SHENZHEN SPEED TO PRD METHOD
INSTALLATION FOR SEOUL URBANISM/ARCHITECTURE BIENNALE
Seoul, Korea, 2017
client: Shenzhen / Hong Kong Urbanism/ Architecture Biennale
Shenzhen government itself is consciously attempting to rid itself of internal production in pursuit of standard global city typologies. Simultaneously, many other global cities long to return production back to the city. The PRD Method attempts to retain space in Shenzhen to hosts a layered series of productive spaces.
The assumption of contemporary design is to pursue the closed system, one of a kind, genius model. In the PRD, the advancements emerge from networked incrementalism, improving what one has by a small specialized step every time, leading to an interrelated array of alternatives. Besides, producers from diverse fields simultaneously compete and collaborate, generating rapid-
fire innovations. The communication among actors happens in Wechat, but also in old low tech tools – word of mouth, handshakes, newspapers, and on Taobao. This way of making and learning in production in the PRD represents a fundamental difference in the assumed methodology and ideology of modern design. ‘Design’ can be defined as a collective and dynamic process of composition, which is less about the perfection of the unique, but more about an orchestration of an existing palette of pieces.
In the ‘ShaShaSha’ communities, we mapped the local resources of the urban village, provided space for and facilitated collaboration between international and local designers to work within the community. The linking of ‘high design’ (Shenzhen government’s desired future) and the city’s existing conditions (perceived as disposable) provides greater value for both, and reframes the lens for the government, citizens, and design community to re-evaluate their city.
Collaborators: szoil, space caviar
SHENZHEN SPEED TO PRD METHOD
INSTALLATION FOR SEOUL URBANISM/ARCHITECTURE BIENNALE
Seoul, Korea, 2017
client: Shenzhen / Hong Kong Urbanism/ Architecture Biennale
Shenzhen government itself is consciously attempting to rid itself of internal production in pursuit of standard global city typologies. Simultaneously, many other global cities long to return production back to the city. The PRD Method attempts to retain space in Shenzhen to hosts a layered series of productive spaces.
The assumption of contemporary design is to pursue the closed system, one of a kind, genius model. In the PRD, the advancements emerge from networked incrementalism, improving what one has by a small specialized step every time, leading to an interrelated array of alternatives. Besides, producers from diverse fields simultaneously compete and collaborate, generating rapid-fire innovations. The communication among actors happens in Wechat, but also in old low tech tools – word of mouth, handshakes, newspapers, and on Taobao. This way of making and learning in production in the PRD represents a fundamental difference in the assumed methodology and ideology of modern design. ‘Design’ can be defined as a collective and dynamic process of composition, which is less about the perfection of the unique, but more about an orchestration of an existing palette of pieces.
In the ‘ShaShaSha’ communities, we mapped the local resources of the urban village, provided space for and facilitated collaboration between international and local designers to work within the community. The linking of ‘high design’ (Shenzhen government’s desired future) and the city’s existing conditions (perceived as disposable) provides greater value for both, and reframes the lens for the government, citizens, and design community to re-evaluate their city.
Collaborators: szoil, space caviar