凹透鏡淺盤，匯集雨水后，通過光線的折射，散落下浮動的波光，讓靜態(tài)的亭中，也能體驗(yàn)水波蕩漾的動態(tài)光影搖曳之感。整體構(gòu)架采用更為纖細(xì)的鋼結(jié)構(gòu)，并利用鋼片焊接，在加強(qiáng)結(jié)構(gòu)的同時(shí)，也營造出精致美觀的細(xì)節(jié)。置身其中，宛如在竹林中休憩。

“水”與“竹”，構(gòu)成了南海最具地方特征的自然意向。藝術(shù)創(chuàng)作部分, 中國的涼亭會配備一塊碑文, 在西湖十景中，十個涼亭十個碑，比如花港觀魚，平湖秋月。霽竹亭立于南海魚?；?，這里有個詩意的名字叫漁耕粵韻，藝術(shù)家薛峰為新涼亭做了一塊現(xiàn)代材料的碑，把建筑和藝術(shù)組合以敘事方式撰文雕刻，用鐵絲固定不銹鋼字，制作出文字排列，在水中呈現(xiàn)波光粼粼的效果，以一種日常敘述的方式把霽竹亭放置在這一日常景觀中。

The design elevates and reconfigures the pavil ion, creating a clear orientation towards Xiqiao Mountain through terraced steps, resembling an amphitheater. This offers a refreshing view, enhancing the appreciation of the surrounding waters and distant landscapes. The new pavilion is named “Jizhu Pavilion”. “Ji”means the cessation of rain. In the rain-prone southern Guangdong region, the clear skies after a rain shower are unparalleled in beauty. As the saying goes, “Clouds disperse, rain ceases, and vibrant hues illuminate the horizon.” At the center of the roof, a shallow concave lens collects rainwater, refracting light into a shimmering, rippling glow. This lively interplay of light and water brings a sense of animation to the otherwise serene pavilion. Crafted from fine steel, the overall structure features welded steel plates that enhance its strength while maintaining delicate and elegant details. Immersed within it, one feels as though they have found solace in a tranquil bamboo forest. Water and Bamboo together encapsulate the most distinctive natural essence of Nanhai.

南海聲殿

Nanhai Sound Chapel

王灝

佚人營造事務(wù)所聯(lián)合創(chuàng)始人

“建造學(xué)社”創(chuàng)始人之一

秦思源

藝術(shù)家，策展人

聲音藝術(shù)博物館聯(lián)合創(chuàng)始人

史劼

藝術(shù)家

浙江財(cái)經(jīng)大學(xué)藝術(shù)學(xué)院教師

浙江畫院青年創(chuàng)作中心特聘畫師

《南海聲殿》結(jié)合南海建筑特征與南海地區(qū)養(yǎng)魚場水池里水的形態(tài)進(jìn)行創(chuàng)作。作品中央是建筑師王灝改造的小房屋，改造形式參照了南海地區(qū)傳統(tǒng)房屋——鑊耳屋來設(shè)計(jì)外形。建筑主體房子內(nèi)有一個水池，水池中安裝了聲音裝置使里面的水發(fā)生震動，聲源來自南海養(yǎng)魚池里氧氣泵的錄音。聲音裝置利用氧氣泵的聲音震動出各種水姿態(tài)——平穩(wěn)、緩和、波紋、激烈翻滾，仿佛水有靈氣。主體房屋的兩旁有兩條廊道，廊道上分別有兩個小井口，它們與當(dāng)?shù)卮迓淅锏木谙嗨啤Ｓ^眾可以從井口聽到聲音，就是小房屋里水震動的聲音。

藝術(shù)家秦思源將聲音通過電腦、聲卡與工坊傳遞到三個音箱，發(fā)出聲音。兩個音箱在井口內(nèi)，另一個音箱是特殊震動式音箱，是讓水翻滾的聲音工具。水池中央有一個90公分直徑左右的不銹鋼碗。碗的底部安裝了幾個震動式音箱，而碗底部有保護(hù)音箱放水的結(jié)構(gòu)。

藝術(shù)家史劼通過對空間感知和聲音感受進(jìn)行抽象的水墨創(chuàng)作《水文》（作品為高透亞克力材質(zhì)），表現(xiàn)對南海水文化的理解。當(dāng)面對翻滾的西江水，藝術(shù)家感到一種時(shí)空緯度的變遷，和歷史人文維度的變化交織在在一起。正式因此，整件作品的創(chuàng)作過程中都以一種不停變化的狀態(tài)展開，通過書寫——抹去，生發(fā)出一種抽象之“文”，來自自然，內(nèi)心，借此觀想“不確定”之道。

The work integrates Nanhai’s architectural characteristics with the dynamic movements of water in local fish ponds. At its heart stands a small house redesigned by architect Wang Hao, inspired by traditional Nanhai housing concepts and designs. Inside, a circular pool is fed by un derground water, and underwater sound devices create ripples, mimicking the bubbling of oxygen pumps in fish ponds. On both sides of the house, corridors feature well-like openings that resem ble local village wells, allowing visitors to hear the water bubbling and churning inside. As the main body of Nanhai, water not only runs through the geographical evolution of the Pearl River Delta, but also carries the civilization evolution of the region’s base pond agriculture. Water and sound, as invisible things, generate a poetic feeling of the time, space, geography, and history of the Nanhai through the interpretation of abstract ink painting.

野草博物館

Wild Grass Museum

吳林壽

WAU建筑事務(wù)所創(chuàng)始人、主持建筑師

曾獲中國建筑協(xié)會青年建筑師獎

沈瑞筠

藝術(shù)家，策展人

曾任廣東時(shí)代美術(shù)館首席策展人

近期展覽：“造跡”

野草具有頑強(qiáng)的生命力，只需要一點(diǎn)泥土，一點(diǎn)水分和陽光便能找到生存的空間。地處亞熱帶的南海地區(qū)，溫度濕度適宜。屋頂、墻縫、石頭底都能看到野草的身影。平時(shí)司空見慣的野草，很多都是有藥用價(jià)值，卻在現(xiàn)代醫(yī)療的發(fā)展中逐漸被遺忘。

作品以《野草博物館》的形式呈現(xiàn)，建筑師吳林壽及湯子昱、結(jié)構(gòu)顧問張準(zhǔn)，將日常所見植物生長的縫隙抽象為建筑的外表皮，以黑色充氣膜的表皮形態(tài)指代野草被壓縮的生長環(huán)境。南海濕熱的氣候條件和自然風(fēng)土，賦予了野草夾縫求生的、向陽生長的野性生命力量。沈瑞筠的藝術(shù)作品《春風(fēng)吹又生》收集、記錄南海地區(qū)的野草，并種植于建筑表皮的夾縫、地面縫隙之中，使觀看者將視線聚焦于這些無名野草，關(guān)注平凡而堅(jiān)韌生命力量。

Wild grass has a tenacious vitality, and only needs a little soil, a little water and sunlight to find a liv ing space. Located in the subtropical Nanhai area, the temperature and humidity are suitable. Wild grass can be seen on roofs, wall cracks, and stone bottoms. The work “Spring Breeze Blows and Re generates” collects and records wild grasses in the Nanhai area, and plants them in the cracks of the building’s surface and the cracks in the ground. The building is presented in the form of a wild grass museum, abstracting the gaps where plants grow in daily life into the outer skin of the build ing, and using the epidermal form of the black inflatable membrane to refer to the compressed growth environment of the wild grass. The humid and hot climate conditions and natural customs of the Nanhai give the wild grass the wild life force to survive in the cracks and grow towards the sun.

完整項(xiàng)目信息

藝術(shù)在樵山 ― 廣東南海大地藝術(shù)節(jié)2024

展期：2024.11.16-2025.02.12

藝術(shù)區(qū)域：廣東省佛山市南海區(qū)西樵鎮(zhèn)、九江鎮(zhèn)

主辦：佛山市南海區(qū)人民政府

承辦：佛山市南海區(qū)文化廣電旅游體育局、佛山市南海區(qū)文化投資管理有限公司、北京瀚和文化傳播有限公司

協(xié)辦：西樵鎮(zhèn)人民政府、九江鎮(zhèn)人民政府

支持：中國文化娛樂行業(yè)協(xié)會藝術(shù)品分會

總策劃：孫倩

顧問：北川富朗

策展：HUBART

“漁耕粵韻”板塊

策展人：王子耕

助理策展人：戴彥

策展團(tuán)隊(duì)：趙怡然，吳芳妮，劉晨瑤

作品名稱：漁耕小舍—湖邊的微美術(shù)館

參展作品信息

《垂直的自然》

建筑師：徐浪；藝術(shù)家：馮瑞

藝術(shù)團(tuán)隊(duì)：李樂晴

立面材料支持：貝尊藝術(shù)

攝影：合造社、朱雨蒙、田方方

《井木間》

建筑師：羅宇杰；藝術(shù)家：彭斯

攝影：朱雨蒙

《山海禪燈》

建筑師：王欣；藝術(shù)家：孫玥

瓷磚支持：東鵬集團(tuán)

燈光支持：榮熙照明

木作支持：日興家具

攝影：造園建筑、朱雨蒙、田方方

《霽竹亭·水邊》

建筑師：范久江；藝術(shù)家：薛峰

膜材支持：Serge Ferrari法拉利織物

攝影：朱雨蒙

《南海聲殿》

建筑師：王灝；藝術(shù)家：秦思源、史劼

瓷磚支持：東鵬新材

攝影：羅宇杰、朱雨蒙、馮瑞

《野草博物館》

建筑師：吳林壽；藝術(shù)家：沈瑞筠

吳林壽團(tuán)隊(duì)成員：湯子昱

結(jié)構(gòu)顧問：張準(zhǔn)

攝影：朱雨蒙

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