感谢 MAGGIE STUDIO（联系邮箱：maggiestudio@126.com）予gooood分享以下内容。更多关于：MAGGIE STUDIO on gooood
Appreciation towards Atelier MAGGIE STUDIO (contact: maggiestudio@126.com) for providing the following description:

参展建筑师/艺术家：
熊星、郭廖辉、吴贞艳
陈昊、马圆融、曹宇锦

Architects/Artists:
XIONG Xing, GUO Liaohui, WU Zhenyan,
CHEN Hao, MA Yuanrong, CAO Yujin

地点：上海市徐汇区安福路275弄6号
Venue：No.6, Lane 275, Anfu Road, Xuhui District,, Shanghai

2024年，MAGGIE STUDIO受邀担任由Ideal Source俪素赞助支持的跨界展览「仪石万象」主策展机构，11月在上海AnFu275与观众正式见面。MAGGIE STUDIO邀请多位新锐建筑设计师艺术家打造创意杰作，为观众带来一场融汇设计与材料美学的感官盛宴。此次展览吸引了大批设计与艺术领域的专业人士和爱好者，成为本年度上海艺术季的一道亮点。

In November 2024, MAGGIE STUDIO, invited as the chief curatorial institution, presented the special cross-disciplinary exhibition STONE CIRCLING,supported by Ideal Source. Hosted at AnFu275 in Shanghai, this event marks a key highlight of the city’s annual arts season, attracting professionals and enthusiasts from the fields of design and art. The studio has collaborated with emerging architects and designers to create innovative works, offering audiences a sensory feast that blends design and material aesthetics.

▼海报，poster ©MAGGIE STUDIO

创新跨界，定义多元艺术体验
Innovative Crossovers: Defining A Diverse Artistic Experience

「仪石万象」以开放式、跨学科的策展方式，模糊了设计、建筑、表演艺术与材料之间的界限，将水磨石文化与设计美学深度融合。

MAGGIE STUDIO旨在通过多领域的共融与互动，打造一个全新的设计体验空间。观众不仅可以近距离“观看”与“触摸”完整的建筑与构造，还能够感受水磨石等传统材料的独特质感，在多元视角下重新认识和探索石材的可能性。

展览希望超越、打破传统设计与艺术策展所谓的“标准”范畴和隔阂，为传统设计语境注入崭新的对话模式。观众在展览中获得的，不仅是艺术的美学享受，更是一场关于材料、文化与人文历史的深度思考。

The “STONE CIRCLING” exhibition employs an open and interdisciplinary curatorial approach, blurring the boundaries between design, architecture, performance art, and materials. It deeply integrates terrazzo culture with design aesthetics. MAGGIE STUDIO seeks to create a wholly new design experience space through the fusion and interaction of multiple disciplines.

Visitors are invited to not only “see” and “touch” complete architectural structures up close but also to experience the unique textures of traditional materials like terrazzo. This immersive experience allows them to rediscover and explore the potential of stone from diverse perspectives.

The exhibition aspires to transcend and dismantle the so-called “standard” boundaries and divides of traditional design and art curation. It introduces a fresh dialogue into the traditional design context, offering audiences not only aesthetic enjoyment but also a profound reflection on materials, culture, and human history.

▼展览，exhibition ©niceberg

主题诠释：从“虔敬”到创新
Theme Interpretation: From “Reverence” To Innovation

策展人Maggie Ye就此次展览的主题解释到：「仪石万象」源自于对古希腊“虔敬”-即仪式精神的致敬。远古人为表达“虔敬”继而履行各种仪式、观念、规范和禁忌，构建了古希腊宗教体仪式制度的基础范式。仪式实则是人类对美好事物的渴望和追求，包含人们心理上的诉求、特定的宗教程序、一种个人经验的记事生活习惯、具有制度化功能的行为、一个族群的族性认同、一类节日的庆典等, 几乎所有人类活动都隶属于仪式。仪式代表人们为某件事物而投入的非凡专注力与信念，它的存在又为打破“阈限”和打造“交融”，不仅仅是个人成长的工具，也是人们能够暂时超越其身份、获得平等的状态的一种象征形式。在这个框架下，追溯到水磨石的诞生是16世纪中期的威尼斯，当时工匠们在贵族家庭装修时，由于石材的材料昂贵，利用剩余的大理石边角料，用羊奶进行抛光，创造出了水磨石的雏形而悄悄放置于自己家中。正是这种视石为珍宝而认真地去获取与珍藏，使水磨石成为了今天人们脚下或身旁并不瞩目且极为“内敛”的珍奇室（Cabinets of Curiosities），不仅贮藏了发生的故事，还有它们千变的色彩和花纹。在这里，水磨石不仅是一种材料，还与仪式不谋而合，成为仪式感与艺术探索的象征，一如过去它所承载的珍视与用心，这一“内敛”的材料，我们认为在此次展览中将会焕发出无限的生命力。

Curator Maggie Ye explained the theme of the exhibition: “STONE CIRCLING”, pays homage to the ancient Greek concept of “reverence”, which embodies the spirit of ritual. In antiquity, humans expressed reverence through ceremonies, beliefs, norms, and taboos, laying the foundation for the ritual systems of ancient Greek religion. At its core, ritual reflects humanity’s longing and pursuit of beauty, encompassing psychological needs, specific religious practices, personal habits of recording life experiences, institutionalized behaviors, collective identity, and celebratory traditions. Nearly every aspect of human activity is intertwined with rituals. These practices symbolize extraordinary focus and faith to a particular purpose and, in their existence, break boundaries and foster connections. Beyond being a tool for personal growth, rituals represent a symbolic state where individuals can momentarily transcend their identities and achieve equality.

Within this framework, the origin of terrazzo can be traced back to mid-16th-century Venice. At that time, craftsmen working on aristocratic homes utilized leftover marble fragments—too costly to waste—and polished them with goat milk, quietly crafting terrazzo floors for their own homes. This act of valuing stone as a precious material and carefully repurposing it has turned terrazzo into what can now be seen as an understated “Cabinet of Curiosities” beneath our feet or by side. They contain not only the stories of the past, but also their vivid colors and patterns.

Here, terrazzo is not just a material—it naturally aligns with the concept of ritual, becoming a symbol of ritualistic significance and artistic exploration. Much like the care and reverence it embodied in the past, this “subtle” material holds stories of dedication and craftsmanship. In this exhibition, we believe terrazzo will radiate boundless vitality, unveiling its profound potential in new and inspiring ways.

▼「仪石万象」展览开幕现场，The Opening of “STONE CIRCLING” ©idealsource

新锐力量，共探材料未来
Emerging Talents: Exploring The Future Of Materials

展览汇集来自亚洲的6位中国新锐建筑设计师——熊星、郭廖辉、吴贞艳、陈昊、马圆融、曹宇锦，他们以水磨石为核心材料，创作出风格各异的作品与空间场域。这些作品通过多维度的表达，从生态、宗教、学术、材质与生活等角度，深入探讨了水磨石与人类生活的关系，并赋予了这一材料以全新的文化和设计意义。

设计师们在材料运用和技术实验中展现了极高的创造力与可能性，为观众提供了全新的切入视角，共同探讨了“仪石”的深层内涵。

The exhibition brings together six emerging Chinese architectural designers from around the Asia, XIONG Xing, GUO Liaohui, WU Zhenyan, CHEN Hao, MA Yuanrong, CAO Yujin, each utilizing terrazzo as the central material to craft distinct works and spatial environments. Through diverse forms of expression, these creations delve into the relationship between terrazzo and human life, exploring its connections to ecology, religion, academia, materiality, and everyday living. The designers redefine terrazzo, imbuing it with new cultural and design significance.

By pushing the boundaries of material application and technical experimentation, the designers demonstrate remarkable creativity and innovation. Their works offer audiences fresh perspectives, collectively exploring the profound meaning embedded in the theme of “STONE CIRCLING.”

熊星
Xing XIONG

XINGDESIGN行之建筑设计事务所创始人与主持建筑师、清华大学建筑学学士&硕士、哈佛大学建筑学硕士，担任清华大学建筑学院设计导师。他秉承务实的理想主义,创新技术应用,塑造戏剧性的空间体验,拓宽建筑设计的边界。
Xiong Xing is the founder of XING DESIGN. He holds a Bachelor’ s and Master’s degree in Architecture from Tsinghua University, and a Master’s degree in Architecture from Harvard University. He also serves as a visiting professor at Tsinghua University School of Architecture. He embraces a pragmatic idealism, innovatively applying technology to shape dynamic spatial experiences and expand the boundaries of architectural design.

▼熊星，Xing Xiong ©熊星

这款台灯犹如一个未完成的拼图,留有空间等待光线来填充。简洁的立方形外观结合精心设计的镂空结构,使光线在不同角度流动,仿佛在“补全”缺失的部分。未完成的设计带来一种独特的开放感,激发人们去想象和探索。

This lamp resembles an incomplete puzzle, with open spaces waiting to be filled by light. The minimalist cubic form, combined with carefully crafted cutouts, allows light to flow through different angles, seemingly “completing” the missing parts. The unfinished design offers a unique sense of openness, inviting imagination and exploration.

▼《光的拼图》| 台灯水磨石 2024，LIGHT PUZZLE lamp, terrazzo, 2024 ©niceberg

▼《光的拼图》| 台灯水磨石 2024，LIGHT PUZZLE lamp, terrazzo, 2024 ©niceberg

郭廖辉
Liaohui GUO

郭廖辉工作室(AtelierGuo)主持建筑师，拾柴学社发起人。门德里西奥建筑学院硕士，中央美术学院建筑学学士。郭廖辉工作室(AtelierGuo)成立于2020年，工作室同时对建筑实践和研究保持着兴趣。

Liaohui Guo is Principal Architect of Atelier Guo and one of the Founder of Team Shichai. He received diploma from Academy of Architecture in Mendrisio in Switzerland and bachelor degree from Central Academy of Fine Arts. Atelier Guo is established in 2020 in Shanghai with consistent interest in both practice and research in architecture.

▼郭廖辉，Liaohui GUO ©郭廖辉

玄鸟火塔采用了板片的建筑语言，视觉上消解了体量感,板片之间的连接极少，为装置带来旋转、上升、轻盈的特征，以建筑的方式，呈现了一种民俗庆典的氛围。

Fire Bird Tower adopts the architectural language of plates, visually eliminating the sense of volume. There are very few connections between the plates, which brings the characteristics of rotation, rise and lightness to the tower, presenting a folk celebration atmosphere in an architectural way.

▼《玄鸟火塔》｜铝 2024，Fire Bird Tower, aluminum, 2024 ©niceberg

入木花架的形式提取于入木火塘的主体结构，四根倾斜着簇拥咬接又离散开来的木方形成一组，上下叠加的三组木方构成了入木花架的垂直向骨骼。自下而上连续的变化，喻示了向上的无尽延伸。人造石花池悬挂在贯穿木结构中心的钢索上，微微悬浮于地面，借用自身的重量将三组木方拉结稳定。

The form of the Flower Stand is extracted from the main structure of the fire pit tower. Four inclined, clustered, biting and discrete wooden sticks form a group. The three groups of wooden sticks stacked up and down constitute the vertical skeleton of the flower stand. The continuous change from bottom to top implies the endless extension upward. The artificial stone flower pot is suspended on the steel cable that runs through the center of the wooden structure, slightly suspended on the ground, and uses its own weight to tie the three groups of wooden squares together and stabilize them.

▼《入木花架》｜木、水磨石 2024，Flower Stand, wood, terrazzo, 2024 ©niceberg

伊瑞克提翁是一座希腊神庙的名字，人形柱是其特有的建筑语言。标准化的石块上下累积形成了柱，形态的变化又让其在清晰建构的基础上，具备有一种原石般的自然特征，也是人的精神。

三片人造石构件经简单的榫卯咬合，形成了三片几。尺度上参考了江南园林中的高几。立板的厚度和平板的倒角尺寸一致，在清晰的三片独立构件的基础上，通过指向体量的尺度连续，达到一种整体感。

Erechtheion is the name of a Greek temple where the human-shaped column is its unique architectural language. Standardized stones are accumulated up and down to form a column, and the changes in its form give the whole a natural feature like raw stone on the basis of clear construction, which suggest the spirit of human.

Three pieces of artificial stone components are simply joined together to form the 3-piece stand. The size is based on the high tables in traditional gardens. The thickness of the vertical board is consistent with the chamfer size of the flat board. On the basis of the clear three independent components, the continuity of partially size of different elements aimed at achieving a sense of integrity.

▼《伊瑞克提翁》《三片几》｜水磨石 2024，3-piece stand, terrazzo, 2024 ©niceberg

吴贞艳
Zhenyan WU

一岸建筑是2015年在上海成立的建筑设计事务所,现任合伙人以及建筑师为吴贞艳(中国),松下晃士(日本)。从家具、室内、建筑到城市设计,我们在不同尺度的项目中寻找可发挥项目本身特质的设计。

OFFICE COASTLINE is a Shanghai based architectural practice studio established in 2015. Projects include architecture, interior and furniture designs. The office is led by WU Zhenyan (China) & MATSUSHITA Akihito (Japan).

▼吴贞艳，Zhenyan WU ©吴贞艳

建筑由于功能或形式而成的体块构造，缩小成一个展台上的尺寸时，得以环绕俯视的体验。水磨石以板材的形式用于空间表面，扩大水磨石的惯用厚度，缩小建筑的常规比例，呈现出一种独特的感官体验：宏大的建筑体量被压缩成一种微观的，可感知的形式,即保持了其固有的力量，又在缩小的尺度下展现出不同的细节与质感。旨在探讨尺度与材料之间的关系，建筑在不同尺度下的表现力与材料质感的变异。通过这种方式，观者不仅是在观看建筑的模型，而是参与到一个建筑与材料的对话中。

The building is constructed as a mass by function or form, which, when reduced to the size of an exhibition stand, allows the experience of circling and looking down. Terrazzo is used on the surface of the space in the form of plates, expanding the customary thickness of the terrazzo and reducing the conventional proportions of the building, presenting a unique sensory experience: the grand building volume is compressed into a micro, perceptible form, which maintains its inherent strength, but reveals different details and textures at a reduced scale. The purpose is to explore the relationship between scale and material, the expressive force of architecture in different scales and the variation of material texture. In this way, the viewer is not only looking at the model of the building, but is participating in a dialogue between the building and the material.

▼《X3-1,X3-2,X3-3》| 装置雕塑水磨石 2022 ，X3-1, X3-2, X3-3, installation sculpture, terrazzo, 2022 ©niceberg

▼《TD32》| 烛台水磨石; 《TD33》| 花瓶水磨石;《TD35》| 烛台水磨石 2022,
TD32 candle holder, terrazzo, 2022; TD33 vase,terrazzo, 2022; TD35 candle holder, terrazzo, 2022 ©niceberg

胡琛琛陈昊
Chenchen HU/Hao CHEN

HCCH合尘建筑由两位合伙人陈昊和胡琛琛于2018年成立于上海。关注建筑、室内、公共艺术等多学科的日常生活实践。试图在标准化的市场与行业规范下,探索特殊、具体、有挑战性的操作。两位合伙人本科毕业于同济大学建筑系,在哈佛大学设计学院获得城市设计建筑学硕士。

HCCH is founded by Hao Chen and Chenchen Hu in Shanghai, 2018. Focusing on multi-disciplinary practice of everyday life, our work covers architecture, interiors, and public art. We try to push the boundary of discipline and norm, by exploring specific, innovative and challenging action, to inspire lasting positive environmental and societal engagement. Both Hao and Chenchen studied in Shanghai, Vienna and Boston, graduated from Tongji University with Bachelor degrees of architecture and Harvard GSD with Master degrees of Architecture in Urban Design.

▼胡琛琛陈昊，Chenchen HU/Hao CHEN ©胡琛琛陈昊

当水磨石被切薄片和展开,就像萨拉米香肠。其图案的逐帧变化表现了物质性和制作干预的时间性，呈现出不同于强调“体”的雕塑的另一种流动。作品的初始状态看起来是一整块石板，由使用者自行像展开卷轴一样旋开它，并用螺丝和拉索维持其微妙平衡。每片石板形状相同,图案连续但各异；如果安装时搞错了顺序，就是对时间线的一次小颠覆。

When the terrazzo is sliced and spread, like salami. The frame-by-frame variation of the pattern expresses the materiality and timeliness of the production intervention, presenting a different kind of flow from the sculpture that emphasizes the “body”. The initial state of the work appears to be a single slab, which is unrolled by the user as if it were a scroll, delicately balanced by screws and cables. Each SLATE has the same shape, and the pattern is continuous but different; If you install it in the wrong order, it’s a minor subversion of the timeline.

▼《时间的萨拉米》| 水磨石，2024，Salami of time, terrazzo, 2024 ©niceberg

这个模棱两可的物体介于花器和屏风之间,盛不了水，遮不了光，是对Lucio Fontana式切割的逆向操作。它由四片轮廓相同的石板组成，通过互补的倒角和颠倒组合，形成刚好相互接触又抵抗的关系,在角度上被卡住了。石板“构成”了“切口”，却无法被还原成一个平面,形成了视觉和空间上的小悖论。

This ambiguous object, a cross between a flower and a screen, can’t hold water or block out light, and is a reverse of Lucio Fontana-style cutting. It consists of four slabs with the same outline, which are combined by complementary chamfering and inversion to form a relationship that just touches and resists each other, and is stuck in Angle. The SLATE “constitutes” the “incision”, but cannot be reduced to a plane, forming a small paradox in vision and space.

▼《卡住的丰塔纳》| 水磨石 2024，The Stuck Fontana, terrazzo, 2024 ©niceberg

马圆融
Yuanrong MA

融室的创始人马圆融为美国注册建筑师,美国建筑师协会会员,毕业于美国普林斯顿大学建筑系, 曾获美国建筑师协会学术成就奖(AIAScholastic Award)。回国创立自己的工作室之前，她曾任职于纽约KPF事务所及David Chipperfield事务所,其建筑及室内设计作品曾受邀参加威尼斯建筑双年展。曾任教于美国雪城大学建筑学院及香港大学建筑学院。建筑学领域之外,马圆融以多重身份进行跨界实践,同时担任中国本土时尚品牌几样GEIJOENG的艺术总监及United Xpanded集团的创意总监,她也是全美瑜伽联盟认证的瑜伽教练(RYT500)。

The founder of MELTS, Yuanrong Ma, AIA, is a licensed architect registered in New York State. She holds a master of architecture from Princeton University and a bachelor of architecture from Tongji University. She received AIA Scholastic Award from American Institute of Architects for her excellence in design. Before returning back to China to start her own practice, she has worked at KPF New York and David Chipperfield Architects. Beyond architecture, she has also been practicing as an inter-disciplinary slasher – she is the art director at GEIJOENG*, the creative director at United Xpanded, and a certified yoga instructor of Yoga Alliance (RYT500).

▼马圆融，Yuanrong Ma ©马圆融

作品以中国民间古老的益智游戏“华容道”及“七巧板”为数学模型，结合蒙德里安式的风格派元素和框架作为表现形式,通过LPC再生石动态化的颜色组合与几何构成,提供可触摸和挪动的逻辑拼图，适合儿童及成人闲暇玩乐。在锻炼思维体操的同时，游戏过程中的任意时刻，都是观者自行创造出的一幅含有触觉和触感品质的色域抽象画作。

The work takes the traditional Chinese block-moving puzzle “Huarong Pass” and “Tangram” as mathematical models, and inspirations from De Stijl or Mondrian’s elements and frameworks as form of expression. Through the dynamic color combination and geometric composition of LPC blocks, a touchable and movable logical puzzle is provided both for children and adults at playtime. When exercising thinking gymnastics, at any given moment, the viewer is constantly creating an abstract color field painting, which emphasizes on haptic and tactile qualities as well.

▼《拼图图》| LPC再生石 2024，Tic-Tac-Tile, LPC Compacted Stone, 2024 ©niceberg

曹宇锦
Yujin CAO

曹宇锦是一名建筑师，艺术家，及城市设计师，毕业于哈佛大学建筑与城市设计专业。她的创作涵盖绘画、装置艺术、建筑设计、视觉影像以及城市设计等多个领域。通过创新的多媒体方法，她专注于在学术和实践中探索跨学科议题，致力于打破传统设计语境的边界。

Yujin Cao is an architect, artist, and urban designer who graduated from the Harvard Graduate School of Design with a Master degree of Architecture in Urban Design. Yujin’s interests are diverse and encompass a range of fields, including urban design, architecture, landscape design, installations, drawings, films, and photography. Through innovative multi-media approaches, she explores interdisciplinary themes in both academic and professional contexts, striving to challenge the boundaries of traditional design discourse.

▼曹宇锦，Yujin Cao ©曹宇锦

在《太古与其他时间》中，Olga Tokarczuk借由伊齐多尔之口阐述了四重性。他在表格中写下：冬春夏秋，之后他还写到了时间的四种形态：空间，过去，现在，将来。

与其说是展览空间,艺术家更希望带领观者来到自己日常生活的起居室。十个花瓶,与其说是展品，更像是艺术家工作过程的记录与还原。请暂时搁下游走于展品中脑海中闪过的关于物质与精神，短暂与永恒,记忆与遗忘等等宏大的话题。请凝视着某块石头花瓶，感受时间静止的片刻。

In “Primeval and Other Times”, Olga Tokarczuk weaves a tapestry of fourfoldness, capturing the cyclical cadence of existence: winter, spring, summer, autumn, interlaced with the dimensions of time-space, past, present, and future.

Rather than a mere exhibition, the artist beckons viewers into her living room, transforming the space into a sanctuary of contemplation. The ten vases transcend their status as mere objects; they are a narrative of the artist’s journey, a lyrical reflection of her creative process. Set aside the weighty themes of materiality versus spirituality, transience versus eternity, and memory versus oblivion. Instead, gaze upon a single stone vase and revel in the exquisite stillness of a moment captured in time.

▼《花瓶系列2.0, 3.0,4.0》| 水磨石 2024，Vase2.0, 3.0, 4.0, terrazzo, 2024 ©niceberg

▼《花瓶系列2.0, 3.0,4.0》| 水磨石 2024，Vase2.0, 3.0, 4.0, terrazzo, 2024 ©niceberg

MAGGIE STUDIO表示：“我们认为建筑和材料以及艺术领域是值得共筑并且存在着同等重要的联系的，甚至它们彼此一直是交互式地迭代前进的。遗憾的是，在本土的语境中，材料往往只是作为建筑和艺术的辅助元素存在，而缺乏其独立的表达与价值。而我们也注意到，很多石材品牌在邀请设计师时，往往缺乏开放的姿态，很少愿意与新锐建筑师共同探讨创新性的议题和产品，这也是我们决定接受策展邀请的重要原因之一。在策展的过程中，我们深知这个决定充满不确定性，风险巨大。在尚未得知最终结果时，我们依然选择了迎接挑战。事实上，这种不确定性本身就是设计的起点，它让整个创作过程充满了探索和发现的可能。这种‘未知’的感觉，对我们来说是一种久违的、纯粹的体验。我们希望在材料、建筑、艺术、策展等多领域取得新的融合和突破。最终我们确认的6位建筑师皆曾受过海外教育，并且彼此各具特色。比如从形式上来看，熊星的作品倾向于理性构造，具有强烈的当代气息；吴贞艳的设计则结合了更多艺术理论，强调建筑构造与感官体验的融合；郭廖辉的作品则更注重历史与行为学的研究，他的‘火塔’作品本身便是对阳朔当地传统仪式的致敬；曹宇锦的作品融合了自己的生活和艺术元素；马圆融则关注于色彩与观众的行为和体验；而陈昊更关注于材料本身和打破已有概念，更偏重于实验。每一位建筑师对于‘仪式’的理解以及对‘石’的诠释，都会在创作中产生不同的声音，这正是我们觉得非常有趣和有意义的地方。”

The exhibition features six emerging architects from Asia, each employing terrazzo as a central material to create distinctive works and spatial installations. Their creations explore the relationship between terrazzo and human life, considering themes such as ecology, religion, academia, and everyday existence, with imbuing this material with new cultural and design significance.

The designers showcased exceptional creativity and possibilities in their use of materials and technical experimentation, offering audiences a fresh perspective and collectively exploring the deeper meaning of STONE CIRCLING.

MAGGIE STUDIO stated, “We believe that architecture, materials, and art are interconnected, each equally important and continuously evolving in an interactive manner. Unfortunately, in local contexts, materials are often seen merely as auxiliary elements in architecture and art, lacking independent expression and value. We’ve also noticed that many stone brands, when inviting designers, rarely adopt an open-minded approach or engage with emerging architects on innovative issues and products. This is one of the main reasons why we accepted the curatorial invitation. Throughout the curatorial process, we were aware of the uncertainty and risks involved. But we chose to embrace the challenge, understanding that this uncertainty itself is the starting point for design—it brings exploration and discovery into the creative process. This ‘unknown’ feeling is, for us, a long-awaited and pure experience. We hope to achieve new integration and breakthroughs across materials, architecture, art, and curation. The six architects we selected all received overseas education and have distinct characteristics. For instance, Xiong Xing’s works are rational and strongly contemporary; Wu Zhenyan’s designs combine more artistic theories, emphasizing the integration of architectural structure and sensory experience; while Guo Liao Hui’s works focus more on historical and behavioral studies, with his ‘Fire Bird Tower’ being a tribute to the local traditional rituals in Yangshuo; Cao Yujin’s work integrates elements of her personal life and artistic expression. Ma Yuanrong focuses on the interplay between color and the behaviors and experiences of the audience. In contrast, Chen Hao places greater emphasis on the material itself, challenging established concepts with a strong inclination toward experimentation. Each architect’s interpretation of ‘ritual’ and their exploration of ‘stone’ generates different voices, which is precisely what makes this exhibition so interesting and meaningful.”

▼与宠物品牌HATO的探索尝试，the experiment with pet brand HATO ©HATO

值得一提的是，这次展览与原创宠物家居品牌HATO也用水磨石尝试了新的可能性。

It is worth mentioning that the exhibition had also tried new possibilities of pet furniture with terrazzo, together with the original pet furniture brand Hato.

▼与宠物品牌HATO的探索尝试，the experiment with pet brand HATO ©HATO

跨界创新引领艺术与设计新潮流
Cross-Disciplinary Innovation: A Way For A New Trend In Art & Design

展览「仪石万象」自开幕以来，凭借其独特的艺术与设计交融，成功为观众提供了前所未有的视觉与触觉体验。通过跨界作品的呈现，展览不仅突破了传统艺术展览的界限，还为设计与艺术人文的未来发展提供了新的视角与启示，推动了各领域之间的深度对话与融合。

展览策展人Maggie在采访中分享道：“我们收到了许多来自各界的有价值反馈，这些反馈与设计和艺术界的回应有所不同。许多行业专家对我们选择水磨石这一材料作为展览主题感到十分意外，由一开始走入空间时的平静变得喜闻乐见。展览不仅令业内人士重新审视水磨石的可能性，同时也为非行业观众提供了全新的策展思路和跨领域探索的启发，这是令我们很欣慰的。”

Maggie进一步提到：“这次展览我们使用了大量水磨石的边角料作为原料，而水磨石本身就是一种可持续性材料。通过将废弃的边角料转化为新的板材，我们不仅实现了材料的再利用，更探索了在现代设计中如何赋予传统材料新的生命。这是一次勇敢的尝试，也是一次成功的突破。这次对于我们任何一方都是一次跨界的尝试，我们也希望这个展览在未来可以做成可持续的。”

《仪石万象》展览通过对水磨石这一传统材料的创新运用，激发了设计与艺术领域之间的更多思考和互动，开辟了新的创作与实践方向。此次展览将持续开放至2024年12月1日，诚邀更多观众前来体验这一充满创意与探索精神的设计艺术盛宴。

Since its opening, the “STONE CIRCLING” exhibition has captivated audiences with its unique fusion of art and design, delivering an unprecedented visual and tactile experience. Through the presentation of cross-disciplinary creations, the exhibition transcends the boundaries of traditional art showcases, offering fresh perspectives and insights into the future development of design, art, and the humanities. It fosters meaningful dialogue and integration across diverse fields.

Curator Maggie shared in an interview: “We have received a lot of valuable feedback from different sectors, which differs from responses within the design and art communities. Many industry experts were surprised by our choice of terrazzo as the theme material, but the mood shifted from initial curiosity to enjoyment. The exhibition not only encouraged professionals to reconsider the possibilities of terrazzo but also inspired new curatorial ideas and cross-disciplinary exploration for non-industry audiences, which we are very pleased with.”

Maggie continued: “In this exhibition, we used a large amount of terrazzo waste as raw material, and terrazzo itself is a sustainable material. By transforming discarded fragments into new slabs, we not only achieved material reuse but also explored how to breathe new life into traditional materials in modern design. This was a bold experiment and a successful breakthrough. This is a crossover for either of us, and we hope that this exhibition can be sustainable in the future.”

The STONE CIRCLING exhibition, through its innovative use of terrazzo as a traditional material, has inspired deeper reflection and interaction between the fields of design and art, paving the way for new avenues of creation and practice. The exhibition will remain open until December 1, 2024, and warmly invites more visitors to experience this artistic feast full of creativity and exploratory spirit.

地点: 上海安福路275弄6号
时间: 2024年11月3日-2024年12月1日
项目类型: 策展
建筑面积: 200平方米
策展机构: MAGGIE STUDIO
策展团队：Maggie Ye, 李薇，薛雯心
新媒体团队：薛雯心，Celina
行之建筑: 熊星，罗宝祺
郭廖辉工作室：郭廖辉，李沧海，陈涣
HCCH和尘建筑：陈昊胡琛琛
MELTS融室：马圆融
一岸建筑：吴贞艳
曹宇锦团队：曹宇锦
Hato 团队：徐恬恬赖俊运，Nyx.，邵聪颖，赵昕怡，洪亮
俪素团队：李运东，吴秦晋，邹海涛，吴建斌，雍健，李金平，姚北京，詹传静，陆益梅，陈龙，张健
场地支持：AnFu275团队
摄影: Niceberg，Hato
特别鸣谢：
巨诺 Nuo Forge
门都没有乐队：杨雨后，程宁馨，陈宸，郭楚

Address: No.6, Lane 275, Anfu Road, Shanghai
Time: November 3, 2024 – December 1, 2024
Project type: Curation
Building area: 200 square meters
Curator: MAGGIE STUDIO
Curatorial team: Maggie YE, LI Wei, XUE Wenxin
New Media Team: XUE Wenxin, Celina
XING DESIGN: XIONGXing, LUO Baoqi
Atelier GUO: GUO Liaohui, LI Canghai, CHEN Huan
HCCH Studio: CHEN Hao，HU Chenchen
MELTS: MA Yuanrong
Office Coastline: WU Zhenyan
Cao Yujin Team: Cao Yujin
Hato Team: XU Tiantian, Lai Junyun, Nyx, SHAO Congying, ZHAO Xinyi, HONG Liang.
Ideal Source Team: Li Yundong, ZOU Haitao, Wu Qinjin, Yoyo WU, YONG Jian, Li Jinping, YAO Beijing, Zhan Chuanjing, Lu Yimei, Chen Long, Zhang Jian.
Site support: AnFu275 Team: Paris, LIU Juan, ZHU Lan, XU Shijing.
Photography: Niceberg, Hato
Special Thanks:
Nuo Forge
Mendoumeiyou Band: YANG Yuhou, CHENG Ningxin, CHEN Chen, GUO Chu

More：MAGGIE STUDIO on gooood

“Stone Circling” special exhibition by MAGGIE STUDIO