这是一次关于中国乡土手艺的空间营造体验，一种源于中国土地的“编作”行动，产生的一个有机的类似万物生长的视觉形态。

This is an experience on creating the space for Chinese folk arts and crafts, a “weaving” activity originated from Chinese soil, and an organic visual form similar to growing of things. 

重新回望中国乡土社会过去最底层的手艺状态，是否能和一个高级的现代空间产生一种自然的对话和交融。从而在中国的现代空间里，让人性的本能手艺在这个时代重返中国大地。在中国过去的乡土生活里，存在着大量的“编作”手艺，应用于家家户户的生活。尤其是源于乡土底层社会生存状态里，他们的“编作”手艺并非是专业匠人所为。亦并不是如富贵人家所请的匠人“编作”手艺那样精美，而是完全出于一种生存的基本需要，亦或叫做“本能”。

Look back again to grass-roots handicrafts in Chinese folk society in a bygone age, and wonder if we can seek for natural dialogue and blending with advanced modern space to re-embrace those handicrafts that sparkle humanistic instinct on the ground of modern space in China. In the past folk life of China, “weaving” was a common household handicraft offering a large number of assortments, neither made by skilled craftsmen, particularly in the light of its origin in the rural underclass, nor seen so exquisite as the “weaving” objects by craftsmen for the wealth, but absolutely out of the basic need for survival, or “instinct”. 

在充满自然物料的土地里，寻找到自己需要的材料，为了生活，更严重的讲是为了“活着”，靠一双并不专业的手，来满足自己生活上的点点滴滴，这种过程自然拙劣，甚至在一个专业的匠人眼中更是微不足道，但别无选择，因为“生”和“贫”让他们只能这样，这是源自自身生活本能功能的“编作”，一切均源于本能。但恰恰就是这种“本能”，却让这些物件虽不精美但很真诚，很感人。甚至会让观者动容！

In the soil full of natural materials, they found what they needed for living, or “livelihood” even seriously. All they wanted were attained by their unskillful hands. It is unwise, and rather of little importance in the eyes of skilled craftsmen, but the only choice for the people haunted by impoverished life. The “weaving” was instinctive creature and all was like that.. Their handicrafts are not delicate due to the very “instinct” but appealing for their sincerity and even strikingly moving, poor enough though, but with highly emotional intensity and practical functions. 

手艺很低级，但他在满足使用功能的同时“情感”真诚的高级。如果从艺术创作角度来讲，这些看似不美的物件执行过程，因为匠人的不专业和不熟练产生了既可控制又不可控制的“诚意”，这恰恰是艺术创作最弥足珍贵的“因素”。现在这个空间所探寻的便是这样一种体验。

If, from the perspective of art, controllable but uncontrolled “sincerity”, arising from the making process of these seemingly unattractive objects for lack of skills and proficiency, is the most precious “element” in making artistic work. This space is where we can explore such an experience.

尽量回避任何的完美计划。创作在开工现场此时此地瞬间生成感觉体验，发动一群非专业的工人，凭着自己对他们生活的乡土关于“编作”手艺的回忆，用最笨的方法，不懈的毅力，“编作”出了这样一个空间形态，细部形态也是这些人的自由发挥，大胆的让工人，把各自留在记忆里的乡土“编作”给编出来，鼓励他们大胆的冲上去。如导演一样说戏，说得这些临时匠人们找到各自自己的感觉，不懈鼓励这些工人“你可以”“你能做到”仅此而已。

Try to avoid the interference by a perfect plan. At workshop thence creation instantaneously brings a perceptual experience. A group of unskilled workers are mobilized to “weave” such a spatial form with most native approach and unremitting efforts, all from their memory of “weaving” handicraft as they did on their native soil. The exquisite form is also freely figured out by these people, who should be actively encouraged to become bold in making the “weaving” objects that stay in their memory of their past, in spite of misgivings. Like a director’s instruction on playing the role, these temporary workers are propelled to find their own inspiration, with a continual drive only by words such as “you can” and “you can get it done”.

现在终于呈现在大家面前。我也不知道怎么精准的把他表达合适，纯粹是大家集体面对空间的创作。我为这个空间所做的，便是组织了这样一批非专业的人，积极的投入到整个的空间，积极的发挥他们各自的作用而已！让他们类似于土地万物自然的生长，如一个个被唤醒的魂灵，在此狂舞。

Finally, the space now is exhibited before us. I have no idea how to make an accurate expression to all that is completely created by every craftsman in the face of the space-making. What I merely did for the space was to gather the workers without special ability, devote myself to the work and put their roles into good use, giving them natural power to be aroused souls dancing wildly as everything on earth grows.

什么效果其实谁也控制不了，因为开始在现场瞬间生成的一个轮廓，一个高高大大空间、复杂的建筑本体结构，根据功能需求我们便“编作”些像细菌，霉菌样的附着在这个本体表面。既能见到其原来，又能看到现在。如万物生长，附着式生长，所以空间就这样了。各位看观你见山便是山吧！你看他像个什么，他便就是个什么！如果问我，我只能告诉你他是关于中国乡土本来的凝视，更关乎真诚情感状态的回望，关乎生活，关乎自然，更关乎当下这个时代里，当下这个行业的思索和审视。东坡说过“静固了群动，空故纳万境”。

  Nobody has the ability to control what it could be whilst a profile, a high and huge space and a complex main architectural structure were instantly produced on spot at the beginning. In the light of functional demands, they were “weaved” like bacteria and mould sticking on the surface of such a structure from which both the origin and present condition are visible. As things growing relying on the soil, so is the space. If you look for a mountain, there it is. It looks like anything you are looking for. If I am asked, one thing I can tell is that it’s gazing at the native soil of China, and looking back to things much about the state of true feeling, life, nature, and largely concerning the era we live in, as well as our reflection on and inspection of this industry today. Just as Su Dongpo said, “Many movements rise from static, myriad visions rise from the void”.

项目名称：万物生长

设计方：大羽营造

公司网站：http://www.devebuild.com/

联系邮箱：devebuild@126.com

项目设计 & 完成年份：2018

主创及设计团队：冯羽

项目地址：深圳市南山区蛇口海上世界文化艺术中心4楼04号铺

建筑面积：400㎡

摄影：马琪

工法营造团队：王文祥、徐志宏、王文光、周建军、吴四军、项磊、舒仲青、郝鸿杰、胡家胜、钟如海、杨代军、钟志明

客户：深圳市紫苑文化发展有限公司

主要材料：碳化竹条、水泥自流平

Project name：Growing of Things

Design：Deve Build

Website：http://www.devebuild.com/

Contact e-mail：devebuild@126.com

Design year & Completion Year：2018

Leader designer & Team：Feng Yu

Project location：NO. 04 , 4/F, Sea World Culture and Arts Center , Shekou, Nanshan District, Shenzhen, China

Gross Built Area (square meters)：400㎡

Photo credits：Qi Ma

Clients：Shenzhen Ziyuan Culture Development Co.,Ltd.

Materials：Carbonized bamboo stick、Cement self-leveling