感谢 重峰建筑 予gooood分享以下内容。更多关于他们，请至：Shanghai Summits Architecture on gooood。
Appreciations towards Shanghai Summits Architecture for providing the following description:

2025上海城市空间艺术季的主展区复兴岛船台公园，曾经是中华造船厂厂区。我们在场地内能够看到众多工业遗存：体量尺度巨大的塔吊、龙门架、船台遗址、厂房遗址等等。主展区的滨江空间——高桩码头——早年亦是船体建造的场地，长宽比例呈现出与船只相似的修长，让我们最初便联想到整个码头好似一个漂浮着的船体，而场地北端，即作品《航舵》的位置，自然而然成为眺望周遭、把握航行方向的重要“位置”。

The main venue for the Shanghai Urban Space Art Season 2025 is Fuxing Island Shipyard Park, which was once the site of the Zhonghua Shipyard. Within the area, numerous industrial remnants are visible: cranes of massive scale, shipway ruins, factory building ruins, and more. The waterfront space of the main exhibition area – the elevated pile wharf – was also originally a shipbuilding site. Its elongated length-to-width ratio resembles the shape of a ship, leading us to initially perceive the entire wharf as a floating vessel. The northern end of the site, where the project“Quantum Navigator” is installed, naturally becomes a pivotal “position” for overlooking the surroundings and steering the course.

▼装置鸟瞰，Installation aerial view ©actionmedia

▼装置外景，Exterior of the installation ©刘国威

此外，上海重峰建筑工作室对于建造技术的观念研究已持续多年，其中一个重要的议题，便是重新定位“妙用”观念对于建筑学的意义。中文常常以“妙”来形容机敏、讨巧的想法——比如妙法、妙计、妙招，我们关于“妙用”的考察可以追溯到《道德经》第一章：“故常无，欲以观其妙”——它诉说着“虚无”掉预设认知，开发出物体在技术上未被发现的潜能，这样一种观念。并且，我们的文化中也常常将“化腐朽为神奇”的人，称作“妙手”。法国人类学家Claude Lévi-Strauss在《野性的思维》中描述的“bricolage（名词）-bricoleur（行为主体）-bricoler（动词）”一组词汇，最为接近“妙招-妙手-妙用”。

Furthermore, Shanghai Summits Architecture has been researching ideology of construction technique for years. One important theme is re-evaluating the significance of the concept of Chinese words “妙用” for architecture. Chinese often uses “妙” to describe clever, ingenious ideas – such as “妙法”(ingenious method), 妙计 (brilliant plan), 妙招 (clever move). Our investigation into “妙用” can be traced back to the first chapter of the Tao Te Ching – it speaks of emptying preset cognitions to uncover the technically undiscovered potential of objects. Moreover, our culture often calls those who “transform the decay/ordinary into the marvelous/extraordinary as “妙手” (people who have ingenious hands). The set of terms described by French anthropologist Claude Lévi-Strauss in The Savage Mind– “bricolage (noun) – bricoleur (agent) – bricoler (verb)” – most closely approximates chinese words “妙招-妙手-妙用”.

▼装置与场地，Installation on site ©actionmedia

妙用实践具有这样一些特征：它们都有一个有限的物资与技术库存，这些物资是前一轮生产活动的产物，但在新的实践活动中，第一轮生产活动中所预设的功用被完全消解掉，从前的终点如今又变成了原料或手段。它是根植于“空无”（掉一切预设）的原则，是在于始终处于更新的原则（永远否定一件事物的前序定义、功能）。此观念引导我们做出三个策略性决断：将基地原有的“势”与“物”通过轻巧的介入作出性质的转换：

1.将界限的高度转化为望江的平台：它需要一个抬高的平台提供视野，视野乃是方向性决策的条件。
2.将防汛墙转化为展示墙：以防汛墙为背景，它需要在白天和黑夜具有某种视觉上的标志——类比于“灯塔”。
3.将废弃的碎料转化为画笔的笔触：它需要尽可能用到承载着场所记忆的物料进行直接建造（direct construction），建造本身即装置之表现。

▼项目模型，Project model ©重峰建筑

“妙用” share these characteristics: they all operate with a limited inventory of materials and techniques; these materials are products of previous cycles of production, but in new practices, the functions presupposed in the first production cycle are completely dissolved – the former endpoint now becomes raw material or means again. It is rooted in the principle of “emptiness” (shedding all presuppositions), a principle of being perpetually in a state of renewal (always negating an object’s prior definition or function). This concept guided three strategic decisions: to transform the inherent “potential” (势) and “materials” (物) of the site through light interventions:

1.Transform the height of the boundary into a River-Viewing Platform: It required an elevated platform to provide a vantage point, as perspective is a prerequisite for directional decision-making.
2.Transform the floodwall into an exhibition wall: Using the floodwall as a backdrop, it needed a visual landmark, day and night – analogous to a “lighthouse.”
3.Transform discarded fragments into brushstrokes: It necessitated using materials imbued with the memory of the place for direct construction, where the act of building itself constitutes the expression of the installation.

▼装置与现场灯光，Installation and on-site lighting ©actionmedia

界限的高度转化为望江的平台
Transform the height of the boundary into a River-Viewing Platform

《航舵》装置是重峰建筑继交通大学3号校门旁的外卖驿站与4号校门及围墙项目后，第三个处理、激活边界空间的项目。前两个项目尝试用微介入的手法改变围墙边界的消极属性，而《航舵》面对的是一段长约50m、高约3m的钢筋混凝土防汛墙，要在保持防洪功能，预留检修弹性的前提下，探索一种轻巧的激活方式。装置最初的构想，便是提供一条跨越防汛墙的通道。

The installation is third project of our Studio focusing on re-treating and activating marginal spaces, following the delivery station near Gate 3 of Shanghai Jiao Tong University and the Gate 4 and perimeter wall project. The first two projects attempted to alter the passive nature of wall boundaries through micro-interventions. Rudder, however, faces a 50-meter-long, 3-meter-high reinforced concrete floodwall, aiming to explore a light-touch activation method while maintaining its flood prevention function and allowing maintenance flexibility. The initial concept was to provide a passage over this floodwall.

▼装置与防汛墙互相依存的关系，The interdependent relationship between the installation and the floodwall ©刘国威

▼望江台上看向黄浦江的视野，The view of the Huangpu River from the Wangjiang Terrace ©刘国威左，actionmedia右

装置两侧通过两段性质迥异的阶梯与场地相连：园区一侧刻意营造出最日常的楼梯形象，暗示观众这里是可通行、可登高的区域，引导人流跨越防汛墙并进入滨水空间；码头一侧则被处理为更具停留属性的高台与滨水景观阶梯，成为人们登高望远的观景台——望江台；阶梯上间或布置绿植，营造惬意的临时休憩空间，并在活动发生时转化为回望的驻足点。

The installation connects the site on both sides via two staircases of contrasting character: On the shipyard park side, a deliberately ordinary-looking staircase suggests its function as a passable, climbable area, guiding people over the floodwall into the waterfront space. On the wharf side, it is treated as a raised platform and waterfront seating steps, encouraging people to stay and becoming a viewing platform. Intermittent greenery on the steps creates pleasant, casual resting spots, transforming into vantage points for looking back during events.

▼滨水阶梯，Waterfront staircase ©actionmedia

▼装置旁的娱乐设施，Entertainment facilities beside the device ©刘国威

沿着装置的楼梯攀登到高台后，一个90度转身，迎面而来的便是黄浦江风与开阔的视野，许多游客都会惊呼一声：“哇”！在学校的设计训练中，我们会学习一些手法去刻意营造一些令人惊呼的空间，这里只是很朴素的提供了一个平台、一个视野，实际上是借助并放大了场所本身先抑后扬的“形势”，成就了“巧妙撬动” 而非“大力营建”的设计实践。

Ascending the stairs to the platform and turning 90 degrees, visitors are met with the breeze from the Huangpu River and an open vista, often eliciting an exclamation of “Wow!” In architectural training, we learn some methods to deliberately create surprising spatial experiences. Here, we simply provided a platform and a view, essentially leveraging and amplifying the site’s inherent “potential” (势) – a sequence of containment followed by release. This represents a design practice of “skillful leverage” rather than “hard-work construction”.

▼装置的中央镜面反照自身，The central mirror of the device reflects itself ©actionmedia

防汛墙转化为展示墙
Transform the floodwall into an exhibition wall

平台上方设置了一组直径约 11 米的环形气膜结构，内设与气候互动的声光演出系统，为日常活动及专业演出提供特定舞美背景。气膜结构由平台四角的轻质杆件与拉索共同锁定，石笼则作为钢结构的配重起到一体化的结构作用，形成稳定而清晰的受力体系。在巨大的工业尺度环境中，半透明的膜结构以一种清晰的方式出现，在平台上方形成一个柔软而坚定的标识，成为游客进入滨水空间时的重要视觉指引。

Above the platform, a circular air-inflated membrane structure, approximately 11 meters in diameter, is installed. It houses an interactive sound and light performance system responsive to the climate, providing a specific scenographic backdrop for daily activities and professional performances. The membrane structure is anchored by lightweight columns and tension cables at four corners of the platform, while gabion baskets act as counterweights for the steel structure, creating an integrated, stable, and clear load-bearing system. Within the vast industrial-scale environment, the semi-transparent membrane appears as a clear, soft yet firm marker above the platform, serving as an important visual guide for visitors entering the waterfront space.

▼望江台上举办的弦乐表演，The string performance held on the wangjiang terrace ©actionmedia

我们希望《航舵》装置是一个阶梯聚场，它期盼着游客在平台上聚集，并且可以举办不同类型的小型活动：迄今为止，已经举办过小型音乐会、观鸟活动、诗歌社群的集会等，游客也会在阶梯上安静的坐下，观看江水、明月——它其实是一个在建筑类型学上变异了的剧场，观众的视线不再被空间的设计安排聚焦于舞台的中央，而是通过滨水阶梯，将观众的视线离散于周遭，这是一种“去中心化”的剧场类型的尝试，我们只需切身想象，便能感觉到这样的设置其实十分符合人类的本能。据我在现场观察，面朝江水安静的坐在野草间、听着背后弦乐演奏的观众，是十分享受的。

We expect the installation could function as an “amphitheater,” encouraging gathering on the platform and hosting various small-scale events. Several activities have been held: small concerts, bird-watching, and poetry club. Visitors also sit quietly on the steps, watching the river and the moon – it is essentially a typologically mutated theater. The audience’s gaze is no longer directed centrally towards a stage by the spatial design but is dispersed towards the surroundings via the waterfront steps. This is an attempt at a “decentralized” theater typology, which feels instinctually human upon reflection. Based on my observations, audiences sitting quietly facing the river amidst the wild grasses, listening to a string performance behind them, are thoroughly immersed.

▼望江台内，Inside wangjiang terrace ©actionmedia

“航舵”“远航”或“归航”意象，不仅指向空间形态（顶部的气膜），更想呼唤出当代都市生活中的心理声音：平台上开阔的视野中，存在如此纷繁的方向（航向），你该做何抉择？东方卫视的记者描述顶部灯光装置有“未来”的意向，由现场废料构造的底部基座有“过去”的意向。“未来”建立在“过去”之上，人在“之间（in-between）”便获得了一个“现-在（在现在存在）”的位置。我们特意在顶部装置的中央设置了一面圆形的镜面，抬头仰望“未来”，我们看到的会是镜面中的自己。经历完不止不休的人生决断与代价后，远航归来疲惫的人类最原始的欲望——其实仅仅是在熟悉的野草阶梯上，安静地坐一会儿。

The installation aims to evoke a psychological resonance in contemporary urban life: faced with the multitude of directions visible from the platform’s open vista, what choices do you make? A reporter from Shanghai Media Group described the top lighting installation as having a “future” connotation, while the base constructed from site waste suggests the “past.” The “future” is built upon the “past,” and the human in the “in-between” gains a position of “being present – existing in the now.” We deliberately placed a circular mirror at the center of the top installation. Looking up towards the “future”, we see reflection of our own. After the relentless decisions of a life, the most primal desire for the weary voyager returning home might simply be to sit quietly for a while on familiar steps among wild grasses.

▼装置与游客，Installation and visitors ©actionmedia

废弃的碎料作为画笔的笔触
Transform discarded fragments into brushstrokes

《航舵》的石笼是由艺术季主场馆A馆与B馆在修缮过程中产生的废砖、废料来建构的，我们倒无意诉说这样的废料利用更加环保节能——它们原本进入废料处理的流程想必也是可持续的。对我们来讲更重要的是尽可能开发手头所能掌握的物料的最大技术潜力，并尽可能保留原本历史遗迹的物质本体与相应历史叙事。这是妙用观念的重要组成部分，物质的历史也是构成其存在（existence）的内容。我们也十分畏惧身边的物质在生产进程中被转变为没有历史、没有文化、纯粹物理意义的“材料”。

The gabions using waste bricks were generated in the renovation process of main Exhibition Hall A and B. Our intention was not to claim that using waste materials would be more environmentally friendly – presumably, standard waste processing would be sustainable, too. For us, the greater importance lies in exploring the technical potential of the materials readily at hand and retaining as much as possible the physical substance of the original historical relics and their associated narratives. This is a crucial aspect of the concept of“妙用”. The material’s history constitutes part of its existence. We are also deeply wary of the process where materials in our surroundings are transformed into mere ” substance ” in a purely physical sense, stripped of history and culture.

▼装置街景，Installation street view ©刘国威

《理想家》的编辑老师曾提到这样的问题：“用废料激活边缘空间”的理念能够留下一份“遗产”，您最希望它给未来的城市更新项目带来怎样的启示？我们是如此回复的：我认为“废料建造”对于边缘空间激活与城市更新，并不一定有什么必要性，倒是“妙用”的观念，可以赋予我们更多反思。我们无法给出笃定的价值判断，因为“妙用”从一开始就拒绝任何固定意义的描述，这并不是因为“妙用”还没有找到正确的表达式，而是它们之无意义正是其原则。它是一种本能的生命力想做出点什么事情的原始冲动，是一种抛开定式、总在生成中的、走向开放的生命意志。妙用的诗意在于，它不是按照已经约定好的方式与事物对话，而是人类透过事物在进行自我言说，通过对物品的选择表达着自己的个性、延展着自己心灵的脉络——对我们来讲，妙用的领悟实则是一种自我的辨认。

An editor from magazine Ideat once asked: The concept of “activating marginal spaces using waste materials” aims to leave a “legacy.” What inspiration do you want to take to the future for urban renewal projects? Our response was: We don’t believe “construction with waste materials” is necessarily essential for activating marginal spaces or urban renewal. However, the concept of “妙用” can offer more space for reflection. We refrain from making definitive value judgments because “妙用” inherently resists any fixed description from the outset. This isn’t about the right expression hasn’t yet been found, but rather because the absence of fixed meaning is its fundamental principle. It is a primal impulse of an instinctual vitality will to make something happen, a will to life that discards formulas, is always in a state of becoming, and moves towards openness. The poetry of “妙用”lies not in conversing with things according to pre-agreed manners, but in humans speaking of themselves through things, expressing their individuality and extending the contours of their spirit through the selection of objects. For us, understanding “妙用”is ultimately a process of self-recognition.

▼装置夜景，Installation night view ©刘国威

▼平面图，Plan ©重峰建筑设计

▼立面图，Elevation ©重峰建筑设计

▼剖面图，Section ©重峰建筑设计

▼灯光布置图，Lighting Drawings ©麓米照明设计有限公司

▼膜结构平面图，Membrane Structure Plan ©重峰建筑设计

装置创作年份：2025
类别：公共艺术装置，公共景观装置
材料：回收混凝土块，回收砖块，金属石笼，金属框架，防腐木板，气膜结构
尺寸：22.2m长，17.5m宽，9.2m高
2025上海城市空间艺术季
展览主题：量子城市复兴未来（科技·艺术·空间）
总召集人：上海市城市规划设计研究院
主策展人：李翔宁、高长军
参展单位：
上海重峰建筑设计咨询有限公司
Shanghai Summits Architecture
艺术家简介：
张峰 Zhang Feng
上海重峰建筑主持建筑师，同济大学建筑与城市规划学院博士候选人，瑞士工程师与建筑师协会注册建筑师。硕士毕业于瑞士苏黎世联邦理工大学，获瑞士国家卓越人才计划奖学金。
陈融升 Chen Rongsheng
上海重峰建筑合伙人，硕士毕业于瑞士苏黎世联邦理工大学，对基础设施兴趣浓厚，设计作品多尝试通过技术手段表达城市生活的日常情绪。
庞磊Pang Lei
悉尼大学建筑机电及照明硕士, 近年完成了一系列高质量的文化，教育和公共建筑的照明设计。作品入选2020年全球十佳公共建筑和Archdaily 2021年中国十佳建筑。
设计团队：
张峰，陈融升，庞磊，彭瑞，江冰轩，周庆华，刘晓宇
结构顾问：
和作结构建筑研究所(AND Office)
主持设计师：张准
团队成员：胡晓劼
结构施工图设计：
同济大学建筑设计研究院（集团）有限公司
团队成员：
姜文辉，成戎，林壮斌，薛达
装置制作及安装：
上海致同建设工程科技有限公司
团队成员：
张易、石玉明、陈瑞珊、陈凤林、李扛山、刘小髙

Year: 2025
Category: Public Art Installation, Public Landscape Installation
Materials: Recycled concrete blocks, recycled bricks, metal gabions, metal frame, preservative-treated wood panels, air-inflated membrane structure
Dimensions: 22.2m (L) × 17.5m (W) × 9.2m (H)
Shanghai Urban Space Art Season 2025
Theme: Quantum Revive (Science · Art · Space)
Organizer: Shanghai Urban Planning Design Research Institute
Chief Curator: Li Xiangning, Gao Changjun
Design Team:
Zhang Feng, Chen Rongsheng，Pang Lei，Zhou Qinghua，Liu Xiaoyu
Structural Design Consultant:
AND Office
Lead Designer: Zhang Zhun
Team Member: Hu Xiaojie
Structural Design:
Tongji Architectural Design（Group）Co., Ltd. (TJAD)
Team member:
Jiang Wenhui, Cheng Rong, Lin Zhuangbin, Xue Da
Device Fabrication and Installation：
Zhitong Construction Engineering Technology Co., Ltd., Shanghai
Team member：
Zhang Yi, Shi Yuming, Chen Ruishan, Chen Fenglin, Li Kangshan, Liu Xiaogao

More: Shanghai Summits Architecture on gooood。

Shanghai Urban Space Art Season (SUSAS) 2025 by Shanghai Summits Architecture

Chestnut Grove Courtyard at the Foot of Gaofeng Chansi Monastery by Parallect Design