作者介绍：
俞昌斌，上海易亚源境创始人及首席设计师，乡聚公社创始人
杨晓青，上海大观设计工作室主持设计师
陈远博士，上海乡聚创始人
俞兆鹏, Bachelor of Advanced Computing and Commerce，University of Sydney, 乡聚公社联合创始人
李泓，乡聚公社意大利米兰及威尼斯联络人
By: Yu Changbin, Yang Xiaoqing, Chen Yuan，Yu Zhaopeng, Li Hong
Date: July 12, 2025
Author Introduction:
• Yu Changbin, Founder and Chief Designer of Shanghai YASDESIGN, Founder of Xiangju Commune
• Yang Xiaoqing, Lead Designer at Shanghai Daguan Design Studio
• Dr. Chen Yuan, Founder of Shanghai Xiangju
• Yu Zhaopeng, Bachelor of Advanced Computing and Commerce，University of Sydney, Founder of Shanghai Xiangju
• Li Hong, Liaison Officer for Shanghai Xiangju in Milano and Venice, Italy
上海儿童的正常生活，大多数时间用来学习。学习之外的身心成长“补集”在哪里？我们提出了三个场所：在乡村、在校园及在社区。可以说，“户内”的补集是“户外”，“虚拟世界”的补集是“大自然”。我们认为：对于上海的儿童而言，“大上海的小幸福”就是真的需要把儿童们从虚拟世界中解救出来，摆脱手机等电子设备的束缚，创造“非电子”的活动，到户外来呼吸新鲜空间，真正尽情地玩耍。——俞昌斌
The normal life of children in Shanghai is mostly spent studying. Where do they get the “complement” for physical and mental growth outside of learning? We propose three places: in the countryside, on campus, and in the community. One could say that the complement of “indoor” is “outdoor,” and the complement of the “virtual world” is “nature.” We believe that for children in Shanghai, “Small Happiness in Greater Shanghai” truly means rescuing them from the virtual world, freeing them from phones and other electronic devices, creating “non-electronic” activities, going outdoors to breathe fresh space, and playing freely.— Yu Changbin
1、我们为什么来威尼斯办展？Why Venice?
我1975年出生，今年2025年正好50岁，人生半百。作为主策展人，我希望在我人生中最重要的阶段，即在同济大学学习建筑、城规及风景园林，写作7本学术专著，并创办易亚源境+乡聚公社的30年左右（1994-2025）的时刻，在威尼斯向全世界发表我们自己的看法。这里是国际最高的建筑对话平台，每个展览都是一场平等的对话，让世界听到我们的声音，让我们与世界对话。
本次展览，我们并没有提出宏大的主题和对未来的理想，因为马岩松老师策展的中国馆“容·智慧”（CO – EXIST）已经做到了。我们需要做的是从小处着手，自下而上来探索。通过讨论，我们策展的主题是“补集：大上海的小幸福——上海的儿童友好实践（在乡村 / 在校园 / 在社区）”。
1. Why Venice?
I was born in 1975, and in 2025 I turn 50 — half a century of life. As the chief curator, I want to use this most important stage of my life — studying architecture, urban planning, and landscape architecture at Tongji University, writing seven academic monographs, and founding YASDESIGN + Xiangju Commune over approximately 30 years (1994–2025) — to present our own perspectives to the world in Venice. Venice is the highest international platform for architectural dialogue; every exhibition is an equal conversation, allowing the world to hear our voice and allowing us to dialogue with the world.
For this exhibition, we did not propose grand themes or ideals for the future because Professor Ma Yansong’s Chinese Pavilion CO-EXIST had already accomplished that. What we needed was to start small and explore from the bottom up. After discussion, our curatorial theme became “Complement: Little Joys in Greater Shanghai — Child-Friendly Practices in Shanghai (Countryside / Campus / Community).”
2、我们要做什么？What to do?
2025年6月21-24号我们团队一行来到威尼斯，参与威尼斯建筑双年展（Venice Biennale Architettura 2025: Intelligens. Natural. Artificial. Collective.，VBA，下文简称“威双（VBA）”，策展周期为5.10-11.23）的相关活动威尼斯艺术之夜（Art Night Venice 2025）。该活动为威尼斯市政府、威尼托大区及威尼斯大学联合主办，一年一次，以夏至日为主，主题为“艺术无界”理念，强调包容性与多元文化对话，部分活动纪念马可·波罗逝世700周年，突出东西方文化交流。我们崇明乡聚公社受“艺术之夜”的邀请在威尼斯主街上著名的Multimedial Laboratory Art Conservation历史建筑修复工作室进行布展。
2. What to Do?
From June 21–24, 2025, our team traveled to Venice to participate in the Venice Biennale Architettura 2025: Intelligens. Natural. Artificial. Collective. (VBA, hereafter “VBA”), and the associated event Art Night Venice 2025. This event, jointly organized by the Venice City Government, the Veneto Region, and the University of Venice, takes place annually around the summer solstice. Its theme, “Art Without Borders,” emphasizes inclusivity and multicultural dialogue, and some activities commemorate the 700th anniversary of Marco Polo’s death, highlighting East–West cultural exchange.
Xiangju Commune of Chongming was invited by Art Night to set up an exhibition at the historic Multimedial Laboratory Art Conservation building on Venice’s main street, a site known for historic architecture restoration.
▽该策展区域是沿着威尼斯的主街，人流量很大，前部是展厅，后部是修复工作室
针对2025年威尼斯建筑双年展总主题“智慧、自然、人工、集体”，我们提出“补集：大上海的小幸福”这一概念。我作为乡聚公社主理人及易亚源境创始人，联合杨晓青的大观设计、华润置地“润泽美好”社区营造团队从“儿童在乡村、儿童在校园及儿童在社区”三个版块探讨上海大都市的“儿童友好”城市设计趋势。在策展地来看，我们在一个建筑修复实验室策展，与军械库及花园形成互补，我们也成为了他们的“补集”。
█ “补集”的定义
“补集”，是数学集合论中的一个基本概念，即“全集里去掉子集后剩下的部分”。好比一盒巧克力（全集），你拿走所有黑巧（子集A），剩下的白巧+果仁糖（∁UA）就是黑巧的补集 。
“补集”这一数学概念，放在本次展览之中，想说明什么？
当前，人类正在进入被人工智能和电子设备包裹的时代（手机实质上已成为“人类身体的一部分器官”），并且这一趋势不可阻挡。如何与其相处，是所有人都要面对的问题。另一方面，在上海这样人口和建筑密度都超高的大都市，来自环境、工作、学习、生活各方面的压力都不容忽视。
所以，如果把一个上海普通孩子的日常生活看作是“全集”，那么“使用智能设备时间”的子集正在不可避免地越来越大。其“补集”，也就是“不使用智能设备的时间” 更应受到重视。无论是在城市还是乡村，在家中或是校园，孩子们都需要有一段离开网络、离开电子产品、离开屏幕的时间，走入户外，接触自然，实现“真实世界的玩耍（Playing in Real World）”。
“补集”不是反对，而是互补和共生。我们并不反对人工智能和电子设备，而是试图去探索与人工智能共同创造一个理想的生活图景。即使是本次策展，我们也大量使用AI的辅助进行设计，但这并不妨碍我们将本次展览呈现在一个威尼斯河畔真实的建筑环境之中。
正如AI所说：
“AI能解黎曼猜想，却算不出一只瓢虫爬过手背的痒。
当人们以为WiFi覆盖全球时，小草正接管所有的信号盲区。”
The curatorial area is located along Venice’s main street, which has heavy foot traffic. The front section serves as the exhibition hall, while the rear houses the restoration workshop.
In response to the 2025 Venice Biennale Architettura’s overarching theme, Intelligens. Natural. Artificial. Collective., we proposed the concept “Complement: Little Joys in Greater Shanghai.” As the head of Xiangju Commune and founder of YASDESIGN, I collaborated with Yang Xiaoqing’s Daguan Design and China Resources Land’s Runze Beautiful community-building team to explore Shanghai’s child-friendly urban design trends through three sections: children in the countryside, children on campus, and children in the community. In terms of the curatorial site, we set up our exhibition in a building restoration laboratory, complementing the Arsenale and garden areas — in a sense, we became their “complement.”
• Definition of “Complement”
“Complement” is a basic concept in set theory in mathematics — the part of the universal set remaining after removing a subset. For example, a box of chocolates (the universal set) from which all dark chocolates (subset A) are removed leaves the white and nut chocolates (∁UA), which form the complement of the dark chocolates.
Applied to this exhibition, what does the concept of “complement” signify?
Humans are entering an era increasingly wrapped in artificial intelligence and electronic devices (phones have effectively become “extensions of the human body”), and this trend is unstoppable. How to coexist with this is a challenge everyone faces. Meanwhile, in a densely populated and highly built-up city like Shanghai, pressures from the environment, work, study, and daily life cannot be ignored.
If we consider the daily life of a typical Shanghai child as the “universal set,” the subset of time spent using smart devices is inevitably growing. Its complement — the time not using electronic devices — deserves more attention. Whether in the city or countryside, at home or on campus, children need time away from the internet, electronics, and screens: to go outdoors, connect with nature, and engage in Playing in the Real World.
“Complement” is not opposition but coexistence and symbiosis. We are not against AI or electronic devices; rather, we aim to explore co-creating an ideal lifestyle with AI. Even in this exhibition, we used AI extensively in the design process, but that did not prevent us from presenting the exhibition in a real architectural environment along the Venice waterfront.
As AI once said:
“AI can solve the Riemann Hypothesis, yet cannot calculate the itch of a ladybug crawling on your hand.
While people assume WiFi covers the world, tiny grass takes over all the signal blind spots.”
▽补集的平面海报
3、我们的亮点有哪些？Highlights
█ 展陈亮点：手机（展板）与App（图片群）的布展模式
设计表达：本次展览的展板设计成“智能手机的显示屏”，一张张图片都是倒圆角的正方形，象征着手机中的一个个App。
主题：我们希望探讨的话题：“补集”就是“互补”，线上vs 线下，虚拟vs现实，呼唤儿童放下手机等智能设备，走入大自然，感知大自然，体验大上海的小幸福。
3. Highlights
Exhibition Highlights: Display Mode Using Phones (Panels) and Apps (Image Groups)
o Design Expression: The exhibition panels are designed as “smartphone screens,” with each image shaped as a rounded square, symbolizing individual apps on a phone.
Theme: The topic we aim to explore is that “complement” means “mutual enrichment”: online vs. offline, virtual vs. real. It calls on children to put down phones and other smart devices, step into nature, connect with the natural world, and experience the little joys in greater Shanghai.
█ 现场带领参观者进行互动体验，向全世界（在威尼斯）输出中国文化：
折象棋棋子，并下中国象棋及国际象棋（复原2024年11月在崇明乡聚公社的水稻田中大家一起下巨幅中国象棋的活动）；
On-Site Interactive Experience for Visitors, Showcasing Chinese Culture to the World (in Venice):
o Folding Chinese chess pieces and playing both Chinese chess and international chess (recreating the November 2024 event at Chongming Xiangju Commune, where participants played a giant Chinese chess game in the rice fields).
▽一面是国际象棋，另一面是让参观者写中国象棋的中文棋子
在照片上贴卡通小人，是游客对我们展览的二次创作；
Photo Interaction: Visitors could stick cartoon figures onto photos, serving as a form of participatory, creative reinterpretation of our exhibition.
拿我们提供的明信片参与拍照，并回传照片给我们，这是“漂流瓶”模式的传播及体验。
Visitors used postcards we provided to take photos and then sent the photos back to us. This is a “message in a bottle” style of sharing and interaction.
▽我们收到很多参与者发送回来的打卡照片，拿着这三张明信片（分别是在乡村、在社区及在学校）拍照
从现场的反馈来看，参观者不仅有意大利人，更多是世界各国的游客。他们带着孩子都积极参与，快乐共创，通过写中国象棋的汉字、下国际象棋，了解了中国文化，都表达了要到中国来旅游的强烈意愿。
Based on feedback from the site, visitors were not only Italians but also tourists from around the world. Many came with their children and actively participated, joyfully co-creating. By writing Chinese chess characters and playing international chess, they learned about Chinese culture and expressed a strong desire to travel to China.
█ 低技与可回收
我们的布展以环保与可回收为宗旨，尽量使用厚纸板等材料。
我们力图以“轻建造”的方式来表达，是轻巧、快速，投入低、类似快闪的布置方式。不是重投入、大建造。所以，我们是非常高效的，3个小时之内就布展完成。
结束之后，全部回收拆除，无废弃垃圾产生，零碳模式。
Low-Tech and Recyclable
• Our exhibition setup prioritized environmental protection and recyclability, using materials such as thick cardboard whenever possible.
• We aimed to express the concept through light construction: lightweight, quick, low-cost, and similar to a pop-up installation. It was not heavy investment or large-scale construction. As a result, the setup was highly efficient and completed within three hours.
• After the exhibition, everything was dismantled and fully recycled, generating no waste — a zero-carbon approach.
4、我们有哪些内容？
█ 儿童在乡村：有爱的小岛——“崇明岛VS威尼斯”
我带来我一家人（景观师俞昌斌、建筑师陈远及孩子俞兆鹏）共同成长和建造了10年的崇明岛乡聚公社及实验田。同时，我也带来了许多参与乡聚公社建造及活动的建筑师、高校老师及学生、还有建筑事务所参与的作品，这是大家一起在大自然中共创的杰作。另外，我还带来了崇明岛的农场和民宿联合形成的命运共同体（我称之“Airbnb+Airfarm”），这些农场和民宿都是孩子们的秘密基地，他们疯狂地热爱这里，恨不得每个周末都来崇明岛撒野。
4. Contents
Children in the Countryside: The Loving Island — “Chongming Island vs. Venice”
I brought our family — landscape architect Yu Changbin, architect Chen Yuan, and my child Yu Zhaopeng — who have spent 10 years growing and building the Xiangju Commune and experimental fields on Chongming Island. At the same time, I brought works created by architects, university professors and students, and architectural offices who participated in building and activities at Xiangju Commune; these are masterpieces co-created by everyone in nature.
Additionally, I brought the network of farms and homestays on Chongming Island, forming a community of shared destiny (which I call “Airbnb + Airfarm”). These farms and homestays serve as secret bases for children, who are wildly enthusiastic about the place and wish they could come to Chongming Island every weekend to play freely.
总之，通过“儿童在乡村”这个小主题，我希望探讨的是：在乡村肆意撒野，是城市规矩生活的“补集”。
如何给孩子们带来“小幸福”？
这又引出一个城乡规划的大课题：上海市区最大的岛如何通过景观+建筑设计来复兴？
首先，崇明岛的定位就是打造一座世界级的生态岛。我们要保护好农田土壤、生物的多样性及使用环保材料，这是对孩子们身体健康的保障（正如《寂静的春天》一书谈到了美国农业生产大量使用化学农药等对大自然的生态链造成危害）。
In short, through the small theme of “Children in the Countryside”, what I aim to explore is: Playing freely in the countryside is the complement to the regulated life of the city.
How can we bring “small happiness” to children?
This also raises a major urban–rural planning question: how can Shanghai’s largest island be revitalized through landscape and architectural design?
First, the goal for Chongming Island is to develop it into a world-class ecological island. We must protect farmland soil, biodiversity, and use environmentally friendly materials — all of which safeguard children’s health (as discussed in Silent Spring, which highlighted the ecological damage caused by extensive chemical pesticide use in U.S. agriculture).
第二，面向未来，我们要把崇明岛打造一座艺术-活动-设计岛。“艺术岛”地标项目是我的乡聚公社及稻田大地艺术节，采用新的麦田怪圈的形式延续了十年的时间线，是具有时代性和文化性的设计实践。“活动岛”聚焦专为儿童打造的狂欢撒野体验。“设计岛”列举了方便居民使用、有功能考虑的学生参与搭建竹桥、木亭及堆肥塔等设施。
Second, looking to the future, we aim to transform Chongming Island into an Art–Event–Design Island. The landmark Art Island project is my Xiangju Commune and the Rice Field Land Art Festival, which has continued for ten years in the form of new crop circles — a design practice with both temporal and cultural significance. Event Island focuses on wild, playful experiences specifically designed for children. Design Island showcases facilities built with student participation, such as bamboo bridges, wooden pavilions, and compost towers, designed for residents’ use and functional considerations.
第三，立足当下，我们要把崇明岛打造成一座共创岛。这是参与体验者的共创，包括农耕文化、自然教育及心理疗愈。内生动力是崇明岛农场及民宿的共创，外部支撑是上海其他社区（如润泽美好社群平台）与崇明岛“岛民们”的共创。
Third, based on the present, we aim to transform Chongming Island into a Co-Creation Island. This involves the co-creation of all participants, including agricultural culture, nature education, and psychological well-being. The internal driving force comes from the co-creation between Chongming Island’s farms and homestays, while external support comes from the co-creation between other Shanghai communities (such as the Runze Beautiful community platform) and the “islanders” of Chongming Island.
█ 儿童在校园：呵护成长的场所
对于成长中的孩子们来说，他们大部分的时间是在校园中度过的。2024年上海共有1583所中小学和154万学生，这是一个庞大的群体。AI时代的校园面临技术和空间上的双重挑战。技术上教学设备正在快速升级和现代化，人工智能的普及正以前所未有的速度重塑教育形态。空间上，过去20年快速发展的新建学校大多是在统一范式下建设的，越来越难以适应新型和多样化的教学需求。升学与考试的沉重压力令心理问题及疗愈治疗也越来越受到重视。
“美丽校园计划”是我们与上海市实验学校共同发起和推动的校园空间更新类项目，旨在缓解这些紧张关系，探索传统学校空间的更多可能性。这一计划将课程学习从室内延展到室外，将自然环境从室外渗透入室内，形成一系列 “没有围墙的教室”和“校园中的公园”。自2015年起的10年暑期时段，分批次实现了近30个点位，覆盖80%校园空间的渐进式改造。在充分尊重现状自然要素的前提下激发出旧有校园的全新活力，创造出丰富的校园生活。
基于面向未来的学校角度，“儿童友好的校园环境”是“现代化教室”的“补集”。自然环境是最天然的多感官刺激课堂，通过户外活动有助于提升儿童的执行功能、记忆和认知灵活性，这些能力同样对学习至关重要，让校园户外环境也成为学习的发生地。孩子们每天至少有一小时的“无屏幕时间”，不再局限于室内，可以延伸至户外，在轻松和愉悦的氛围中活动、交流和成长。
Children on Campus: Nurturing Growth Spaces
For growing children, most of their time is spent on campus. In 2024, Shanghai had 1,583 primary and secondary schools and 1.54 million students — a massive population. In the AI era, campuses face dual challenges in technology and space. Technologically, teaching equipment is rapidly upgrading and modernizing, and the proliferation of artificial intelligence is reshaping education at an unprecedented pace. Spatially, most newly built schools over the past 20 years have been constructed under standardized paradigms, making it increasingly difficult to accommodate new and diverse teaching needs. The heavy pressure of exams and advancement has also brought mental health and therapeutic interventions into focus.
The Beautiful Campus Plan is a campus space renewal project we initiated and promoted in collaboration with Shanghai Experimental Schools. Its goal is to ease these tensions and explore new possibilities for traditional school spaces. The plan extends classroom learning from indoors to outdoors, integrating the natural environment from outside into indoor spaces, creating a series of “classrooms without walls” and “parks within the campus.” Over ten summer sessions since 2015, nearly 30 locations were gradually renovated, covering 80% of campus space. While fully respecting existing natural elements, the project revitalized old campuses and created enriched campus life.
From a forward-looking school perspective, a child-friendly campus environment is the complement to “modern classrooms.” Natural environments serve as the most authentic multisensory classrooms, and outdoor activities help improve children’s executive functions, memory, and cognitive flexibility — abilities equally essential for learning. This approach turns outdoor campus spaces into active learning sites. Children have at least one hour of “screen-free time” each day, no longer confined indoors, allowing them to move, interact, and grow in a relaxed and joyful atmosphere.
▽儿童友好的校园环境，上海大观设计工作室主持设计师 杨晓青 设计
█ 儿童在社区：沉浸式“美好”体验的家园
在社区花园里沾满泥土的小手，在文化艺术里激荡的头脑风暴，是课堂生活与家庭生活的补集。
当威尼斯水巷与上海弄堂在双年展的时空交汇，我们以“儿童”为集体视角，以“社区”为观察场景，以挣脱屏幕为尝试，通过6个发生在华润社区的小故事以及主理人的一幅画，折射出数字原住民集体栖居的本质命题。让孩子的脚尖与大地接触，让人工智能成为通往户外的桥梁。
“润泽美好”是来自中国上海的华润置地与万象服务携手各方围绕人民美好生活共建的片区价值共生平台，从上海40余个社区土壤里萌发出200多位主理人。该篇章展示一场关于“社区未来可能性”的东方实践，建立“无屏生态” 的系统解决方案。在中国城市化进程中，我们相信：未来的人民美好生活埋藏在儿童奔跑的足印里，生长于普通人共建的日常中。
Child-Friendly Campus Environment — Designed by Yang Xiaoqing, Lead Designer at Shanghai Daguan Design Studio
Children in the Community: Immersive “Beautiful” Experiences at Home
Little hands covered in soil in community gardens, minds sparked by cultural and artistic brainstorming — these are the complement to classroom and home life.
When Venice’s canals intersected with Shanghai’s alleyways in the biennale’s spatiotemporal context, we took “children” as the collective perspective, “community” as the observational lens, and screen-free exploration as the experiment. Through six stories set in China Resources Land communities and a painting by the curator, we reflected on the essence of how digital natives collectively inhabit space. Children’s toes touch the earth, and artificial intelligence becomes a bridge to the outdoors.
Runze Beautiful is a regional value co-creation platform in Shanghai, jointly built by China Resources Land and Mixc Services, focusing on people’s well-being. From the soil of over 40 communities in Shanghai, more than 200 curators have emerged. This chapter showcases an Eastern practice of “future community possibilities,” establishing a systematic solution for a screen-free ecology. In China’s urbanization process, we believe the future of a good life lies in the footprints of children running and grows from the everyday co-creation of ordinary people.
▽三个发生在社区中的孩子们的故事，来说明体验“美好”的意义
5、我们学到了什么？
此次威尼斯之旅，宛如一场深邃的东西方建筑与景观的思想对话。我们沉浸于国际顶尖建筑师如何以设计为语言，将“问题”转化为诗意的解答——他们以技术为笔，自然为砚，书写关于智能、个体与集体的空间叙事。材料被赋予生命，建筑如树木生长，如海藻蔓延，如棕榈回应风与光，展现出一种根植于自然的智能与呼吸。
我们看见，建筑师不仅调用个人的哲思与人工智能的辅助，更凝聚集体的智慧，在共创中回应社会住房、社区共生等重大议题。这一切，不仅是技术的创新，更是建筑作为社会媒介所承载的伦理与温度。各国国家馆亦以独特的设计语言，展开对本土文化的深掘与反思，让建筑以一种沉默而有力的方式呈现出来，介入并改变现实。
而同样令人深思的是——景观师，应当勇敢地走出沉默。我们当以大地为纸、生态为墨，提出自己的宣言；应当跨出惯性思维的边界，主动汲取跨学科的养分；更应学习建筑师的结构思维，以景观设计的语言——柔软而绵长、生长且包容——去表达自然、空间与人文之间细腻而恢弘的关联。
唯有如此，景观设计的作品才能不再只是简单的背景，而是诉说生命、时间与自然的诗人。
5. What Did We Learn?
This trip to Venice felt like a profound dialogue between Eastern and Western architectural and landscape ideas. We immersed ourselves in how world-class architects use design as a language to transform “problems” into poetic solutions — using technology as their brush and nature as their inkstone, they write spatial narratives about intelligence, individuality, and collectivity. Materials are imbued with life; buildings grow like trees, spread like seaweed, and respond like palms to wind and light, embodying a kind of intelligence and breath rooted in nature.
We observed that architects not only draw on personal philosophical reflection and AI assistance but also harness collective wisdom, addressing major societal issues such as housing and community symbiosis through co-creation. This is not merely technological innovation but also a demonstration of architecture’s ethical and humanistic dimension as a social medium. National pavilions from various countries, through their unique design languages, deeply explore and reflect on local culture, allowing architecture to intervene in and transform reality in a silent yet powerful way.
Equally thought-provoking is this: landscape architects should dare to break their silence. We must take the earth as our paper and ecology as our ink to make our own declarations; step beyond habitual thinking and actively draw on interdisciplinary knowledge; and learn from architects’ structural thinking, using the language of landscape design — soft yet enduring, growing yet inclusive — to express the subtle yet grand connections between nature, space, and humanity.
Only in this way can landscape design work cease to be mere background, becoming instead a poet that tells stories of life, time, and nature.
6、总结：本次参展的价值和意义
此次威尼斯双年展艺术之夜的策展行程，宛如一场跨越东西方的景观对话。我们以双年展为镜，凝视国际建筑与景观大师笔下的空间韵律，在威尼斯的柔波与光影之间，捕捉设计思潮的涌动。眼界如帆，思维似舟，在这一片无垠的学术海域中，我们悄然完成了一次自我的破茧与重塑。
本次策展，是风景园林、环境艺术与社区营造领域中一枚轻盈而深情的注脚——它不喧哗，却以实验的姿态探索社区、自然与人文的共鸣；它不宏大，却尝试以东方的语言，参与世界对话。与此同时，这片微小的星星之火坚定地在异国的夜空中静静闪烁，将中国文化的细腻与深远，映照于旷远的国际视野之中。愿这段旅程如一颗种子，在未来的某刻，生长成连接东西方思想的一座桥、一片林、一首永恒的诗。
Summary: Value and Significance of This Exhibition
The curatorial journey at Venice Biennale Art Night was like a dialogue in landscape across East and West. Using the biennale as a mirror, we observed the spatial rhythms crafted by international masters of architecture and landscape, capturing the flow of design ideas amidst Venice’s gentle waves and shifting light. Our horizons sailed wide, our thoughts navigated deep, and within this boundless academic sea, we quietly underwent a process of self-transformation and renewal.
This curatorial project serves as a delicate yet heartfelt footnote in the fields of landscape architecture, environmental art, and community building — unassuming yet experimental in exploring the resonance between community, nature, and humanity; modest yet attempting to contribute to a global dialogue with an Eastern voice. At the same time, this small spark quietly shone in a foreign night sky, reflecting the subtlety and depth of Chinese culture onto a vast international perspective. May this journey, like a seed, one day grow into a bridge connecting Eastern and Western ideas, a forest, or an eternal poem.
7、致谢
本次策展聚焦上述主题，以景观师为主，建筑师、高校老师、艺术家、社区及民宿农场主理人等配合，从细节之处表达我们对上海建设儿童友好城市的实践探索 。
在“儿童在乡村”篇章，我要感谢：厦门大学创意与创新学院环境设计讲师岳子泓（英国ARB/RIBA注册建筑师）；上海大椽建筑设计事务所洪东涛建筑师；上海正象建筑设计事务所合伙人荆哲璐建筑师（ZEN DESIGN, Jing Zhelu, Partner）；万德兰地环境艺术（Wonland）主理人王有成景观师；崇明百友居生态农场主理人陈章生先生；崇明椿庭朴门农场主理人熊锋先生（Heartland）；崇明西岸氧吧民宿主理人沈洋先生及陆一成女士；崇明也山民宿（Yeshan Hotel）主理人张雪婷女士；崇明桃花源墅主理人施晓莺和钱春叶女士；崇明知谷1984民宿、知谷壹馆主理人及上海乡村CEO联盟发起人刘庆、银子夫妇；崇明逅院民宿主理人张锦松、沈玉莹夫妇；崇明青慢民宿主理人施培琴女士。在“儿童在校园”篇章，我要感谢：上海绿建建筑设计有限公司（SHANGHAI GREEN ARCHITECTS）朱蔚蔚、何如建筑师。在“儿童在社区”篇章，我要感谢：华润置地润泽美好运营团队。
总之，在大家的共同努力之下，我们在威尼斯展示出一份独特的中国故事。
Acknowledgments
This curatorial project focused on the themes described above, led primarily by landscape architects, with collaboration from architects, university professors, artists, community members, and owners of homestays and farms, expressing in detail our practical exploration of building a child-friendly city in Shanghai.
In the “Children in the Countryside” chapter, I would like to thank: Yue Zihong, Lecturer in Environmental Design at Xiamen University’s College of Creativity and Innovation (ARB/RIBA registered architect, UK); Architect Hong Dongtao from Shanghai Dachuan Architecture Design Office; Architect Jing Zhelu, Partner at Shanghai Zhengxiang Architecture Design Office (ZEN DESIGN); Wang Youcheng, landscape architect and owner of Wonland Environmental Art; Chen Zhangsheng, owner of Chongming Baiyouju Ecological Farm; Xiong Feng, owner of Chongming Chunting Pumen Farm (Heartland); Shen Yang and Lu Yicheng, owners of Chongming West Coast Oxygen Bar Homestay; Zhang Xueting, owner of Chongming Yeshan Hotel; Shi Xiaoying and Qian Chunye, owners of Chongming Taohuayuan Villa; Liu Qing and Yin Zi, owners of Chongming Zhigu 1984 and Zhigu No.1 Restaurant, and initiators of the Shanghai Rural CEO Alliance; Zhang Jinsong and Shen Yuying, owners of Chongming Houyuan Homestay; Shi Peiqin, owner of Chongming Qingman Homestay.
In the “Children in Campus” chapter, I would like to thank: Zhu Weiwei and Architect He Ru from Shanghai Green Architects.
In the “Children in the Community” chapter, I would like to thank: the operation team of China Resources’ Runze Beautiful project.
In short, thanks to everyone’s collective efforts, we were able to present a unique Chinese story in Venice.
审稿编辑：Maggie
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