On 28th May, Daniel Huang, a Singaporean interior designer and artist, who is working closely with the Shenzhen Academy of Social Sciences on the proposal for a Shenzhen Art Tower, invited a group of international professionals involved in art & design, arts education, community arts leadership and architecture & urban development, to share their views on Shenzhen Art Tower.

5月28日,艺术家黄光龙室内设计师与深圳社会科学院展开筹备工作,提议拟建深圳艺术塔,邀请了一批涉及艺术与设计、艺术教育的国际专业人士。 按照艺术领导力,建筑与城市发展,交流对深圳艺术塔的看法。

(Back row left to right:

Lotus, Artist & Educator (USA),Wesley Alene, Chef (Mauritius),Danilo Trevisan, Architect & Urban Planner (Italy),Gloria Carnevale, Artist and Community Arts Leader (Canada/Italy),Carol Quinn, Shenzhen Business Owner (UK/Hong Kong),Josie Lin, Restaurateur (China),Benjack Phillips, Architect (South Africa),Jimmy Wang Ziming/王子铭, Opera singer (China)

Daniel Huang 〈Singapore)

Front row left to right

Zhu Quan Zhi, President, Institute of Asthetic (China)

Brittan Aebischer, Artist and Community Arts Leader (USA)

Tony Tang Xiaofei/唐晓飞, Business Owner (China))

The general consensus among the group, with members from USA, Canada, UK, Hong Kong, Italy, and South Africa, was that there are many great opportunities in Shenzhen. Although the city already has a plethora of record-breaking skyscrapers, with more to follow in the coming years, the concept of an Art Tower will not only help this project distinguish itself from other ambitious architectural endeavours but will also give the structure a higher purpose in the city, which transcends any physical prowess.

(深圳市社会科学院副院长、党组成员,清华大学创新领军工程博士生范伟军)

深圳市社会科学院是深圳市委市政府直属的综合性社会科学研究机构,其前身是深圳市社会科学研究中心,成立于1992年7月,1997年11月正式更名为深圳市社会科学院 , 2006 年 7 月,加挂“深圳市邓小平理论、‘三个代表'重要思想和科学发展观研究中心”牌子。

来自美国、加拿大、英国、香港、意大利和南非的组员普遍共识如下。深圳有很多很好的机会。 尽管这座城市已经拥有大量破纪录的摩天大楼,未来几年还会有更多摩天大楼,但艺术塔的概念不仅有助于与其他雄心勃勃的建筑区分开来,而且还将赋予该结构更高意义的用途。 在城市中它超越了纯粹物质的存在。

Mr. Huang presented his concept of the Shenzhen Art Tower to the group. It was inspiring and ignited an important dialogue on what it will take to put Shenzhen on the map internationally as a city of art. The design presented is a breakthrough in tower design. The double tower formation, with the inner tower structure shaped like the eight-sided ‘bagua’ used in Chinese Fengshui, symbolises some of the long traditions of Chinese civilisation, which at its core focuses on humans living in harmony with nature. This represents tradition and continuity.

黄先生向大家展示了他对深圳艺术塔的概念。 它鼓舞人心,并引发了一场关于如何将深圳作为艺术之城在国际地图上的重要对话。 提出的设计是塔式设计的突破。 双塔结构,内塔结构形似中国风水的八面八卦,象征着中华文明的一些悠久传统,其核心是人类与自然和谐相处。 这代表了传统和可连续性。
The more fluid outer tower structure curves around and embraces the shape of the eight trigrams within. This represents adaptation and modernity, which are characteristics which have been the motor behind the more recent growth and success of China. The combination of these two contrasting forms symbolizes the Chinese philosophy of life, which dates back thousands of years, namely being round on the outside, yet square on the inside

更流畅的外塔结构弯曲并包含内部八卦的形状。 这代表了适应和现代性,这些特征一直是中国最近的增长和成功背后的动力。 这两种对比形式的结合象征着中国几千年的人生哲学,即外圆内方。

Blending art, especially oriental-inspired art, into the modern architecture helps break away from the concept that a skyscraper must be a futuristic building. The ecological environment around the tower with it irregular-formed ground floor buildings flowing like a river through the mountainous terrain, is both humane and purpose-driven. The Shenzhen Art Tower design is consistent with respecting God, the Earth and Humanity.

深圳艺术塔的新概念,将艺术尤其是东方风格的艺术融入现代建筑,有助于摆脱摩天大楼必须是未来主义建筑的概念。 塔周围的生态环境及其不规则的底层建筑,如河流穿过山区,既人性化又具有目的性。 深圳艺术塔的设计与遵天循地顺人是一致的。

Everyone agreed that Shenzhen is a vibrant and dynamic city and is paving the way forward as a leading example in contemporary art and culture. Known as the capital of innovation, Shenzhen is not bound to more traditional classical art forms. The proposed design of Shenzhen Art Tower embraces the spirit of minimalism, with its philosophy of simplicity, usefulness and clarity. This not only reflects the philosophy of life in the Song Dynasty, which had great appreciation for the beauty of everything inside and outside, but also resonates with the philosophy of one of China’s seminal classical texts, the I Ching. Although Italy has often been credited with inspiring minimalism in international interior design and contemporary art, one sees that this concept can actually be dated back to ancient Chinese civilisation. It is the lifeblood of the Chinese and their Noble Philosophy and it is now a means by which to unite both Eastern and Western art.

大家一致认为,深圳是一座生机勃勃、充满活力的城市,正在为当代艺术和文化的领先典范铺平道路。 深圳被誉为创新之都,并不受传统古典艺术形式的束缚。 深圳艺术大厦的拟议设计秉承极简主义精神,其理念是简单、实用和清晰。 这不仅体现了宋代崇尚内外之美的人生哲学,也与中国开创性经典之一《易经》的哲学产生了共鸣。 尽管意大利在国际室内设计和当代艺术中经常被认为是鼓舞人心的极简主义,但人们看到这个概念实际上可以追溯到古代中国文明。 它是中国人及其崇高哲学的命脉,现在它是一种将东西方艺术结合起来的手段。
Daniel Huang’s Shenzhen Art Tower design, under the guidance and encouragement of the Shenzhen Academy of Social Sciences, is generating interesting case discussions about the design style of iconic towers. How to succeed with the ambition of transcending the future look of international towers. How to renew Chinese art and aesthetic philosophy from the last millennium via the design of the tower. How to express art ecology via the tower’s design and its facilities. How to connect with the Chinese youth of today through oriental aesthetics combined with international fashion and music trends so they can develop a stronger affinity to their cultural heritage. How to inspire Chinese youth to acquire greater aesthetic appreciation rather than pursuing materialistic goals.

Daniel Huang的深圳艺术塔设计,在深圳社科院的指导和鼓励下,正在引发关于标志性建筑设计风格的有趣案例讨论。 如何以超越国际塔未来面貌的雄心取得成功。 如何通过塔的设计更新上千年的中国艺术和美学哲学。 如何通过塔的设计和设施来表达艺术生态。 如何通过东方美学结合国际时尚和音乐趋势与当今的中国青年建立联系,使他们对自己的文化传统产生更强的亲和力。 如何激发中国青年获得更大的审美价值,而不是追求物质目标。

After presenting the Shenzhen Art Tower, Mr. Huang described his abstract painting ‘Ecology’ as an example of the combination of Western and Eastern aesthetics. It uniquely applies traditional Chinese calligraphy ink into an abstract painting, producing a special effect reminiscent of the imperfect cracks in Song Dynasty ceramics. This Song Dynasty concept of the beauty that resides within imperfection went on to inspire Japanese wabi-sabi which is a form of aesthetics centred on the acceptance of transience and imperfection. The abstract painting ‘Ecology’ epitomises the idea of something irregular and imperfect being beautiful, which is exactly what the Shenzhen Tower represents.

在介绍了深圳艺术塔之后,黄先生将他的抽象画《生态》描述为东西方美学结合的一个例子。 将中国传统书法水墨独特地运用到抽象画中,产生一种让人联想到宋代陶瓷不完美裂缝的特殊效果。 这种存在于不完美中的美的宋代概念继续启发了东方侘寂,这是一种以接受非常规和不完美为中心的美学形式。 抽象画《生态》体现了不规则和不完美的东西又能形成美感是美丽的,这正是深圳塔所代表的华夏艺术哲理。

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Danilo Trevisan, an architect & urban planner from Italy, stated, ‘The Shenzhen Tower vision aims to represent the apex of the country’s development, which started right here in Shenzhen, and the new international role of the city in the cultural scene. Shenzhen is the city where the "Chinese dream" started. Capitalism with Chinese characteristics was the spirit at its base. Pursuing wealth with the support of the country’s infrastructure, with the final intention to share part of the benefits with society and reinvest in the country’s innovation. This is the spirit of Shenzhen that I hope to see in the Shenzhen Tower, resonating worldwide as the clearest manifestation of the successful new course initiated by Deng Xiao Ping.’

来自意大利的建筑师和城市规划师达尼洛·特雷维桑(Danilo Trevisan)表示:“深圳塔的愿景旨在代表从深圳开始的国家发展的顶点,以及城市在文化领域的新国际角色。 深圳是“中国梦”的发源地。 中国特色资本主义是其根本精神。 在国家基础设施的支持下追求财富,最终意图与社会分享部分利益,并再投资于国家的创新。 这就是我希望在深圳塔中看到的深圳精神,作为邓小平开创的新课程成功的最清晰体现,在世界范围内引起共鸣。
As an architect and urban planner, Danilo furthermore expressed that he expects to see a building showing its openness to the city and the world, a symbol of inclusion and participation toward the citizens rather than a vanity project. Socially connected and connecting through accessible public spaces, perfectly integrated with smart city systems and public transit, such as metro, environmentally and financially sustainable, respectful of the site nature, an asset rather than a burden for the city economy. In a sentence, an icon of contemporary urbanization at the service of the people.
作为一名建筑师和城市规划师,达尼洛进一步表示,他希望看到一座向城市和世界展示其开放性的建筑,这是对公民的包容和参与的象征,而不是一个虚荣的项目。 通过可访问的公共空间进行社会连接和连接,与智慧城市系统和公共交通(如地铁)完美结合,在环境和财务上可持续,尊重场地性质,是城市经济的资产而非负担。 一句话,当代城市化的象征,为人民服务

Brittan Aebischer, an American artist and community arts leader, and Gloria Carnevale, a Canadian-Italian artist, designer and arts educator, both felt it was important to create something which is sustainible and which can develop into an important incubation space for art, both nationally and internationally. The milieu and facilities should be a breeding ground for young talents in the city and there should be a close collaboration with schools, and institutions to inspire and nurture future generations of artists.

美国艺术家和社区艺术领袖 Brittan Aebischer 和加拿大 - 意大利艺术家、设计师和艺术教育家 Gloria Carnevale 都认为创造可持续发展的东西很重要,并且可以发展成为艺术的重要孵化空间。 在国内和国际上。 环境和设施应该是城市年轻人才的温床,应该与学校和机构密切合作,以激发和培养未来的艺术家。
Lotus, an American artist and award-winning educator, with extensive experience in curating exhibitions, emphasized the need for affordable gallery spaces for up-and-coming artists to showcase their work to the world. The Art Tower could be home to permanent collections, yet could also be a magnet for contemporary art. The Art Tower should infuse its spirit into the immediate surroundings, allowing visitors not only to immerse themselves in art in innovative ways when they enjoy the grounds and facilities around the building, but also have the opportunity to interact with some of the art. This would elevate the experience for visitors, compared with more traditional galleries which there is already an abundance of in the city.
Lotus 是一位美国艺术家和屡获殊荣的教育家,在策展展览方面拥有丰富的经验,他强调需要为崭露头角的艺术家提供负担得起的画廊空间,以便向世界展示他们的作品。 艺术塔可以成为永久收藏品的所在地,也可以成为当代艺术的磁石。 艺术塔应将其精神注入周围环境,让参观者不仅在享受建筑周围的场地和设施时以创新的方式沉浸在艺术中,而且还有机会与一些艺术互动。 与城市中已经有很多传统画廊相比,这将提升游客的体验。

Brittan, Gloria and Lotus are actively involved with the International Shenzhen Arts Forum (http://www.iszaf.com) which was founded by Brittan and Gloria. The ISZAF is an independent foreign and Chinese artist network, platform, and community based out of Shenzhen and the Greater Bay Area of Southern China. Cooperating with both local Chinese and foreign galleries, art institutions and organisations, ISZAF provides a network and support for both independent and group collaboration on all levels of the arts and culture industry in China. There could be exciting opportunities for collaboration with an organisation like ISZAF and the Shenzhen Art Tower.

Brittan、Gloria和Lotus积极参与了由Brittan和Gloria发起的国际深圳艺术论坛(http://www.iszaf.com)。 ISZAF深圳国际学校是一个独立的中外艺术家网络、平台和社区,立足于深圳和华南大湾区。 ISZAF 与国内外画廊、艺术机构和组织合作,为中国艺术和文化产业各个层面的独立和团体合作提供网络和支持。 与 ISZAF 和深圳艺术大厦这样的组织合作可能会有令人兴奋的机会。

Benjack Phillips, a South African architect with more than 25 years of experience designing hospitality and commercial projects, emphasized the importance of striking a balance between commercially run art activities and sponsored activities which will ensure that the space can truly be something that everyone can enjoy and benefit from at different levels. There must be a healthy balance between exclusivity and inclusivity in order for the project to be sustainable in the long term.

拥有超过 25 年酒店和商业项目设计经验的南非建筑师 Benjack Phillips 强调了在商业艺术活动和赞助活动之间取得平衡的重要性,这将确保空间真正成为“个人都可以享受和共同享受的东西”。 受益于不同层次。 为了使项目长期可持续,必须在排他性和包容性之间取得健康的平衡。
Carol Quinn, a fourteen-year resident of Shenzhen from the UK and Hong Kong, has been actively building bridges between China and foreign countries for many years. As a special advisor to the Norwegian Business Association in South China, having lived and worked in Scandinavia for over 23 years, she hopes to see artist residency programs in the Shenzhen Art Tower, where contemporary artists from around the world can engage in exchange programs and help strengthen the international connectivity between Shenzhen and the rest of the world within the fields of Arts & Culture.

Carol Quinn,来自英国和香港的14年深圳居民,多年来一直积极搭建中外之间的桥梁。 作为挪威商会华南地区特别顾问,在斯堪的纳维亚生活和工作超过 23 年,她希望在深圳艺术大厦看到艺术家驻留项目,来自世界各地的当代艺术家可以在这里进行交流和交流。 帮助加强深圳与世界其他地区在艺术和文化领域的国际联系。

Everyone agreed that the gallery should showcase Shenzhen as a city of contemporary art. Since definitions and labels can sometimes be misleading or misunderstood, the idea behind the word ‘contemporary’ should perhaps pertain more to ever evolving modern trends in art, rather than focussing on a specific time period. This would also be a truer reflection of the city of Shenzhen whose innovation and constantly evolving nature has pushed it to the forefront in so many different industries.

大家一致认为画廊应该将深圳展示为当代艺术之城。 由于定义和标签有时可能会产生误导或误解,因此“当代”一词背后的概念或许应该更多地与不断发展的现代艺术趋势相关,而不是专注于特定的时期。 这也将更真实地反映深圳这座城市的创新和不断发展的性质,已将其推向众多不同行业的前沿。

The meeting took place in the elegant surroundings of Wes Fine Dining which, thanks to its exquisite and artistic cuisine, has become a popular venue for events related to art and culture.

会议在 Wes Fine Dining 优雅的环境中举行,这要归功于其精致而富有艺术气息的美食,已成为举办与艺术和文化相关的活动的热门场所。

Daniel Huang简介

意大利米兰布雷拉美院邀讲师

意大利兰博基尼整装品牌设计师

深圳科学社会院特邀智库专家

东方艺术贯彻意大利设计先锋者