ZNA事務(wù)所AIM設(shè)計競賽二等獎-An Open Appeal for China

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　　ZNA事務(wù)所AIM設(shè)計競賽二等獎-An Open Appeal for China　　　　Statement:An Open Appeal for ChinaThe problem of architecture in the role of artistic production is that there are none. Modern artistic practices have intimidated Architectural ambition to polite neutrality: the white box or kunsthal model suggests architecture as a blank spatial canvas for art to happen independent of it. We delight in architectural provocations like the Tate Modern’s Turbine Hall, for example, which shows how architecture can become a spatial catalyst for new artistic production. Olafur Eliasson’s “The Weather Project (2003)” would never have been imagined without it. It is this interdependent relationship between architecture as a spatial practice and art as a cultural catalyst that we seek to extend.But we feel like modern art has exhausted itself. China’s emerging artistic culture is an important balance to the ambitions of its rapidly burgeoning middle class. Sited in Beijing’s Central Busi-ness District, ground zero of China’s economic growth, this project is crucial to China’s cultural future, and should be treated with bold ambition. There is a folk tale called The Pied Piper of Hamelin. It involves a wandering piper, dressed in pied clothing, that played beautiful music. The music was so enchanting that people to follow him where-ever he went.

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