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Ling Fan 范凌

floating green

form x matter 物x形




absent pebble, materialied water 实水虚石

fat flat 1: 4 viewing diagrams

fat flat


月半 平



fat flat 2: 2D to nD 平城胖视

© Fan Ling Studio 2010 |

form x matter 物x形


计划 Idea: urban experience dominates a human’s perception. The corporal experience of time and space has been replaced by information. The way of temporal and spatial intervention has also been formulated and regulated. My interest is to return to the physicality of urban experience. By displace the fixed informative relationship between urban experiences and individual, I try to discover, and even invent a new subjective temporal-spatial experience and relationship, in order to reactivate the sensation of the given environment. Method: The temporal-spatial experience is experimented in two trajectories: one is “form”: formal, informal and formless; the other is “matter”: matter, material, materiality, material effect. By displacing the object (both form and matter) from its original existence, I try to evoke the material conscious of time and space. For example, in the “floating green” project, the grass is lifted from the ground where it is used to be on, a status close to a flat infill on the plan, and transformed to a form that captures the sitting motion.

概念: 城市经验愈发支配人的感知,个体对于时间、空间的物质化体验逐渐被信息取代,介入“时-空”的方式 亦被规范化。我的兴趣在于重新还原城市经验的时空性质,把个体从熟悉的城市经验的固有信息中剥离, 寻找、发现,甚至发明新的主体时空经验和关系,从而重新激发个体对于环境的物质化新知觉。 方法: 时空经验通过两个线索的交叉获得的,一条线索是“形”:有形(formal)、无形(formless)和不定形 (informal);另一条线索是“物”:物质(matter)、材料(material)、物质性(materiality)、材料性 质(material effect)。通过剥离物与形的习惯性存在,唤起对于时空的物质化意识。例如:在“坐享悬 绿”作品中,草地被从习惯的地面上揭起,从一种更接近平面填充物的状态转化为一种供坐的“形”。

‘Physics has found no straight lines - has found only waves - physics has found no solids - only high frequency event fields. THE UNIVERSE IS NOT CONFORMING TO A THREE-DIMENSIONAL PERPENDICULAR-PARALLEL FRAME OF REFERENCE. The universe of physical energy is always divergently expanding (radiantly) or convergently contracting (gravitationally).’ Richard Buckminster Fuller 物理中没有直线,只有波;物理中没有固体,只有高频场域。 宇宙并不受制于三维的垂直-平行坐标系框架。 宇宙的实体能量常常是(辐射式的)向外扩张或(引力式的)向内收缩。 理查德·巴克明斯特 ·富勒

form x matter 物x形



Floating Green


Landscape Art | Shanghai, China

景观艺术装置 | 上海

PARADOXICAL GREEN Lawn is a visual substitute for soil and mud in an urban environment. It is an all-purpose hatching in urban designer’s / planner’s largescale master plan drawings. But most, if not all, claim “Keep Off!” in reality, and none belong to the domain of public activities. Lawn is benign, salubrious, and controlled. It beats horror, squalidity and uncertainty. Lawn represents social commonweal. It is a strategic battlefield between democracy and poweroccupying and covering surfaces with a most democratic method. Lawn is a visual reminder of natural environment in an urban context; however, it is anything but natural. It is an engineered product subjected to the rule of industrial reproduction and genetic engineering. It is produced in patches, cut into uniform squares, transported by trucks, and installed by human labors. Lawn is the most economical and efficient veil in creating a prepossessing urban image. It consumes the least material substance, but covers the largest surface area within the shortest time period. Evidence can be found from Pearl River Delta to Beijing during the Olympic Games.

FLOATING GREEN “Floating Green” is a public artwork rethinking this condition. The flat lawn layer is detached from the ground it covers, and folded to create inhabitable urban furniture out of a flat visual icon for urbanization. Its plastic feature invites people to touch, smell, occupy and sense it. The delicate bouncy structure oscillates with joviality when people sitting on it talks, moves and laughs. It is no longer a forbidding symbol of urbanity, but turns to an emotional and sensitive participant in urban life. While an architectural artifact usually seeks singularity and monumentality, a city embraces density and multiplicity. “Floating Green” rejects to be a symbol or a sculpture; instead, it dedicates to create an interactive urban field. The availability and low cost of the material provides the work with the opportunity of mass distribution. “Floating Green” therefore shifts from a particular visual image to a generative system with the potential to produce varied individual pieces and combinations. Some generated urban furniture pieces scatter across the existing green areas in Shanghai Pudong Zhangjiang Hi-tech Park, contributing to a high quality public space with both aesthetic experience and urban function.

草坪代表大众福利,是沙土在城市环境中的视 觉替代物,是城市设计师在大规模城市设计图 纸中模棱两可的表面填充物,但都“请勿践踏!” ,并不属于公众生活。 草坪温顺、纯净、受约束,压制恐惧、肮脏和 不确定性;草坪是权力和民主之间角力的战 场——用最民主的方式占领和覆盖。 草坪虽然是自然的再现,但却完全不自然,是 工业复制和基因工程的产品,被裁成方块,用 卡车运输,由工人安装。 草坪是形成城市视觉质量最经济、最有效的方 式——用最少的材料消耗在最短的时间内覆盖 最广泛的暴露表面。珠江三角洲如此,奥运前 的北京也如此。

“坐享悬绿”把扁平的草坪与被覆盖地面重新分 离、掀起,使其从一个城市化的纯粹平面视觉 标志转化为可被公众占据、使用的城市家具。 城市居民被暗示草坪的空间功能——触觉、嗅 觉和坐的塑性感知,被掀起的草坪本身薄且 有韧性,在谈笑时的抖动可以随着草坪本身传 播——不是一个敬畏的草坪,而是一个情绪化 的草坪。 物体建筑强调独一无二和纪念性,城市则强调 密度和多样性,“坐享悬绿”拒绝成为标志物或 雕塑,而着眼于创造一个可介入的丰富城市场 域。 草坪作为材料本身的廉价也给这种集群诉求提 供了可能。“坐享悬绿”本身由提供具有鲜明形态 特征的某一艺术形式转化为可以产生多样个体 和丰富组合可能的生成系统。生成的作品被散 布在上海浦东张江高科技园区的现有城市绿化 中,形成具有城市功能的公共艺术空间。

Material:Stainless Steel, Turf without Soil Location: Zhangjiang Art Park, Pudong, Shanghai Dimension: 800x150x120cm

材料:不锈钢,无土草坪 地点:上海浦东张江艺术公园 尺寸:每件800x150x120cm

form x matter 物x形



Absent Pebble, Materialized Water 实水中的虚石 Mediation Space | Gwangju, Korea

冥想空间装置 | 光州,韩国

Chinese traditional garden is a spontaneous density field, in which formal elements, informal elements and formless elements are juxtaposed to render a synthetic spatial sensation.

我把园林看作多种空间密度的重叠——包括树、石、水、房、廊等。有形的空间、无形的空间和不 定形的空间并置交融,形成一个复合的空间感知。

This spatial installation captures this condition through the formation of a synthetic space that reverse the logic of informal and formless elements: water as formless element is materialized through the repetition of its texture, while pebble as an informal element is subtracted from the materialized water field to be an absent figure.

这个空间装置捕捉了这种叠合密度的空间质量,形成复合的空间场域,用有形的物质化方式逆转无 形和不定形元素的空间逻辑关系:水的无形和石的异形(不定形)转化为不同状态的有形——两者 作为物质消失了,留下了材效(新材料组成空间形成水纹光影)和空(石头以空的方式留在空间 中)。

This dichotomy captures the moment, where informal element resting in a formless environment. It also creates an authentic spatial essence for “resting”.

这种新的时空二元关系凝固了一个有形的瞬间——不定形的元素在无形的环境中“停留”,这是我所 认为的“留(resting)”空间的本质。

wave line | 波线

wave surface | 波面

informal element: pebble


formless element: water


wave field | 波场

3mm corrugated acrylic panel



Material:Transparent Acrylic Panel, Steel Robe Dimension: 2m x 2m x 2m 材料:透明亚克力板 尺寸:2m x 2m x 2m


fat flat


月半 平


The rapid development of the contemporary image production is part of a sweeping reconfiguration of relations between a viewing subject and modes of representation that effectively nullified most of the culturally established meanings between a viewing spectator and environment. The computer image production technique relocates visual perception to a vision plane (such as screen) severed from a human spectator. Obviously, some older and more intimate modes of “viewing” have been ignored; even they still persist and coexist uneasily alongside the computer image production technique. But increasingly this emergent technology is becoming the dominant diagram of visualization according to which primary social processes and institutions function. Moreover, they are intertwined with the needs of global information industries and with the expanding application of production and construction in the field of architectural design. Most of the historically important functions of the human eye are being supplanted by these emerging practices in which visual images no longer have any reference to the position of a viewing subjective in a “real” environment. Fat Flat Project attempts to discover, if not invent, a new viewing apparatus to read the existing environment to re-discover the suppressed observation techniques of human “eyes”. In doing so, two issues associated with the relationship between spectator and environment emerge: first, in what way is spectator becoming a precarious condition of interface between scientific rationalized system and highly personalized artistic expressions; second, how does the spectator become a component of the apparatus, whether social or technical, that subjectivity can intervene, if not transform, a pre-defined environment.

fat flat


月半 平


当代图像的发展重新界定了“观看”主体和被“再现”客体之间的关系。视觉技 术所界定的两者新关系明显取消了观者和环境再现之间一些具有历史性的文化意 义和联系。在我看来,计算机图像生成技术把人的视觉经验再定位于与主观视点 割裂的视平面上(例如“电脑屏幕”)。 一些比较早且更亲密的“看”的方式被明显淡忘,虽然它们依然在某种程度上被 保留并与新的方式艰难共存。然而,由于社会进步和发展等一系列因素,新兴技 术在视觉化过程中占据支配地位。这些新技术与全球化、信息技术等社会发展的 明显趋势交织在一起,越来越广泛地延展到生产、建造等建筑相关领域。在视觉 历史上起重要作用的“人眼”的观察技能则被压制,视觉图像在计算机图像生产 技术中不再与一个主观观者在现实环境中的位置产生关联。 “胖平”计划是一系列的实验,试探性的寻找、发现和发明主观感知和客观环境 之间存在的联系 :第一,(观者所具有的)主观性如何成为作用于理性系统(例 如透视图、投影等精确、科学的再现方式)和艺术表现(例如艺术创作等非精确 的再现方式或非再现方式)之间,成为具有模棱两可特征的中间界面?第二,不 同身份的主观性如何成为某个客观机器、工具或机制的组成部分,使主观的介入 得以“转移”——而非“改变”——一个给定的客观环境?

fat flat


月半 平


Fat Flat 1: four viewing diagram


Paper Landscape


The Illustration of Garden Scenes from the Hall Encircled by Jade (Huancuitang


Yuanjingtu, 环翠堂园景图) is a historical precedent with mutual implication of viewpoint


and environment. This essay attempts invent a new viewing apparatus to read the existing


environment though a close analysis of the painting to re-discover the suppressed observation techniques of human “eyes”.

我需要甄别三种错误的假设: 其一,对《环翠堂园景图》的分析并不能泛化用于其他传统中国绘画作品,我的分析只是

I would like to set aside two inappropriate assumptions:


First, the analysis on this specific painting cannot be generalized to other Chinese


handscrolls. I do not contemplate the painting in the way of historical and cultural aspects.


Taking the painting as a flat representational medium with rich temporal and spatial


implication, the analysis is a close analysis of its form and structure. In The Illustration of


Garden Scenes from the Hall Encircled by Jade (Huancuitang Yuanjingtu) in so doing,


some representational strategies of reading other existing flat condition can be conceived. Second, the analysis is not recovery but provocative. I am not going to enter the issue of veracity. The analysis extracts the hidden observation techniques through different formal and structural manipulations to devise a new viewing apparatus. The essay is to address how these manipulations are conducted progressionally and what polemics are provoked through the operations.

Huan Cui Tang Yuan Jing Tu, Huang Yinzu after Qian Gong. Etched wood panel. 24 cm x 1,486 cm, Late Ming Dynasty. Reproduced in Huan Cui Tang Yuan Jing Tu, published by People’s Arts Press, China on 1981. The illustrations were by Qian Gong (钱贡), an artist from Suzhou who specialized in landscape, architectural and portait painting, and the woodblocks were cut by Huang Yingzu (黄应祖) (b. 1563), one of the leading members of the Huang family of Huizhou who played such a disti guished role in developing the art of woodblock printing at this time. The scroll depicts the elaborate country estate of Wang Tingna, built in around 1600 in Wang Village, Xiuning County, Hui Prefecture, Anhui province. The estate survived in some form until the mid-19th century, when it was destroyed in the course of a civil war. Wang named his mansion the Hall Encircled by Jade” and referred to the larger estate that surrounded it by the appropriately humble A Hermit s Garden.”

《环翠堂园景图》 原作是一幅长卷,由晚明画家钱贡所作,后被分成数个 部分刻成版画,成为中国历史上最长的木刻版画作品。木刻版画由黄应祖完 成,黄家是徽州著名的木刻世家。

The Illustration of Garden Scenes from the Hall Encircled by Jade | 环翠堂园景图

unroll | 展 Normally, Chinese handscroll is unrolled from right to left and viewed only one section at a time (one end of the scroll is rolled up as the other end is unrolled). By manipulating the two ends of the scroll simultaneously, the spectator is free to move back and forth in the composition. 《环翠堂园景图》是以徐徐“展开”方 式阅读。通过操控手卷两端,读画者 可以自由在手卷描绘的山、水、花、 鸟、人、事之间来回移动,但总只看 到画的某个局部而不是整体。在许多 相关讨论中指出,“展开”这一操作,不 论是在绘制的过程还是观赏的过程, 都暗示了手卷作为一种再现媒介所具 有的空间性和时间性,“是一种变换立 足点的移动图像(手卷/图像本身并不 移动,移动的是作画者/读画者或他们 的视点)。”

Material:Paper Dimension: 2010mm x 300mm 材料:纸 尺寸:2010mm x 300mm

engaging | 入 Spectator is fixed, the scale of environment changes to represent the degree of engagement of spectator. Formless elements map the transition. 《环翠堂园景图》所描绘的对象,不论山 水、建筑还是人物都不存在一个固定的比 例。随着手卷的展开,画中人物不断改变 尺寸。变化主要包括两种趋势: 第一种是“渐变”,从手卷开端(右端) 始,远处的山水风景依次呈现,伴随着或 隐或现人物的乡间风情,然后是园林、建 筑、各种各样的人物活动,最后到某个独 立的建筑的局部、人物神态和动作、园林 的要素;在这个变化中,若取画中人的尺 寸改变为参考,画卷末端出现的人物较卷 首扩大五倍左右,细节、表情、动作也相 对更深入。 第二种变化趋势是“突变”,与手卷末端仔 细描绘的单体建筑局部、人物细节、池 塘、曲桥等对象一墙之隔的是与卷首呼应 的山水风景。与其说这两种变化是作画者 对空间类似于透视原则的“近大远小”式描 绘,不如说以作画者为观者,按第三者的 身份以时间顺序对空间序列进行表述—— 作画者所处时间为“现在”,按时间倒叙被 驻留的环境,距离作画时间越近的场景被 描绘得越仔细、越亲近。同时,画中人物 的刻画也从对行为的描述逐渐转化为主观 暗示的,而环境则从叙述性逐渐转化为描 述性。

Material:Paper Dimension: 2010mm x 300mm x 30mm 材料:纸 尺寸:2010mm x 300mm x 30mm

linger | 留 The environment is synchronized according to the movement of spectator. One figure, supposedly the painter, appears several times on the handscroll, through which a movement image of spectator is traced and in which narrative (of the repetitive figure) organizes the events. 《环翠堂园景图》中有一个人物在画中重 复出现了数次(但并不只有一个人物重复 出现)。假设这个人物是作画者本人, 画中作为作画者的类客观视点和作为画中 人的主观视点之间的分野消失了。因为作 画者假设了一种内在的视野模拟画中人所 感知的环境。“入”图解中的时间和空间的 一致性被打破,虽然还存在序列,但是时 间不是连续的,而是瞬时的和片段的。空 间按照这些瞬时点进行叠和,环境并不静 止,而是被共时化的图像拼贴,是观者在 不同瞬间的空间移动和事件叙述的“蒙太 奇”。 值得注意的是,在画中有两个场景重复 出现:园林的入口片段和园中的池塘(有 一座曲桥从上方通过)。如果把这手卷折 叠,让这两个重复出现的场景重新叠合, 则整幅画会出现两个环路,环路之间由湖 水连接(水没有固定形态,因此连接的方 式可以有各种变化)。从内容来看,前一 个环路以园林入口为焦点,主要叙述通向 环翠堂园的路径和园周围的环境,虽然已 经刻画了“环翠堂园”的大致模样,但是观 者依然没有进入园林;后一个环路以园中 池塘为中心,着重刻划了园中的建筑、内 院和各种活动。

Material:Paper Dimension: 1030mm x 760mm x 30mm 材料:纸 尺寸:1030mm x 760mm x 30mm

intervene | 移 Spectator’s motion, movement and stillness, distorts the environment. By changing the obliqueness between adjacent buildings, the environment represented is therefore intervened by the spectator. Temporal focus shifts from coherence and chronology to the indeterminacy of simultaneous events. 《环翠堂园景图》再现的对象是一个中 国古代私家园林。在中国园林的相关讨 论中,观者的“运动”包括“动观”和“静观”两 种。两者之间的关系是相对的,一个静止 的主体可以“动观”移动的客体:例如观者 坐在亭中观赏池塘中游动的金鱼。“运动” 在画中通过建筑物之间或大或小的角度变 化记录。与西方绘画通过科学的几何方法 在平面上再现三维空间不同,中国画不具 有某个确定的灭点,表面上看,中国画中 建筑物的画法类似于正轴侧图。在这幅画 中,相邻建筑物之间存在一系列角度差 异,从锐角到钝角。如果认为“环翠堂园” 的建筑所形成的“实环境”形式规整,横平 竖直的话,这些角度的变化暗示了观者 身体的移动和视点的转换。根据相对的“ 时间-空间”关系,相邻建筑角度越小则 代表观者身体移动的速度越快,视点越单 一;而反之,则代表观者本身的运动趋向 静止,而视点的变化趋向丰富多变。而 且,值得注意的是,若同样以“留”模型的 方式把手卷一分为二,虽然建筑之间角度 差异变化多端,但是具有两个比较明显的 方向性,前半部分建筑之间角度变化倾向 卷首,后半部分的角度变化倾向卷尾,从 而表达了一种“迂回”(表现在多样的角度 变化上)中“进、出”(表现在两个方向性 上)的运动趋势。 在“入”模型中,作画者作为观者通过再现 身体的运动改变了环境的真实性/客观性, 但是却并不“抽象”或转变环境,而是让环 境和观者的关系在主观和客观之间不停“错 位”,观者不停改变身份迂回于“入”或“出” 环境之间,从而打破了连续的前后时间序 列,不论作为第三者描述环境还是作为参 与者叙述对环境的体验。对时空的关注转 化为同时发生的事件所具有的不确定性。

Material:Paper Dimension: 2010mm x 360mm x 100mm 材料:纸 尺寸:2010mm x 360mm x 100mm

fat flat


月半 平


Fat Flat 2: 2D to nD


Paper Landscape


Fat Flat 2: 2D to nD is a research project that critiques contemporary “flattened,” two-


dimensional urban spectacles. The thesis proposes instead a “fattened” urbanism by


provoking a range of multi-dimensional (nD) strategies. Rather than falling into the cliché


of a contemporary urbanism of postcard icons (the “Bilbao Effect”), this project replaces


the urban spectacle with a new kind of urban spectatorship. 这个项目设置了一系列的规则进行绘图,把三个独立个体介入三个不同空间的过程进行记 Analyzing through a subjective intervention into an urban environment so as to mine


possibilities of spectatorship that avoid the merely spectacular, I distinguished three


“viewing strategies”, which each forge an urban spectatorship of space, time and motion. With these three strategies, the spectator’s identity constantly changes, making the descriptive space more “crystalline,” and the corresponding narrative less determined. Century Avenue in Shanghai is taken as an extreme case of “2D” urbanism to test these visual strategies. In the search for new ways to make visible urban or architectural spaces from such a flat condition, I attempted to look beyond traditional architectural representational forms (axonometric drawings and classical perspective) towards other kinds of space and more diagrammatic representational techniques, which construct not a fixed or iconic master plan, but a provocative urbanism of indeterminacy.

Ling Fan


Born in Shanghai, now is based in Beijing to practice spatial art and architectural design. He received


a Master of Architecture degree with distinction from Princeton University. He studied with Peter Eisenman and Yung Ho Chang, and practiced before in New York, Beijing and Shanghai. He returned to China on 2007 and teaches at China Central Academy of Fine Arts. Ling Fan’s works have been widely exhibited, including Gwangjiu Design and Art Biennale, China Design Now, Beijing World Design Congress, Shanghai International Art Biennale, Zhangjiang On Site

范凌毕业于美国普林斯顿大学,获建筑学硕士以及荣誉毕业奖。2007年回国进行空 间艺术和建筑设计创作,并任教于中央美术学院建筑学院。 范凌的设计作品曾在韩国光州设计双年展、“创意中国”展、2009年北京世界设计 师大会、上海国际艺术双年展、“现场张江 ”公共艺术展等展览中展出。

Public Art Festival, among others. His projects are also published internationally, including Jianzhushi, Time + Architecture, Architecture Journal, Abitare, Area, A+U, Domus, 306090, TL, Pidgin.

他的作品曾经发表于《建筑师》、 《时代建筑》、 《建筑学报》、 《Abitare》、 《AREA》、 《A+U》、 《Domus》、 《306090》、 《TL》、 《Pidgin》等国内外杂志和媒体。

profile 简历 EDUCATION 2007 2005

Princeton University, Princeton, USA Master of Architecture Tongji University, Shanghai, China Bachelor of Architecture (honor)


2010 2007- 2010 2008-2009 2007- 2005-

“NEXT CITY” Research Project (Sponsored by Dutch Design, Fashion, Architecture, Participant School: China Central Academy of Fine Arts, Tsinghua University, TU Delft, Sandberg Institute, Arnhem Academy, Design Academy in Eindhoven) Coordinator + Tutor CAFA + Columbia GSAPP + CUHK Summer Urban Research Program Coordinator + Tutor China Central Academy of Fine Arts, School of Architecture Assistant Professor Architectural Association School of Architecture, Beijing Winter School Visiting Tutor Oslo School of Architecture and Design Visiting Lecturer Time + Architecture Magazine Guest Editor Design Critic BASE, China Academy of Arts, Columbia University, Southeast University, Tongji University, Tsinghua University, USC, University of Hong Kong

GRANTS, AWARDS AND RECOGNITIONS 2010 2009 2007 2007 2004 2003 2000-2004

Best Instructor Award, Art Academy Architecture and Environmental Design Committee 2nd Prize, CAFA Young Art Critic Award Thesis Honor, Princeton University High Pass, Princeton University Scholarship, Princeton University Highest Honor, National University Design Competition Highest Honor, National University Design Competition Scholarship, Tongji University

PUBLICATION (featured) 2010

AREA Asia, “Floating Green”, Beijing, Jun

2010 2010 2010 2010 2010 2009 2009 2009 2007

AREA, “Floating Green”, Italy, Jun. 2010 AREA Asia, “Urban Pulse”, Beijing, May FRAME, “Please!”, Beijing, (forthcoming) 306090 Sustain and Develop, “Floating Green,” New York, Mar. 2010 TL, “Floating Green”, Belguim, Jan. 2010 Urban Flux, “interview,” Beijing, October 2009 Urban Flux, “Design into Life,” Beijing, Oct. 2008 Zhang Jiang On Site, “Fat Flat Float”, Shanghai, Pi Li, (eds.) Pidgin, “Fat Flat”, Princeton

University School of Architecture, Princeton “Extra Large: Dimension in Context,” in 306090: Dimension, New York “The Cloud in the Clock: A Fabricated Dialogue on Beijing,” co-edited with Jonathan Solomon, in 306090: Dimension, New York ”Four Steps Representing a Chinese Handscroll,” in Pidgin 2, Princeton University School of Architecture, Princeton “Reading the Image of IIT McComick Student Center,” co-authored with Fei Wang, in Time + Architecture 2006/01, Shanghai “Le Dian: A Flat Sound Structure,” in Pidgin 1, Princeton University School of Architecture, Princeton

2008 2008

2007 2006

PUBLICATION (authored)


Book: 2009


“100 Years of Dutch Architecture”, co-translated with Lu Pinjing, Keren He, Siyong Liu, China Architectural Industry Press, Beijing, 2009 “1:2 Tongji Studio,” co-edited with Yung Ho Chang, Fang Ji Wang, China Architectural Industry Press, Beijing, 2006 (forthcoming)


Article: 2010 2010 2010 2009

2009 2009 2008 2008

2008 2008

2007 2008 2008

“End of Form”, AREA 2010, Beijing / Italy “Being Beijing”, co-authored with Cressica Brazier and Tat Lam, A+U 2010, Japan “A Case Study as Being Contemporary”, in Urban Flux 2010/01, Beijing “Being Beijing”, co-authored with Cressica Brazier and Tat Lam, A+U (Asia) 2009/10, Japan/ China “From Xiaoqu to Megablock”, in Time + Architecture 2009/03, Shanghai “Exhibition or Appearance”, in Time + Architecture, 2009/01, Shanghai “Colloid Space and Modern Art Space”, in Domus, 2008/11, Italy/ Beijing “On Close Reading: Building a Critical Interface”, in National Architecture Education Conference Essay Collection, Shanghai “Contigencies in the Art School”, in Abitare 2008/03, Italy/ Beijing “Five Polemic Points on the ‘Notes around the Doppler Effect and Other Moods of Modernism’”, in Time + Architecture 2008/01, Shanghai “Interview with Peter Eisenman”, in Time + Architecture 2007/06, Shanghai “Postcard Urbanism”, in Pidgin 3, Princeton University School of Architecture, Princeton “Interview with Peter Eisenman”, in Pidgin 4, Princeton





2010 2009

2009 2009

2009 2008 2007 2006

“Soft Energy”, Shanghai, organized by Center for Architecture, Urbanism and Infrastructure, Princeton University and Regional Plan Association “Beijing – Seoul – Tokyo Emerging Architectural Practices and the City”, Columbia Studio – X, organized by Columbia University Graduate School of Architecture, Planning and Preservation. “Hard, Soft, Fast, Slow: Access and Mobility in 21st Century Cities”, Princeton University, organized by Center for Architecture, Urbanism and Infrastructure, Princeton University and Regional Plan Association “Research in Flux: Investigative Strategies for Architecture & Urbanism in China”, Central Academy of Fine Arts, Museum of Contemporary Art, organized by CAFA and Columbia University “Being Beijing”, Architectural Association School of Architecture Winter School Lecture Series, Beijing NOTCH: North Europe Art Festival, Beijing, organized by Norway Embassy, Sweden Embassy, Denmark Embassy AREA Dialogue: Sustain and Develop, Beijing, organized by AREA Magazine and C-Space Gallery C-Pod: + - x / Jessie Reiser, Beijing, organized by Crystal Platform for Open Design, AREA Magazine, and Sanlitun Village National Architecture Education Symposium, Xiamen Symposium on Architecture and Phenomenology, Suzhou International Conference on Architecture History and Theory Education, Tongji University “Field and More”, Southeast University

EXHIBITION 2010 2010 2009 2009 2008 2007

“Mother and Daughter: Exhibition for Cultural Heritage and Translation”, Today Art Museum, Beijing, China “40 under 40 Young Designer Exhibition”, Shanghai World Expo, Shanghai, China “Design into Life”, Beijing World Designer Congress, Beijing, China “An Absent Pebble in Materialized Water”, 2009 Gwuangjiu Design Biennale, Gwuangju, South Korea “Floating Green”, 2008 Shanghai Art Biennale, Shanghai, China Thesis Exhibition, Princeton University, Princeton, USA

Š Fan Ling Studio 2010 |

Ling Fan's Art Works