南头古城研究和改造实验丨中国深圳丨都市实践

出品人：向玲 / Producer: Xiang Ling

编辑：石安，亓慧、庞任飞，张笑然 / Editor: Shi An, Qi Hui, Pang Renfei, Zhang Xiaoran

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越来越“都市实践” Urban Practice

都市实践近七、八年来还是有挺大改变的，应该说更加名副其实，越来越“都市实践”了。我们一直在探索各种城市介入的方式，随着城市化进程的深入，这些年有很多更适合于都市实践干的事情。当下中国城市的困境，包括房地产的下行，对我们这种以解决问题为导向的事务所，可能反而是机遇！

2016年我们开始做南头古城的研究和改造实验，这是一个很重要的转折。2017年我们提议导入了第七届深港双年展，随后又开启了深圳城中村改造升级迭代的龙岗“城/村计划”。都市实践的标志性项目，往往并不是只有一个光鲜的外壳，它更多的是要激发有活力和想象力的城市生活，是真正对城市有比较大改变的重要节点。

Over the past seven or eight years, URBANUS has undergone significant changes, becoming more true to its name—more of an “urban practice.” In the early years, we explored various ways of engaging with the city. As urbanization has deepened, many opportunities have emerged that are well-suited for URBANUS to take on. Recent shifts in China’s urban landscape, including changes in the real estate industry, have actually been beneficial for us, as they align with our problem-solving-oriented approach.

A major turning point came in 2016 when we began researching and renovating Nantou Old Town. In 2017, we introduced the 7th UABB into the area, which was soon followed by the launch of the Longgang City/Village Initiative, an iterative process of upgrading and transforming Shenzhen’s urban villages. The hallmark projects of URBANUS are not just about creating visually striking exteriors; more importantly, they aim to inspire imaginative urban life and serve as critical interventions that bring substantial change to the city.

▼都市实践深圳事务所办公环境，URBANUS Shenzhen Office Environment

▼都市实践深圳事务所团队，URBANUS Shenzhen Office Team

同时， 我们用5年的时间整理出版了《城村共生》一书， 结合我们20年来对城中村的研究及实践，汇集了来自建筑、规划、地理学、社会学、经济学、管理学等多领域学者、专家的观点，同时也包含了租户、村集体、艺术家、政府、运营商等多方视角，全方位展示了不同的观察角度及实验方法，探索面对日益同质化的城市发展，我们是否有可能找到另一种更具包容性和多样性的发展道路？

At the same time, over the course of five years, we compiled and published the book URBAN VILLAGE COEXISTENCE, which consolidates our two decades of research and practice in urban villages. The book brings together insights from scholars and experts across multiple fields, including architecture, urban planning, geography, sociology, economics, and management. It also incorporates perspectives from tenants, village collectives, artists, government officials, and developers. By presenting a comprehensive range of observations and experimental approaches, the book explores whether, in the face of increasingly homogenized urban development, we can discover a more inclusive and diverse path forward.

▼《城村共生》书封内页，Book cover and pages of URBAN VILLAGE COEXISTENCE

▼孟岩应邀到普林斯顿和密歇根大学建筑学院演讲，Meng Yan was invited to give lectures at Princeton and Michigan University, School of Architecture

“用研究引领设计来改变城市，这是我们一直以来的目标，始终没有变。”

“Guiding design through research to shape the city has always been our mission, and that remains unchanged.”

第二个近期比较重要的项目是2018年开始的福[+]计划，福田中心区的公共空间改造，它是一系列“都市造园”计划的一部分，更重要的是一项对城市中心的“新城改造”。我一直认为我们40多年来建的新城比旧城问题更大，最该改造的恰恰是这些新城。听起来好像有点刺耳，但实际上却是一个非常迫切的“在地”话题。

此外，对于深圳这个一贯以科技、创新和发展为主线的年轻城市，它的80、90年代的建筑和工业遗存到底有没有价值？它的价值在哪里？有什么独特的地方？2019年以来的金威啤酒厂等一系列改造项目，是我们介入到当代遗产保护中，去探索它到底应该保什么，应该留什么，哪些应该去进一步放大和提升。

A particularly significant project in recent years is the FU[+] Infill Plan, launched in 2018, which focuses on transforming public spaces in Futian’s central district. It is part of a broader “urban garden-making” initiative but, more importantly, represents a “new town renewal” effort at the heart of the city. I have long believed that the new towns built over the past 40 years pose greater challenges than older urban areas, and that these new towns are precisely where transformation is most needed. This perspective may sound provocative, but in reality, it is an urgent and highly site-specific issue.

Additionally, as a city driven by technology, innovation, and rapid development, Shenzhen must confront key questions about its architectural and industrial heritage from the 1980s and 1990s: Does it have historical value? Where does its significance lie? What makes it unique? Since 2019, projects like the Kingway Brewery renovation and other similar initiatives have enabled us to engage in contemporary heritage preservation, exploring what should be conserved, what should remain, and which aspects should be further amplified and redefined.

▼都市实践深圳团队工作照片，URBANUS Shenzhen Team while working

▼都市实践深圳团队与孟岩在项目现场，URBANUS Shenzhen Office Teamand Meng Yan at the Project Site

这么多年来，我们做的事情看似很杂，种类很多，但是实际上核心的主线没有变，我们一直沿着一条主线在走。所以在挑选项目的时候，其实就是看它是否能够充实我们的在地知识，能带来城市观念的改变。每个建筑都是独特的，每个项目都是一次机会，去探讨建筑学和城市层面上的话题。我们会抓住这些项目，真正把我们20年间所想的问题和探索的策略，集中地呈现出来。用研究引领设计来改变城市，这是我们一直以来的目标，始终没有变。

Over the years, our work may appear diverse, spanning a wide range of projects, but our core trajectory has remained unchanged—we have always followed a clear and consistent path. When selecting projects, our primary criterion is whether they can deepen our local knowledge and expand our understanding of the city. Every building is unique, and every project is an opportunity to engage with architectural and urban discourse. We embrace these opportunities to distill and showcase the questions we have been exploring and the strategies we have developed over the past two decades. Guiding design through research to shape the city has always been our mission, and that remains unchanged.

▼都市实践深圳事务所部分代表作品，selected projects by URBANUS Shenzhen Office

对城市新模式的研究

Research on New Urban Models

我们早在2002年就开始了深圳城中村的研究，那时候只是没有太多实践的机会，我们一直在寻找一种不同于现有建造城市的模式，城中村与民间的、地方的历史和文化有关，在某种意义上甚至可以说预示着另一种未来的可能性。

20年来我们一直在研究这个话题，2016年我们有机会在南头古城去做一些介入实验。它的目的不只是为了城中村，更多的是要让人反观周边的城市，反思是哪里不对，自发生长的城中村和我们规划的新城到底哪里更具城市性？ 所以在策划2017年双年展的时候，我们就向公众提出了这个问题。

We began researching Shenzhen’s urban villages as early as 2002, though at the time, opportunities for practical intervention were scarce. From the start, we sought an alternative model of urban development—one that diverged from conventional city-building approaches. Urban villages are deeply rooted in local history, culture, and grassroots communities, and in some ways, they even suggest a possible future beyond the dominant urban paradigm. For the past 20 years, we have continued to explore this subject. In 2016, we had the opportunity to conduct experimental interventions in Nantou Old Town. The intent was not only to address urban villages themselves but to prompt a broader reflection on the surrounding city—where have things gone wrong? Between organically evolved urban villages and meticulously planned new towns, which truly embodies the essence of a city? With these questions in mind, when curating the 2017 Shenzhen Biennale, we deliberately brought this conversation to the public.

▼南头古城+双年展展场改造；深双开幕, 2017, Renovation of Nantou Old Town and Architectural Design of UABB Venue; UABB Opening, 2017 © UABB 摄影 张超

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▼南头杂交楼 2023，Nantou Hybrid Building 2023 © 张超 点击这里查看更多，Click HERE for details

▼城/村计划 – 妈祖北（上），甘坑新村（下）2025，Longgang City/Village Initiative 2025

“我们一直希望城市能够变得更复杂，更有想象力、更丰厚、更自由开放、更包容。”

We always hope for cities to become more complex, imaginative, rich, free, and open—more inclusive in every way.

福[+] 计划，是探索能不能在城市中心区的中轴线上叠加一层新的城市公共生活，能不能产生一些新的城市事件、城市空间和未来新的业态，我们提出的“加一层”设想，在原有城市结构的基础上，再做加法，叠加一层另类的新物种，看看它能不能和原来的城市产生新的化学作用。

FU[+] Infill Plan explores the possibility of layering a new dimension of urban public life onto the central axis of the city’s core. Can this intervention generate new urban events, spaces, and future forms of activity? The idea of “adding a layer” builds upon the existing urban structure—introducing an alternative new element to see if it can catalyze new interactions and transformations within the city.

▼福[+]计划—福田中心区公共空间活力提升 2021，FU[+] Infill Plan — Revitalization of Public Space in Futian CBD 2021

包括北京前门东区的四合院片区改造，虽然手段截然不同，但是思路是很接近的。我们一直认为老城区应该是一种新旧杂糅、新老杂居的生活方式，我们称之为“老胡同新生活”，同时能创造一种老城新的居住类型——“都市新杂院”，我们希望年轻人、老人、本地人、外地人，所有人都能住在一起，而且能够和谐共享一种并置了历史和当代生活的居住方式。

城市里的居住模式应该是非常多元的，能够创造出多样的生活体验，所以我们一直希望城市能够变得更复杂，更有想象力、更丰厚、更自由、更开放包容。我们所有举动的价值导向其实都是非常一致的。

This includes the transformation of the Siheyuan in the East Front Gate area of Beijing. While the methods may differ, the approach is fundamentally similar. We have always believed that the old city should embrace a blend of the old and the new, fostering a way of life that merges both. We call this “Old Hutongs, New Life”, while also envisioning a new form of urban housing for the old city—”Urban Cluttered Quads”. Our goal is for young people, the elderly, locals, and outsiders to live together in harmony, sharing a lifestyle that blends history with contemporary living.

Urban living should be diverse, offering a range of experiences. That’s why we have always hoped for cities to become more complex, imaginative, rich, free, and open—more inclusive in every way. The values behind our work have always remained consistent.

▼都市杂院– 草厂横胡同2016，Urban Cluttered Quads – Caochang Heng Hutong 2016 摄影：陈尧

▼葫芦院–銮庆胡同37号 2017，Quad of Gourd – No.37 Luanqing Hutong 2017 ©吕博

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工业遗存改造

Transformation of Industrial Heritage

在工业遗存改造的时候，很大一部分工作很像考古，是去发现而不是发明，你要知道工厂原来的运作流程是什么样的，哪些地方是需要保持某种距离感和神秘感，那些地方是需要人们真正走进去体验的。这个时候就需要穿针引线，去敲定新和旧的关系。

从遗存的角度来讲，金威啤酒厂的规模并不算大，但小有小的意思，它跟人的关系很近，像一个小公园或者一个小迷宫。我们当时做了很多工作，一个是把它的基座清出来，包括填在地下的水罐，污水池等等。“迷宫”这种感受实际上是它本身造成的。原本不可达的空间，在我们有意识地处理后，变得可以进入体验，增加了很多动线的选项，时间也在无形中被延迟了。

In renovating industrial heritage, much of the work feels like archaeology—it’s about discovery, not invention. You need to understand the original workings of the factory, identify which areas should retain a sense of distance and mystery, and which should invite people to explore and experience them. The key here is carefully balancing the relationship between the old and the new.

From a heritage standpoint, the Kingway Brewery isn’t large, but its smaller scale offers unique qualities. Its close connection to people gives it the feel of a small park or maze. We focused on clearing its foundation, including underground water tanks, sewage pools, and more. The “maze” experience is inherent to the space itself. Once we intentionally transformed previously inaccessible areas, they became open to exploration, adding more pathways and subtly stretching the experience of time.

▼第九届深双主展场 – 金威啤酒厂改造，Kingway Brewery Renovation（Main Venue of 9th UABB） © TAL 点击这里查看更多，Click HERE for details

在当下这个时代，当一切都以速度和效率为上，这组小小的建筑空间就是给你一个机会，让你耽误点时间，让你偶遇一些作品，甚至偶遇一些朋友，让自己有迷路的这种“奢侈”。它没有确定的功能，而是想带给人们更多元的体验，从这个空间不同的孔隙中看到的城市风景可能也会不一样，它和城市是一种互观的效果。

In today’s fast-paced world, where speed and efficiency dominate, this small architectural space offers a chance to slow down—to encounter art, meet new people, and even indulge in the “luxury” of getting lost. It doesn’t serve a fixed function; rather, it aims to provide a variety of experiences. The urban landscape viewed through its different openings may reveal new perspectives, fostering a reciprocal relationship between the space and the city.

“有的时候被迫改变策略恰恰能带来一些惊喜。”

“At times, being forced to adjust our strategies leads to surprising outcomes.”

所有改造项目都具有一定的不可测和不可预知，这种“冒险”，反而是一件比较有意思的事情。有的时候被迫改变策略恰恰能带来一些惊喜。这在金威啤酒厂与华侨城当代艺术中心 B10馆里其实出现了很多次。B10新馆中，最早我们是希望保留建筑的原状，然后将新的展厅嫁接在房子的上方，形成一个巨大的 T字形悬挑，但由于成本等各方面的原因，后来就变成了一个相对保守的方案。顶部天光带来空间的趣味性，但展馆还是缺少某种新意，是一个很典型的当代艺术馆。

Renovation projects inherently involve unpredictability and the unknown, and it’s this “adventure” that makes them particularly fascinating. At times, being forced to adjust our strategies leads to surprising outcomes. This happened repeatedly during the Kingway Brewery Renovation and OCAT-B10 projects. Initially, we wanted to preserve the original structure of the B10 building and add a new exhibition hall on top, creating a large T-shaped cantilever. However, due to budget and other constraints, the final design became more conservative. The skylights above added some interest, but the museum still lacked a certain innovation, remaining a typical contemporary art museum.

▼OCT当代艺术中心-B10馆 2022，OCT Contemporary Art Terminal-B10 2022©TAL 点击这里查看更多，Click HERE for details

“艺术馆、美术馆不应该只是一个展示和消费的场域，而是应该具有“生产”的功能，从生产艺术品到生产观念，它会有一种更加强大的力量。”

“Art museums should be more than mere spaces for display and consumption; they should serve a “production” function—producing art as well as ideas. ”

之后，加建部分在施工途中又因面积问题，被规划部门搁置了。最后我们在现场灵机一动，干脆把顶层屋顶掀了，进而产生了一种可能是全新的建筑类型 —— 顶上露天的美术馆。为了不算面积，周边的围墙也采用了半通透的形式，恰恰通过这个半通透围墙又看到了周边的城市环境。当你把装置、雕塑放在最顶上的这一层时，它自然会叠加一层城市的信息，艺术品因此也不再是放在抽象的白盒子里那样孤立无援，孑然独立的状态，形成了一种新的展示方式。恰恰就是在我们做设计和施工的过程当中，这种决策的改变造就了新的类型。所以建筑改造的魅力也在于它的可知也不可知。我们一直觉得艺术馆、美术馆不应该只是一个展示和消费的场域，而是应该具有“生产”的功能，从生产艺术品到生产观念，它会有一种更加强大的力量。通过空间和艺术品之间的关系，激发出改变，或者说激发出你去跟它“玩起来”的那种欲望，这是我们特别期待的一个事情。

Later, during construction, the expansion was halted by the planning department due to space issues. In a moment of inspiration, we decided to remove the roof of the top floor, creating what might be a completely new architectural typology—a rooftop, open-air museum. To avoid counting this area as part of the building’s square footage, we designed the surrounding walls to be semi-permeable, allowing glimpses of the urban environment beyond. By placing sculptures and installations on this top level, we not only layered the art with the surrounding city but also transformed it from being isolated in an abstract white box into a new form of exhibition.

This shift in decision-making during the design and construction process ultimately gave birth to a new architectural type. The true allure of architectural renovation lies in this combination of the known and the unknown. We’ve always believed that art museums should be more than mere spaces for display and consumption; they should serve a “production” function—producing art as well as ideas. This provides the potential to create a powerful, transformative impact. By fostering a dynamic relationship between the space and the artwork, we aim to inspire change and engage visitors, sparking a desire to interact with the art in a meaningful way.

▼OCT当代艺术中心-B10馆 – 屋顶露天展厅，OCT Contemporary Art Terminal-B10 – open air gallery©TAL

▼OCT当代艺术中心-B10馆 2022，OCT Contemporary Art Terminal-B10 2022©TAL

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探索新的空间类型

Explore new types of space

“我们不断地在寻找机会，希望能够在中国的城市化进程中创造一些特殊的建筑类型，特殊的机遇，对建筑学、对于城市空间模式有新的贡献。”

“We’re continuously looking for opportunities to create unique building types and provide new possibilities in China’s urbanization process, offering fresh insights into architecture and urban spaces. ”

粤海文体中心所在的位置是非常典型的当下新城区的标准摸样，周边全部是封闭的高层住宅区，生活环境宁静舒适但极其乏味平庸。所以我们希望用这座将近70米高的城市公共建筑“破一破”这样的生活环境。它的功能非常多元：从半地下的小型实验性剧场、小酒吧、培训教室，一些配套的商业；到上层的图书馆、儿童教育设施，展厅；再往上的功能还有游泳、健身、篮球、排球，网球，室内滑板，甚至攀岩。它想提供一种跟城市互动的介质，一种新的生活方式。我们觉得在这样一种高密度的居住环境下，更需要有一些惊喜，有一些可以跟别人分享的场所，各种阶层的人在里面都能找到自己喜欢的东西。

The Yuehai Culture and Sports Center is situated in a typical modern city area, surrounded by high-rise residential blocks that create a very uniform lifestyle. With this nearly 70-meter-high public building, our aim was to break up such a monotonous environment. The center offers a diverse range of functions: from a small experimental theater, bar, and training rooms in the semi-basement, to commercial spaces, a library, children’s education facilities, exhibition halls, and further up, swimming, fitness, basketball, volleyball, tennis, indoor skateboarding, and even rock climbing. It’s designed as a medium for interaction with the city, offering a new lifestyle.

▼粤海文体中心 2025，Yuehai Culture and Sports Center 2025

中国几十年来建造了这么多的城市和建筑，但真正对于未来的城市和建筑有哪些类型上的贡献，我觉得这是一个问题。所以我们也在不断地寻找各种实验机会，希望能够在中国的城市化进程中创造一些特殊的建筑类型，特殊的机遇，对建筑学、对于城市空间模式有新的贡献。都市实践这几年来也是越来越有意识地在探索这些问题。

In such high-density residential areas, we believe it’s crucial to introduce elements of surprise and create shared spaces where people from different backgrounds can find something they enjoy. While China has constructed countless cities and buildings over the past few decades, the question remains: what real contributions have we made to the future of urban and architectural design? We’re continuously looking for opportunities to create unique building types and provide new possibilities in China’s urbanization process, offering fresh insights into architecture and urban spaces. Over the years, URBANUS has become increasingly focused on exploring these issues.

▼粤海文体中心 2025，Yuehai Culture and Sports Center 2025 点击这里查看更多，Click HERE for details

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城即展览

City as Exhibition

“城市变迁本身可能才是展览最有价值的部分。”

“The most valuable part of the exhibition may well be the transformation of the city itself.”

蛇口可以说是上世纪80年代中国改革开放的“起点”，山底下至今还立着“时间就是金钱，效率就是生命”这块代表当年深圳城市精神的标语牌。包括1979年极具象征性的“改革开放第一炮”的“炸山炮”也是在这儿崩开的，所以它可以说是历史大事件的一个“原点”和“现场”。所以我们当时提出来，与其只是在山上建造一个博物馆，不如把整个小山当成博物馆体验的一部分。

我们还把一些重要的历史事件，比如1984年、1992年这些对深圳历史，甚至对中国当代历史有很大改变的时间点，做成了一系列景观节点，人可以在那里停留，可以远望，可以想象当年的历史场景。所以这个展览是“活的”，周边的城市变迁，历史的痕迹和未来的发展，都将尽收眼底，你看到的城市变迁本身可能才是展览最有价值的部分。

Shekou can be regarded as the “starting point” of China’s reform and opening-up in the 1980s. At the foot of the mountain, the sign that reads “Time is money, efficiency is life” still stands today, symbolizing the spirit of Shenzhen’s early urban development. The symbolic “explosive mountain cannon,” which marked the “first shot” of reform in 1979, also took place here, making Shekou both the “origin” and the “site” of significant historical events. Therefore, we proposed that instead of simply building a museum on the mountain, we should incorporate the entire mountain into the museum experience.

We also integrated key historical milestones, such as 1984 and 1992, which marked turning points in Shenzhen’s history and even in China’s contemporary development. These moments were transformed into a series of landscape nodes where visitors can pause, gaze into the distance, and imagine the historical scenes of those times. As a result, the exhibition feels “alive,” with the surrounding urban changes, historical traces, and future developments all visible. In fact, the most valuable part of the exhibition may well be the transformation of the city itself.

▼招商局历史博物馆及微波山公园 2023，China Merchants Group History Museum & Weiboshan Park 2023 © TAL 点击这里查看更多，Click HERE for details

博物馆中间架空层可以360度望向周边，还可以登顶望向深圳湾、望向香港。它是一个用空间叙事的建筑，建筑体验与登山体验结合，回述当年蛇口创建者们的所见所想，是想重塑一种心境。建筑整体的主题回应招商局150年 “向海而生” 的变迁，是一个用空间来讲故事，并和人产生情感交流的特殊建筑体验。

The museum’s middle floor features a public space that offers panoramic views of the surroundings, while the rooftop provides vistas of Shenzhen Bay and Hong Kong. This is more than just a building; it is an architectural narrative. The experience of climbing the mountain merges with the experience of the space itself, reflecting the thoughts and visions of Shekou’s founders. The building seeks to reshape a state of mind. Its overarching theme ties to China Merchants Group’s 150-year history, encapsulating the transformation of “born from the sea.” It offers a unique architectural experience that tells a story and fosters an emotional connection with its visitors.

“都市造园”

“Urban Gardens”

实际上，“都市造园”是我们来到深圳第一天就开始做的一件事， “诗园”、“礼园”是在城市中心的集中呈现。“都市造园”计划已经伴随着都市实践走了25年了。有趣的地方就在于正是因为“都市造园”，事务所从一开始就介入了公共领域，这么多年来我们和这座城市的关系也在不断加深和转变。

In fact, “Urban Gardens” is something we started doing on our very first day in Shenzhen. “Poetry Garden” and “Rite Garden” are simply concentrated representations of this in the city center. The “Urban Gardens” project has been accompanying URBANUS for 25 years. What’s interesting is that it is precisely because of “Urban Gardens” that the office has been involved in the public domain from the very beginning. Over the years, our relationship with the city has continuously deepened and evolved.

▼深圳市民中心诗园礼园 2019，Shenzhen Civic Center “Poetry Garden” and “Rite Garden” 2019 © 张超

“不需要去刻意安排的生活方式，这就是我们做设计的目的之一。”

A lifestyle that doesn’t require deliberate arrangement; this is one of the goals of our design.

深圳的城市中心尺度非常巨大，北中轴周边的当代艺术馆和城市规划馆、音乐厅、图书馆，都是巨大的、机构化的城市公共建筑。但这些文化巨构并不是市民每天都要光顾的，所以我们更多的还是在人的尺度上构建小的空间场景，与此同时，在整体上也有很清晰的几何构成。我们从周边建筑的形式与几何关系上找了一些灵感，强化了原有的诗、书、礼、乐主题。同时再用一些很细腻的手段，包括一些地方性的材料，比如：采用佛山古窑烧制的手工砖，并与非常好的工匠合作来塑造园景，甚至把一些深圳的城市记忆以讲故事的方式重塑了出来，让人可以一边逛，一边发现那些大尺度城市空间里很难找到的一些细节。这些细节反而更会感动人，让人觉得城市中心富有更多的文化内涵和深度。

20多年来，我们一直想做的不只是景观，更多的是植入一种文化的内涵，所以我们延用了古人“造园”的这个词。园盖完以后，老百姓真的挺喜欢的，它们变成了一种很日常化的场景，同时它也代表了一种自由随意，不需要去刻意安排的生活方式，这就是我们做设计的目的之一。

The urban center of Shenzhen is vast, with large institutional buildings like the Contemporary Art Museum, City Planning Museum, Concert Hall, and Library surrounding the northern central axis. While these cultural landmarks are impressive, they are not places that people visit daily. Thus, our focus has been on creating smaller, more intimate spaces at a human scale, while still maintaining a clear geometric structure overall. We drew inspiration from the architectural forms and geometric relationships of the surrounding buildings, enhancing the themes of poetry, calligraphy, rites, and music.

In addition, we used refined techniques and local materials, such as handmade bricks fired in ancient kilns from Foshan, collaborating with skilled craftsmen to shape the garden landscapes. We even reinterpreted Shenzhen’s urban memories through storytelling, allowing people to wander and explore, uncovering details that would be hard to find in large-scale urban spaces. These small details ultimately create a deeper connection, giving the city center more cultural richness and depth.

For over 20 years, our aim has been to do more than just design landscapes—we’ve sought to embed cultural significance. This is why we embraced the ancient tradition of “Urban Gardens.” Once the gardens were completed, they became beloved by the public, offering a daily, accessible experience. They represent a lifestyle of freedom and spontaneity, unbound by meticulous planning. This is one of the core goals of our design.

一如既往，从问题着手 As always, start with the problem

都市实践还是一如既往，从问题着手。除了建成项目以外，其实都市实践有很大的一部分工作是在城市设计领域，此外，我们还做了大量的城市研究工作，从某个片区的研究和梳理，直到最后成就真正的设计改变。

四十余年来我们建造的新城正在面临改造，然而更迫切的是造城方式和营城观念的改造和迭代。今天如果我们还有机会建造一座新城，我们需要摒弃习以为常的造城理念和模式。每当我们走出深圳熟悉的环境，通过潜心学习在地知识，充分挖掘地方历史，坚持以研究支撑和引领我们的设计，我们都会获得新的突破。

URBANUS continues to tackle challenges in its consistent approach, starting with identifying the core issues. In addition to completed projects, a large part of URBANUS’s work revolves around urban design. We also engage in extensive urban research, from analyzing and organizing specific districts to ultimately driving meaningful design transformations.

After over four decades, the new cities we’ve built are now facing the need for revitalization. However, the more pressing matter is the transformation and evolution of city-building methods and philosophies. If given the chance to build a new city today, we must move away from traditional city-building concepts and models. By immersing ourselves in local knowledge, delving into the area’s history, and allowing our research to guide and inform our design, we continuously achieve new breakthroughs.

▼新城改造—华强北片区空间创新城市设计工作营，New City Renovation – Huaqiangbei District Spatial Innovation Urban Design Workshop

▼新城改造—湖贝统筹片区城市更新研究与设计，New City Renovation – Hubi Integrated Area Urban Renewal Research and Design

▼新城实验-东莞滨海文化区方案设计，New City Experiment –Urban Design Proposal for Dongguan Coastal Culture Zone

另外，对过去很早以前完成了的项目进行改造和扩建也是都市实践近期一个很有意思的项目类型，比如：罗湖美术馆以及大芬美术馆。因为当时我们知道还有很多没能解决的问题，我们一直铆着劲找机会把原来做的不彻底的地方，包括之前没有实现的一些想法，争取机会重新做了修正。

Additionally, URBANUS has recently focused on the renovation and expansion of older projects, such as the Luohu Art Museum and Dafen Art Museum. Recognizing that many issues were left unresolved at the time of completion, we were eager to seize opportunities to address these gaps, revisiting areas where ideas were not fully realized and making the necessary revisions.

▼罗湖美术馆改造扩建 2025，Extension & Renovation of Luohu Art Museum 2025

▼大芬美术馆改造，Renovation of Dafen Art Museum 2007, 2023

这几年都市实践也开始做学校，这是以前没有的类型。我们认识到“学校”其实是攻破当下与城市生活割裂的城市观念壁垒的一个很重要的机遇。学校如何能跟社区更好地结合，未来的学校是否能够实现完全开放，跟社区之间产生更好的互动？我们都会做专题的研究。

In recent years, URBANUS has also ventured into designing schools, an area we hadn’t previously explored. We see schools as a crucial opportunity to break down the divide between urban living and city life. How can schools better integrate with the community? Can they be completely open and foster meaningful interaction with the surrounding areas? These are key areas of research we actively explore.

▼龙岗双子星学校，Longgang Twin Stars School 2025 © TAL

都市实践这些年也在材料研究、结构创新、建造体系和AI应用方面等做积极探索。所以我相信，对都市实践来讲，未来的5年，创新迭代的机遇是全方位的。相比前些年城市发展的一路狂奔，我们现在面临的这种行业环境和城市化状态，反而应该是更正常一些。建筑师作为研究者、策动者、协调者和技术方案的提供者，很多时候我们必须要面对既有的复杂城市环境，针对具体的难题去给出答案，让我们的城市环境变得更好，这种改变是顺势而为、润物无声的。离开了以往在资本和权力夹持下的虚幻造景，这个下沉的时代反而能催生和滋养未来具有坚实思想基础和真正价值观的一代建筑师，我倒认为这是一件好事。

Over the years, URBANUS has actively explored material research, structural innovation, construction systems, and AI applications. Looking ahead, I believe the next five years will present comprehensive opportunities for innovation and iteration. Compared to the rapid pace of urban development in previous years, the current industry environment and urbanization state are more grounded and natural. As architects, we serve as researchers, initiators, coordinators, and providers of technical solutions. Often, we must face the challenges of complex urban environments and offer solutions that improve the surroundings in subtle and organic ways. Moving away from the illusory landscapes created by capital and power, this “sinking” era could nurture a new generation of architects with a solid philosophical foundation and true values, which I see as a positive development.

▼主持建筑师: 孟岩，Principal Architect: Meng Yan