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直径叙事设计DND
北京直径文化传媒有限责任公司
中国 北京市 Intro： 直径叙事设计是一支兼具学术深度与实践经验的策展团队，专注于博物馆、企业馆、美术馆等展览的叙事设计与城市文化空间创新。 我们致力于以策展与叙事来融合空间、人与想象，通过创造性的设计体验，探索城市空间中的真实需求与文化价值。
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展览：张之洞与武汉博物馆空间叙事
张之洞与武汉博物馆坐落于武汉市汉阳区，建筑面积7200多平方米，其中展览可用面积约6200多平方米。博物馆建筑主体于2014年建造完成，由著名建筑师丹尼尔·李伯斯金担纲建筑设计。2016年万科集团委托北京直径叙事负责总体策展与展览设计，前后耗时近三年。 The Museum of Zhang Zhidong in Wuhan is located in Hanyang District, Wuhan city, with a building area of more than 7200 square meters, of which the exhibition area is about 6200 square meters. The main architectural structure was completed in 2014 and designed by renowned architect Daniel Liebeskind. In 2016, Vanke entrusted Diameter Narrative Design Studio with curation and exhibition design, which took nearly three years. ▼张之洞与武汉博物馆建筑外景，exterior view of the Museum of Zhang Zhidong in Wuhan 在武汉大大小小的博物馆里，挤满了有关张之洞的资料与诉说。在这片土地上重新建立一座有关张之洞的博物馆，似乎显得累赘且多余。如何重新叙述这个已经被无数人讲述过的历史议题？至少，再多上一堂评论张之洞功过是非的“历史课”，是既无价值也无必要的。直径叙事在张之洞与武汉博物馆的内部展览设计之中，开启了一套全新的叙事视角。 There have been so many materials about Zhang Zhidong in several museums of Wuhan. It appears that another museum of Zhang Zhidong is cumbersome and redundant on this land. How to retell a historical issue that has been told by countless people? At the very least, one more “history lesson” on Zhang Zhidong’s merits is neither worthwhile nor necessary. By the design of the internal exhibition of the Museum of Zhang Zhidong in Wuhan, the Diameter Narrative Design Studio opens a new set of narrative perspectives. ▼入口处的张之洞铜像与生平年表，the bronze statue of Zhang Zhidong and his life chronology 立足现在的立场上回看历史，我们仍可以看到张之洞在武汉时期的业绩一直延续至今。他所在的那段武汉的岁月，经历着城市的现代化更新与巨变；而在这段波澜壮阔的历史中起到关键作用的张之洞本身，又是作为一个社会先行者的孤独个人。张之洞与武汉，一个人的沉浮起落，和一座城市的日新月异，两条线互相交错着，将武汉今日的容貌推到了每一个人的眼前。 ▼开阔的三层中庭空间，the open atrium on the third floor ▼中庭空间局部，历史学家看张之洞，partial view of the atrium, insights toward Zhang Zhidong from historians ▼中庭空间局部，地图：张之洞在武汉，partial view of the atrium, the map: Zhang Zhidong was in Wuhan ▼中庭空间局部，张之洞的著作展示，partial view of the atrium with the exhibition of Zhang Zhidong’s work Looking back at history from the present standpoint, we can still see that Zhang Zhidong’s performance in Wuhan has been continued to this day. The process of urban modernization and transformation occurred to Wuhan in the period that Zhang lived there. Zhang Zhidong, who plays a key role in this magnificent history, was feeling alone as a social pioneer at the same time. The interlacement and fusion of Zhang’s personal experience and urban modern transformation brought up the present appearance of Wuhan. ▼张之洞图书馆，the library of Zhang Zhidong ▼张之洞的智库，the think tank of Zhang Zhidong ▼通向四层的楼梯空间，采用三角形灯光设计，the staircase leading to 4F with the triangular lighting design 走入博物馆的每一个观众，都被裹挟进入了这个如同剧场般的空间。观众们被邀请进入了一个纷繁复杂的叙事场域，他们时而变成城市的监管人纵览武汉的全貌，时而化身狱卒观看铁栏之中的变迁。时而是求知若渴的新时代学子，时而又站上高台，成为张之洞本人，体味着一个改革者的孤独与无奈。交叉的体验和视角的变动，使得一种隐藏在历史背后的真实被逐渐勾勒了出来。这不是来自历史权威或设计团队的指定或断言，而是观众自己在身份的切换之中不断体悟到的一种共建的真实性。 ▼张之洞对武汉的影响——从传统城市格局到现代武汉三镇的演变，Zhang Zhidong’s contribution to Wuhan – evolution of Wuhan: from antique urban pattern to modern city pattern ▼张之洞对城市公共基础设施的贡献——武汉近代城市公共设施与公共管理的发端，Zhang Zhidong’s contribution to the establishment of urban public infrastructure – inception: municipal construction and public management in modern Wuhan ▼张之洞对武汉的影响——全方位激活武汉近代工商业，Zhang Zhidong’s contribution to Wuhan – the comprehensive modern industry and commerce in Wuhan ▼张之洞对武汉的影响——近代企业体制探索：汉冶萍公司及其他官办企业的变迁，Zhang Zhidong’s contribution to Wuhan – searching for modern enterprise systems: Han-Ye-Pin Co. & Other government-run companies’ evolution ▼张之洞对武汉的影响——因近代工业体系而生的新汉阳，Zhang Zhidong’s contribution to Wuhan – new Hanyang born of the modern industrial system ▼张之洞对武汉的影响——兴办近代军事工业与军制革新，Zhang Zhidong’s contribution to Wuhan – developing the modern military industry and facilitating the reform of the military system ▼近代武汉的狱政改革（观看），参观者化身狱卒观看铁栏之中的变迁，prison reform in modern Wuhan (watching mode), visitors act as jailers to watch the changes inside the bars ▼近代武汉的狱政改革（内部），interior view of the renovating the prison system ▼对张之洞的评价，the insights toward Zhang Zhidong Every visitor to the museum is dragged into the theater-like space. Audiences are invited into a complex narrative field, sometimes as city watchmen to survey the city, sometimes as jailers to watch the changes inside the bars. Sometimes they become the new era students thirst for knowledge, and sometimes they stand on the platform, becoming Zhang Zhidong himself to taste a reformist’s loneliness and helplessness. The overlapping experience and the changes of perspective outline the truth hidden behind the history gradually, which is not a designation or assertion from the historical authority or the design team, but a co-authoring authenticity that the audience constantly perceives by the identity switch. ▼张之洞对教育的影响——立体化的社会教育体系，Zhang Zhidong’s contribution to the education in Wuhan – building up the three-dimensional social education system ▼张之洞对教育的影响——中西结合的近代学堂教育，Zhang Zhidong’s contribution to the education in Wuhan – modern education system combining Chinese and Western ▼张之洞对文化的影响——近代武汉报刊业与城市公共文化，Zhang Zhidong’s contribution to the culture in Wuhan – the press and public culture in modern Wuhan 而当观众结束思考，抬眼望向落地窗外的真实而安静的汉阳铁厂时，兴许他们会忽然意识到，武汉这座城市，才是张之洞与武汉博物馆最大的展项；理解这座城市时间痕迹的钥匙，都藏身于刚才所看到的一个个装置、视角和感触之中。观众注视着张之洞奋力推动而一步步走来的武汉，注视着每一个与自己相关的今日景观，他自身便成为了时空纵横轴线上认知的原点。 When the audiences finish thinking and look up to the real and quiet Hanyang Iron Works outside the floor-to-ceiling window, they may suddenly realize that Wuhan is exactly the biggest exhibition project of the Museum of Zhang Zhidong in Wuhan. The key to understanding the traces of time of this city is hidden in the devices, perspectives and feelings just experienced. The audience turn out to be the very origin of cognition on the space-time axis, to watch the history of Wuhan and Zhang Zhidong, also the nowadays landscape related to themselves. ▼武汉现代交通、邮政与通讯体系的肇始，the beginning of modern transportation system, post system and communication system ▼近代都市职业人群的产生，the emergence of modern urban professional crowd 今日的博物馆并非只是一个“展览”的场所。在这种观念的统合之下，即便是本不利于展示的空间布局（如建筑的角落、倾斜的坡面），都成为了叙事语言的精巧诉说，塑造了非同一般的空间叙事体验。在直径叙事巧妙的设计之下，这座张之洞与武汉博物馆依托着武汉之城的历史，化身成为了一个叙事的独特语境和思维的游戏空间。 Today, museums are not just an “exhibition” place. Under the integration of this concept, even the spatial layout that is not conducive to the display (such as the corners of the building and oblique plane) has become the exquisite narrative language, shaping an extraordinary spatial narrative experience. Based on the history of Wuhan city, the Museum of Zhang Zhidong in Wuhan has become a unique game space and narrative context of thinking. ▼倾斜的坡面展示空间——一个改革者的孤独（展示视角），the exhibition space on the oblique plane – a lonely reformer (display perspective) ▼一个改革者的孤独（体验视角），a lonely reformer (experience perspective) 策展及展览设计团队策展设计｜直径叙事设计工作室空间设计 | 氙建筑平面设计 | STONES DESIGN Lab. 新媒体设计 | Studio NOWHERE灯光设计 | 吉晟通照明影视媒体 | 兄弟设计创作组装置艺术家｜周文斗雕塑艺术家｜李鹤技术支持｜董玄天空间顾问 | 小小空间事务所 展陈施工展陈施工：深圳杰尔斯展览服务有限公司装置制作：上海建谆景观工程有限公司展品复制：武汉天工时代艺术文化发展有限公司湖北典策档案科技发展有限公司 Curation and exhibition design teamCuration design | Diameter Narrative Design StudioSpace design | Xian ArchitectsGraphic design | STONES DESIGN Lab.New media design | Studio NOWHERELighting design | Jishengtong LightingFilm and television media | Brothers Design Installation artist | Zhou WendouSculpture artist | Li HeTechnical support | Dong XuantianSpace consultants | Small Space Studio Exhibition constructionConstruction: Shenzhen Gies Exhibition GroupInstallation: Shanghai Jianzhun Landscape Engineering LimitedExhibit reproduction: Wuhan Tiangong Times Art and Culture Development LimitedHubei Diance Archives Technology Development Limited
味觉博物馆：从科学、文明、艺术三个维度诠释“味觉”
味觉博物馆位于沈阳铁西区红梅文创园内，已于2019年10月15日开馆。文创园整体由红梅味精老厂区改造而来，博物馆建筑和厂区老大门连为一体，是文创园的入口第一站。在策展主题上，直径叙事确立了由“红梅”到“味精”、由“味精”到“味觉”的话题跨越，创造性地从科学、文明、艺术三个维度诠释“味觉”——分别对应“味觉实验室”，“味觉之路”以及“味觉艺廊”三个展厅。它们用不同的叙事角度、设计体验和艺术表达，突破观众对“味觉”的惯常印象。 Taste Museum is located in Hongmei Cultural and Creative Park, Tiexi District, Shenyang. This Park is transformed from the old Hongmei Monosodium Glutamate factory. The museum is connected to the gate of factory, which is the first stop of the Cultural and Creative Park. In terms of the curatorial theme, Diameter Narrative Design has established the topic spanning from “Hongmei” to “MSG”, and “MSG” to “Taste”. The studio creatively interprets “Taste” from science, civilization and art, corresponding to the three exhibition halls of”Taste Lab”, “Taste Road” and “Taste Art Gallery” respectively. Using different narrative angles, design experiences and artistic expressions, we break through the usual impression about “taste” of audience. ▼博物馆外景，Museum exterior 策展思路Curating Concept 味觉是个体记忆，但其背后可能是整个时代的风云变化，是社会的历史记忆。我们赋予味觉以形式，将其作为一种媒介语言，表现世界的人文历史，并使观众在其中体验，达到情感的共通、艺术的共赏，创造出一个可能的世界。通过拉开“味觉”的叙事维度，我们希望观众参观完博物馆后能够意识到味觉是一个有趣，有意义的重要因子。感官的私密性与展览的公开性相对，也会带给观众不一样的体验。此外，除了历史实物和影像资料，博物馆中最独特和精彩的“展品”是我们特别设计制作的几个艺术装置，辅以科技元素和空间互动，带给观众不一样的体验。 Taste is an individual memory, but behind it may be great changes of the whole era, which represents the social history variation. We put taste as a kind of medium language, which manifest the humanistic history of the world, and allow the audience to experience to achieve emotional as well as artistic appreciation. Through extending the narrative dimension of “taste”, people will comprehend that taste is an interesting and meaningful factor. In addition, except for historical objects and video materials, the most unique and exciting “exhibits” are several art installations specially designed in the museum. With supplemented by scientific-technology elements and spatial interaction, we will bring audience a totally different experience. ▼行走在音乐筒间，Walking in the music 体验设计Experience Design 整体空间结构 | Overall spatial structure 博物馆展陈面积大概600平米，小巧而精致，我们设置了干净清晰而简单的流线。馆内整体被分为上下两层共四个部分，主要展区在二层的三个展区，分别是“味觉实验室”、“味觉之路”和“味觉艺廊”。 Exhibition area of the museum is about 600 square meters, small and exquisite. The whole museum is divided into four parts, and main three exhibition halls are on the second floor, namely “Taste Lab”, “Taste Road” and “Taste Art Gallery”. ▼立体结构图，Stereogram 味觉博物馆门厅 | Entrance hall 一层及上楼过程中有“我们的味觉”味蕾螺旋装置。味蕾是大多数动物的味觉感受器，味蕾数量越多意味着更敏感的味觉感知。双螺旋象征着基因与进化，上面镶嵌的是十几种常见动物和他们的味蕾数量，按由少到多的顺序盘旋上升。 There is an “Our Taste” spiral installation on the first floor and upstairs. Taste buds are the taste receptors of most animals, and more taste buds mean more sensitive taste perception. The double helix symbolizes genes and evolution, and inlaid on it are more than a dozen common animals and their taste buds, circling upwards from less to more. ▼从门厅进入展区视角，From the entrance hall into the exhibition area ▼中庭楼梯区，Atrium stairs ▼艺术装置：我们的味觉，Art installation: Our Taste 味觉实验室 | Taste Lab 这一展厅对应味觉的“科学”维度，通过解析一些味觉的生物原理，及人类味觉的复杂信息，从知识的角度带领大家深入了解味觉。 This exhibition hall corresponds to the “scientific” dimension of taste. Analyzing some principles of biology and other complex information, it leads everyone to understand taste deeply from academic angle. ▼立体结构图，Stereogram A. 我的味觉：神经通路交互装置 吃东西时，舌头上的味觉通过脑神经到达大脑中的味觉皮质，才能产生对味道的感知。这个装置讲的是个人的味觉通路，由动态墙面和前方的侧脸轮廓装置构成。在装置的眼睛部位还有一个嵌入式屏幕，形成特别的透视效果。 When people eat something, taste on the tongue reaches taste cortex in the brain through the cranial nerves, then generates the perception of taste. This installation talks about personal taste pathway, which consists of a dynamic wall and three profile devices. There is also an embedded screen in the eye region of the device, forming a special perspective effect. ▼观众可以主动站到轮廓装置前方，成为装置的一部分。这种互动体验更有参与感，更加景观化，The audience can stand in front of the profile device and become a part of it. This interactive experience will give them a sense of participation B. 味觉实验台 这个长台面是一个根据内容特质出发的“信息装置”，是该展厅的核心展项，分别用技术和器皿两个角度解析味觉。器皿一侧从炊具和酒杯出发，通过3D打印的酒杯剖面与透明屏幕上的动画讲述如何选择酒杯，及其对品酒味道的影响;炊具板块用多层动态界面分析不同炊具材质怎样影响味道，了解其优缺点。技术一侧，按照时间脉络挑选了古老的发酵技术、现代的味精生产、以及象征未来的虚拟味觉三个板块来讲述人类制造特定味道的历史。 This long “information device” table based on the content is the core item of the exhibition hall. It respectively uses technology and vessels to analyze taste. Contents of the vessel talk about cookware and wine glass, through the 3D-printed wine glass profile and the animation to tell how to choose the wine glass and its influence on the taste of wine. The cookware section uses a multi-layer dynamic interface to analyze how different cookware materials affect the taste. During the part of technology, three sections according to time venation tell ancient fermentation technology, modern MSG production, and virtual taste symbolizing the future, which are the history of human making specific taste. ▼实验台的展示方式，Display of the experiment bench ▼观众的互动，Audience’s interaction C. 科学墙面 由报告册、发酵催化剂和味道轮盘三个展项构成。橱窗里的每一个报告册都是与味觉相关的主题小知识，发酵催化剂讲述的是中国“曲”的分类图谱，味道轮盘诉说着量化和搭配茶、咖啡、啤酒和葡萄酒的方式。 It consists of three exhibition items: report booklets, fermentation catalysts and taste roulettes. Each report booklet in the showcase is a small tip related to taste, the fermentation catalyst tells the classification map of Chinese “qu”, and the taste roulette tells the way to quantify as well as match tea, coffee, beer and wine. ▼档案夹形式的报告册，内嵌发光灯箱，Report booklet in the form of file folders with embedded light box 味觉之路 | Taste Road 第二个展厅对应的是味觉的“文明”维度，灵感来自“文明，在嗅着味道前行”这一说法。在这里，我们放宽格局和视野，以盐、胡椒和糖三个基本的调料为线索，串联出一段人类文明发展的脉络。 “天下之赋，盐利居半”，盐不可或缺，可以增税、巩固统治以及保障民生，因此中国的盐业专卖制度曾持续两千多年。香料中的代表胡椒，在欧洲曾是圣物一样的存在，欧洲人意图以找到香料原产地的大航海，拉开了地理大发现的序幕。糖的部分，讲述了它与世界贸易体系形成的关系，作为最早的世界商品，蔗糖背后的甘蔗种植园成为黑奴贸易的重要目的地。 The second exhibition hall corresponds to the “civilization” dimension of taste, inspired by the saying “civilization, moving forward with the smell”. Here, we broaden stereotype and vision, using salt, pepper and sugar as clues to connect the development of human civilization. “The benefits of salt is half of of the worldwide wealth.” Salt is indispensable, which is able to increase taxes, consolidate governance and safeguard the people’s standard of living. Therefore, Chinese monopoly system of salt lasted for more than two thousand years. Pepper, the representative of spices, once existed as treasure in Europe. The large voyage originated on Europeans’ intention to find spices, opened the prelude to the great geographical discovery. The part of sugar describes its relationship with the world trading system. As the earliest world commodity, the sugarcane plantation behind saccharose became an important destination of slave trade. ▼立体结构图，Stereogram ▼神秘、梦幻的效果:脚下是金属栈道，四周是高低起伏的黑沙，弧形展台隐隐发光，头顶的360度环幕纱网投影像是漂浮的历史碎片 Mysterious and dreamy effect: underfoot is a metal plank road, surrounded by undulating black sand. The arc-shaped booth faintly glows, with the overhead image of 360 gauze screen, like floating historical 味觉艺廊 | Taste Gallery 第三个展厅对应的是味觉的“艺术”维度，一个活泼有趣、五彩斑斓的长廊。味道的英文是Taste，但除了这个意思以外，单词也有品味、品位之意。我们通过想象、联想的延伸，将味觉与艺术和感官相结合，创造一个通感的世界。 The third exhibition hall corresponds to the “art” dimension of taste, a lively, interesting and colorful corridor. Through the extension of image, we combine taste with art and senses, hoping to create a synaesthetic world. ▼立体结构图，Stereogram A. 味觉 x 文学：餐桌上的文学 一场跨越时空的文学筵席，展示享誉世界的文学家们如何用文字来描述他们的味觉体验。 A literary feast that spans time and space, showing how world-renowned writers use words to describe their taste experience. ▼封闭而透明的空间带来独享的体验，The closed and clear space can bring an exclusive experience ▼定制的作家椅子和互动感应餐盘，Customized writer chair and interactive induction plate B. 味觉 x 摄影：味觉表情 二十五个屏幕里，我们用超高速摄影记录了五个不同年龄段的人群在分别品尝酸甜苦辣咸时流露出的五组不同表情，窥见日常中所不易察觉的岁月滋味。 On twenty five screens, we used hyperaltitude photography to record the different five expressions of people who taste sweets and bitters of life. ▼细节图，Detail C. 味觉x音乐：味觉人生 我们常用味觉词汇表达听觉印象，形容生活体验，如心酸、苦涩等。四个弧形声光互动装置通过音乐筒的形式表现人生的酸甜苦辣。每一个音乐筒有不同的经典电影配乐，讲述着电影里的人物故事。配合特别编程的艺术背景光效，融合成人生的百转滋味。 We often use taste to express auditory impressions and describe life experiences. Four curved sound and light interactive installations express the ups and downs of life. Each music tube has a different classic movie soundtrack, telling the story of the characters in the movie. With the specially programmed artistic background light effects, it integrates the taste of life. ▼灯光编程，lighting program ▼行走在音乐筒间，Walking in the music tube D. 味觉森林 三十多颗白桦树营造出室内森林，带有金属圆孔的树芯里是产自东北的味道。在这里，我们展示了沈阳本地的自然元素，冷杉、杜松浆果、侧柏晚香玉……这个充满诗意的嗅觉互动，让观众实现真正的“味道体验”。味觉森林是我们的最后一个展项。 More than 30 silver birch create an indoor forest, which the tree hole with metal round have the smell of Northeast China. Here, we showed the local natural elements of Shenyang, such as fir, juniper berries, arborvitae tuberose… this poetic olfactory interaction allows the audience to realize a real “taste experience”. This is our last exhibition item. ▼森林之间，Forset 策展设计| 直径叙事设计策展人 | 李德庚艺术总监&装置艺术家| 周文斗新媒体设计 | Signal Alpha平面设计 | 直径叙事+郑卓、钱皙妮界面设计 | 北京有熊文化创意设计有限公司动画制作 | 邀林动漫设计工作室影像制作 | 深圳杰尔斯展示股份有限公司、陈威工作室装置制作 | 上海建谆景观工程有限公司灯光设计 | 广州瑞普照明工程有限公司室内装饰与展陈施工 | 深圳杰尔斯展示股份有限公司 Curation design | Diameter Narrative DesignCurator | Degeng LiArt director & Installation artist | Wendou ZhouNew Media Design | Signal AlphaGraphic Design | Diameter Narrative Design + Zhuo Zheng、Xini QianUI Design | Beijing You Creative Design Co., LtdAnimation Production | Oilon Animation design studioVideo Production | Gies、Wei Chen StudioInstallation Production | Shanghai Jianzhun Landscape Engineering Co., LtdLighting Design | REUPExhibition Construction: Gies
同源馆群：城市更新中的历史文化体验聚落
项目定位：城市更新、湾区文化地标、古城历史社区文化服务 南头古城坐落于高速发展中的深圳市南山区。地处珠江入海口东岸，自东晋咸和六年（331年）设置东官郡起，至今有近1700年历史【1】；随着深圳市的改革开放，它不仅保留了历史村镇聚落的空间格局，同时混合产业发展与高密度居住，成为深圳市最独特的“城中村”。2019年，因南头古城保护与利用项目的正式启动，如何挖掘南头古城的历史文脉与如何以创新的设计回应城市更新的时代命题？是我们 (直径叙事设计DND）开展南头古城“同源馆群”策展与体验设计的起点。 Nantou City is situated in the rapidly developing Nanshan District of Shenzhen City, on the east coast of the Pearl River Delta. Its roots trace back to the sixth year of the Xianhe Era in the Eastern Jin Dynasty (331 A.D.) when Dongguan Prefecture was established, boasting a rich history of nearly 1,700 years[1]. As Shenzhen continues its reform and opening up, the town has evolved into the city’s most distinctive “urban village”, preserving the spatial layout of historical villages while featuring diverse industries and a high-density population. In 2019, with the official launch of the Nantou City Protection and Utilization Project, the challenge emerged: how to unearth the historical context of the ancient town and make it alive amid urban renewal through innovative design? This prompted us (Diameter Narrative Design, DND) to start the curation of the Diverse Homology Pavilion and thus offer a novel historical and cultural experience to breathe new life into the town. ▼南头古城，Nantou city 南头的历史最早可追溯至公元前110年，彼时是汉朝政府设置番禺盐官的驻地，管辖珠江口东岸地区的盐业生产；东晋时期，东官郡郡治与宝安县县治均设于南头一带，此时东官郡的辖区范围从珠江口东岸直至今粤东地区；此后，历朝中央政府曾在南头设置政治、经济、军事各类管理机构；可以说，南头不仅是深港同源的见证者，更亲历粤港澳大湾区的历史发展。南头项目在初期，就树立了成为人文湾区文化地标的目标；而“同源馆群”则是南头古城历史文化价值的体现与社区公共文化服务的载体。 The history of Nantou dates back to 110 B.C. when the Han Dynasty government appointed the Panyu Salt Officer there to oversee salt production along the east coast of the Pearl River Delta. During the Eastern Jin Dynasty, Nantou served as the capital for both Dongguan Prefecture and Bao’an County. At that time, Dongguan Prefecture’s jurisdiction extended from the estuary’s east coast to present-day eastern Guangdong. Subsequently, Nantou hosted various political, economic, and military administrations established by central governments across dynasties. Nantou, therefore, stands as a witness not solely to the shared origins of Shenzhen and Hong Kong but is also a firsthand observer of the history of the Guangdong, Hong Kong, and Macao Greater Bay Area. While Nantou has been envisioned as a cultural landmark for the humanistic Bay Area from the project’s inception, the Diverse Homology Pavilion is designed to symbolize the historical and cultural value of the town, serving as a platform for community-based public cultural services. ▼同源馆-分布图，Diverse Homology Pavilion – Map 主题与策展Theme and Design 如何理解主题“同源”是策展工作遇到的第一个挑战。就珠江口区域来说，对“同源”概念的理解或许会与我们的一般认识有些差别。这里所说的“同源”并不是指自然地理意义上的河流或流域的同源，恰恰相反，珠江口地区的地理特点是“三江汇聚，八口分流”；当然更不是指珠江口区域的族群或文化是来自同一个源头，因为这里的族群或文化状况异常复杂，广府、客家、福佬、疍家等多个民系在这里汇集，海洋文化与大陆文化在这里交叠，中国、南洋和西方的资源在这里交易……在历史的不断沉淀中，渐渐孕育出了一种开放、交融而丰富多彩的文化性格。因此，同源馆群的展览中所指的“同源”，是指当我们回望历史的时候，将这种文化性格当成源头。同时，我们创造性地以“行政同属”“文化同心” “经济同体”和“山海同貌”四个视角来共同构成对“同源”主题的理解，以形成南头历史叙事的合力。 The first curatorial challenge is to comprehend “Homology”. In the case of the Pearl River Delta, the concept of “Homology” may diverge from what we usually perceive. The word doesn’t denote the geographical homogeneity of rivers or basins; quite the opposite, the region is known for having three rivers and eight estuaries. Moreover, “Homology” doesn’t allude to the shared origin of ethnic groups or cultures. The ethnic and cultural landscape here is remarkably intricate. Guangfu, Hakka, Southern Fujian-chaoshan, the Boat People, and a diverse array of ethnicities live here together; oceanic and continental cultures blend here; and traders from China, Southeast Asia, and Western countries engage in bustling commerce here. The history has thus endowed the region with a culture that is open, inclusive, and diverse. Hence, the term “Homology” in the Diverse Homology Pavilion refers to viewing this culture as our shared source when reflecting on history. Meanwhile, we try to tell the story of Nantou in a new way, by interpreting the theme “Homology” from four perspectives – “The Inherited and Shared Administration”, “The Inherited and Shared Culture”, “The Integral Bond of Economy”, and “The Continuous Sight of Nature”. ▼山海同貌分馆-空间轴测图，axonometric ▼傍晚时山海同貌分馆内外，Inside and Outside “The Continuous Sight of Nature” in the Evening 我们的馆：商业街区的里的奇观，历史街区的博物馆群Our Pavilion: A Spectacle in the Commercial District, a Museum Complex in the Historical Quarter “同源馆群”位于南头古城街区核心区域相邻的四栋临街建筑中，不同于旁边商业街风貌式的立面改造，这四栋建筑出自三位不同的国内知名建筑师，建筑外部在融入整体街区的同时仍有一定辨识度。其中，紧邻主街和报德广场的山海同貌馆、经济同体馆是都市实践主持建筑师孟岩于2017年深港城市\建筑双城双年展时期的建筑设计。报德广场边北侧临东街的文化同心馆是南沙原创主持建筑师刘珩对城中村民居的改造设计，距它北侧十米的行政同属馆则是TAO迹·建筑事务所主持建筑师华黎的作品。 “The Diverse Homology Pavilion” is located within four adjacent street buildings in the core area of Nantou City. Unlike the neighboring commercial streets, where facades have been transformed, these buildings, designed by three renowned architects in China, seamlessly blend their exteriors with the surrounding streetscape while preserving their unique individuality. Among them, “The Continuous Sight of Nature” and “The Integral Bond of Economy” buildings, adjacent to the main street and Baode Square, are the creations of Meng Yan, the principal architect of URBANUS Architecture and Design Inc., during the 2017 Shenzhen – Hong Kong Bi-city Biennale of Urbanism / Architecture (UABB). “The Inherited and Shared Culture”, a renovation of urban village houses on the north side of Baode Square and facing East Street, is designed by Liu Heng, the Principal Architect of NODE Architecture & Urbanism. Just ten meters north of it, “The Inherited and Shared Administration” building is the work of Hua Li, the principal architect of TAO (Trace Architecture Office). ▼山海同貌分馆一层，Exhibition on the first floor of “The Continuous Sight of Nature” 街区里的博物馆群，是否可以利用临街的优势与建筑亲人的尺度，转化历史叙事为惊奇感的体验，以亲近的姿态为居民和观众营造生活中的文化景观？这是在策展之初，“同源馆群”总策展人李德庚所强调的。 Can a museum cluster nestled within a neighborhood, strategically positioned along the street, and fostering cultural connections through its architectural design, transmute historical narratives into an inspiring and immersive experience? Is it capable of crafting a cultural landscape that enhances the lives of both residents and visitors? These questions were highlighted by Li Degeng, the chief curator of the Diverse Homology Pavilion, at the beginning of the project. ▼山海同貌分馆二层，Exhibition on the Second Floor of “The Continuous Sight of Nature” 我们的展：叙事结构与体验Our Exhibition: Narrative Structure and Experience “同源馆”是一个由若干叙事聚落共同构成的整体主题概念，通过视角的拆解，构成了“总—分”式的主题策展；在此之下，各分馆的策展内容化零为整，均以“渐进式”的叙事结构将具体内容串联，以直抵整体主题的核心。从体验内容出发，置身于历史街区的博物馆大多数是没有文物和藏品支持的，“同源馆群”也不例外；针对这个难题，我们与不同领域的专家学者通力合作，对叙述话题展开内容研究与历史文献搜集，并且从体验的角度对文本资料转译，使之成为艺术化与全景式的体验形式与具体素材。 The Diverse Homology Pavilion unfolds a cultural story composed of various narratives, while each narrative is progressively linked to convey the core theme. When it comes to the content of experience, the Diverse Homology Pavilion, like many museums situated in historic locales, does not exhibit artifacts and collections. In addressing this challenge, we collaborated with experts and scholars from various fields, conducting thorough content research and meticulously collecting historical documents related to the theme. The textual materials were subsequently transformed into an artistic and panoramic experience as well as concrete exhibits. ▼经济同体分馆-空间轴测图，the integral bond of economy 再看体验的空间情况，“同源馆群”展馆空间也受限于南头古城民居格局，面积与挑高都有限制；此外，四座展馆建筑结构与街区落位各异，空间体验策略也需逐一思考。山海同貌馆与经济同体馆是紧邻报德广场的两座两层楼的小体量建筑，其中一个面向南头古城中的主街之一 ——中山南街，另一个则面向南头古城的社区广场；我们利用这两座建筑开阔与贯通内外的超大落地窗，置入辨识度极强的艺术装置，通过创造街区里的“奇观”来连接着南头古城中最密集的人群。文化同心馆则通过一个街边一层小入口，连接两栋民居建筑的三到五层，展览空间分布在不同位置的八个民居房间内；在这里，我们首先清晰界定各层主题内容的侧重，其次我们将“一条线”贯穿连接全馆的所有展项，以此破解空间的零碎为观众建立体验的整体感。行政同属馆是“同源馆群”的主馆，这是一栋独立且高大的展馆，由分布在四个楼层的十个方盒子空间共同组成，展厅内部空间尺度相对均质化；那么，制造差异化的体验是该馆的总体策略。 Speaking of spatial experience, the Diverse Homology Pavilion faces constraints in both area and height to align with the residential pattern of Nantou Ancient Town. Furthermore, as the four buildings vary in architectural structure and location, the spatial experience strategy for each pavilion requires careful consideration. “The Continuous Sight of Nature” and “The Integral Bond of Economy” are two small two-story buildings situated next to Baode Square. One faces Zhongshan South Street, a prominent thoroughfare in the town, while the other is oriented towards the community plaza. Large floor-to-ceiling windows establish a connection between the buildings and the community, the virtual and reality, while highly recognizable art installations allow visitors to immerse themselves in grand tales. These pavilions thus stand as a captivating “wonder” in the bustling heart of the town. “The Inherited and Shared Culture” spans the third to fifth floors of two residential buildings, featuring its exhibition across eight distinct rooms. Visitors can initiate their journey through a modest entrance on the first floor facing the street. While each floor introduces unique themes, the stories in every room remain interconnected. Consequently, the exhibition avoids fragmentation caused by spatial separation and allows visitors to embrace the entire narrative seamlessly. “The Inherited and Shared Administration”, serving as the center of the Diverse Homology Pavilion, is a lofty standalone structure comprising ten square-box spaces distributed across four floors. Given the inherent homogeneity of the internal spaces, the primary challenge lies in crafting a differentiated experience. ▼傍晚的经济同体分馆内外，Interior and exterior of “The Integral Bond of Economy” in the evening ▼经济同体分馆一层，Exhibition on the first floor of “The Integral Bond of Economy” ▼经济同体分馆二层，Exhibition on the second floor of “The Integral Bond of Economy” 同源馆 · 山海同貌DIVERSE HOMOLOGY PAVILION · THE CONTINUOUS SIGHT OF NATURE 山海同貌分馆是从生态文明的角度切入来叙述珠江口地区自然地理的同源特点的。展馆一层以“自然地理”，二层以“自然生命”分别展开内容叙述。山海同貌分馆坐落在南头古城南街和报德广场边上，建筑的正立面有一面巨大的玻璃窗贯通着古城里最具活力的街道与展馆内部。在这个临街的展馆一层，我们以一颗矗立在珠江口海岸边的礁石作为展览叙事的原点，走近切开的石头内里，我们展开了：亿万年来珠江口地理地貌的形成、贯穿海岸的莲花山脉的生命律动、深圳湾湿地的巨变、深圳河两岸的时空距离四项内容，通过地理时空不断的推进与聚焦来构成内容叙事。而在内容的体验方式上，我们通过一系列观众对石头洞口的观察形态来共同构成。展馆二层，我们以第一人称视角来建构栖息于珠江口地区代表性动植物的生命故事，这些故事以增强现实的方式叠加在一层的巨石奇观上。这些自然居民们分别是随海水漂流的红树木榄种子，随父母从辽宁南迁越冬的黑脸琵鹭，游弋在咸淡水交汇处的中华白海豚，以及扎根滨海的木麻黄，它们的故事还反映着珠江口海陆相望、候鸟迁徙、河海交汇以及岸线变迁的自然生态。这些自然居民与人类一样守护着珠江口这片共同的家园。 生活在珠江口的一切生命，只有在相互尊重中才能繁荣长存。展览在回应“同源”主题概念的同时，也希望提出：未来如何在追求经济与社会发展的同时，兼顾山海自然及其他自然居民的和谐相处？这个在新时代发展中的重要命题。 “The Continuous Sight of Nature” illuminates the homogeneity of the natural geography in the Pearl River Delta through the lens of ecological civilization. The first floor is dedicated to “Natural Geography”, while the second floor explores “Natural Life”. Situated on the south street of Nantou City and adjacent to Baode Square, “The Continuous Sight of Nature” seamlessly integrates with the town’s bustling street through a vast window on its front facade. The exhibition journey commences on the first floor with a representation of a reef from the Pearl River Delta’s coast. Stepping into this massive stone structure, visitors are enveloped in a narrative unfolding through time and space. The narrative includes four parts: the geological evolution of the Pearl River Delta’s landscape over billions of years, the life rhythm of Lotus Hill along the coast, the transformative dynamics of the wetlands in Shenzhen Bay, and the spatial-temporal distances on both sides of the Shenzhen River. Visitors can catch glimpses of this narrative through small observation holes on the reef’s wall. On the second floor, the narratives of representative plants and animals inhabiting the region unfold from a first-person perspective, presented on the giant stone through augmented reality (AR). These natural inhabitants include mangrove seeds drifting with the sea, black-faced spoonbills migrating southward from Liaoning province with their parents in winter, Chinese white dolphins gracefully navigating the confluence of fresh and saltwater, and whistling pine trees firmly rooted in the coastal area. Through their stories, the exhibition mirrors the natural ecology of the estuary where land and sea converge, birds embark on migrations, rivers flow into the ocean, and shorelines continuously evolve. These natural inhabitants play a role in safeguarding the common home of the estuary, much like humans do. All life in the estuary can only thrive through mutual respect. The exhibition, in its response to “Homology”, seeks to pose a crucial question: How can we navigate future economic and social development while maintaining harmonious coexistence with nature and other inhabitants? This question holds particular significance in the new era of development. ▼贸易改变世界，Trade changes the world 同源馆 · 经济同体DIVERSE HOMOLOGY PAVILION · THE INTEGRAL BOND OF ECONOMY 经济同体分馆从物质文明的角度切入，以“ 陆地到海洋的渐进视角” 来观察珠江口区域的经济文化特征。展馆一层围绕珠江口地区的传统海洋农业，展馆二层围绕海上贸易展开。从体验的内容角度来说，珠江口区域因为三江汇聚、八口分流，河、海、陆地相互交错，河网密布的特殊地理特征，发展出了具有浓郁海洋特色的传统社会经济与开放的岭南商业文化。结合空间的角度来看，该馆坐落于报德广场旁，展馆一层空间低矮且光线较弱，二层空间高挑、明亮，并且有一面朝向报德广场活跃人群的开阔的大玻璃窗；在本馆的这段叙事体验之旅，我们从陆地开始，一直向海延伸，并渐进至深海。 With a focus on material civilization, “The Integral Bond of Economy” delves into the economic and cultural narrative of the region, unfolding from land to sea. The first-floor centers on traditional marine agriculture, while the second-floor sheds light on maritime trade. In terms of experiential content, the region is geographically unique, as it witnesses the convergence of three rivers and eight estuaries, where rivers, sea, and land intricately intertwine. This distinctive characteristic has given rise to a traditional social economy with pronounced maritime features and an open Lingnan commercial culture. Regarding spatial design, the pavilion is positioned next to Baode Square. The first floor has low ceilings and dim lighting, creating a specific ambiance. In contrast, the second-floor features tall ceilings and ample brightness, complemented by a large window that opens onto the bustling plaza. The narrative within the pavilion unfolds sequentially, starting from the land, progressing to the sea, and ultimately reaching the depths of the ocean. ▼文化同心分馆-空间轴测图，axonometric 展馆一层，从空间上看，展馆就好像一片珠江口区域的田埂，观众站在“田埂”上向地上看，仿佛变身为古代珠江口的耕作者们。展览的内容围绕着珠江口地区“以海为田”的传统海洋农业生产及其技术与观念展开，叙事体验从陆地向海洋逐渐进深，五种本地典型的海洋农业类型依次排开：沙田、盐田、蚝田、珠池和渔场；每种类型之下，我们通过沉浸式投影进行生产方式及特点内容的讲述。沿着似深海的蓝色楼梯而上，我们来到展馆的二层——大海的深处。一艘乘风破浪的“大船装置”，带领着观众进入了一段从古代珠江口出发联通世界的经济交流与贸易交往的历史，我们从不同的角度介绍了作为海陆枢纽的珠江口地区，及其曾发生在这里的国际贸易格局与变迁。其中，我们着重突出了在贸易体制转型过程中，南头、澳门和香港在不同历史时期的对外贸易活动中扮演的重要枢纽角色。同时，二层的大玻璃窗将广场人群与展馆内部的视线有效联通，灵动的“大船装置”也使文化展览真实的进入了南头古城社区里人们的生活。 The first floor of the pavilion replicates the appearance of a field ridge in the estuary region. As the audience stands on this “ridge” and gazes at the ground, they are immediately transported into the shoes of ancient farmers in the region. The exhibition is centered around traditional marine agriculture, where people farm in waters, encompassing its techniques and values. The narrative unfolds progressively from the land to the sea, showcasing five typical forms of local marine agriculture: alluvial plains, salt pans, oyster beds, pearl ponds, and fisheries. The production methods and characteristics of each form are vividly presented through immersive projections. Ascending the blue staircase, we reach the second floor-the depths of the sea. Here, a “big ship” sailing on the wind and waves guides visitors through a history of economic and trade exchanges, in which the region connects the ancient Pearl River Delta and the world. The exhibition unveils the region’s pivotal role as a nexus between land and sea and explains how international trade here evolves over time. Throughout the transformation of the trade system, the exhibition places particular emphasis on the significant roles played by Nantou, Macao, and Hong Kong as hubs for foreign trade activities in different historical periods. Through the large glass window on the second floor, people in the square can look into the interior of the building, which connects the crowd and the exhibition effectively. The dynamic “Big Ship Installation” inside also brings the cultural exhibition into people’s lives in the Nantou City. ▼疍家船上的漂浮世界，The floating world of the Boat People 同源馆 · 文化同心DIVERSE HOMOLOGY PAVILION · THE INHERITED AND SHARED CULTURE 从文化上看，珠江口地区像一个开放的大熔炉。这里位于河海交界之处，既承接来自北方的中原文化，也受到南洋乃至西方文化的影响，拥有着开放的文化性格和丰富的文化构成；广府、客家、闽潮、疍家等多个民系在这里融汇，中国、南洋和西方文化在这里交集，随着时间的积淀，逐渐酝酿出一种独特的、海陆交融的文化特性。文化同心分馆从精神文明的角度切入，分别从饮食和居住来叙述珠江口地区多元融合的“生活文化”，从民系的汇聚与迁徙来讲述这里绵延与流动的“族群文化”，从语言和信仰来观察本地区和而不同、美美与共的“精神文化”。从叙事体验出发，除了内容上从生活文化向精神文化的递进关系之外，由于本馆以城中村民居式的室内格局为基础，不仅展厅相对狭小，且参观需要在各个房间之中上下穿行，比较容易迷路。所以，我们在地面以“一条线”串联起所有的展项，以引导观众完成参观。 Culturally, the Pearl River Delta is like a multicultural melting pot. Located at the confluence of many rivers and the South China Sea, the region not only embraces the Central Plains culture but also is influenced by Nanyang and even Western cultures, possessing an open cultural character and rich cultures. Numerous Han Chinese subgroups, such as Guangfu, Hakka, and Southern Fujian-chaoshan, and the Boat People, meet here, while cultures from China, Nanyang, and Western countries mix. With the passage of time, a distinctive and blended culture featured by the integration of land and sea has come into being gradually. From the perspective of spiritual civilization, “The Inherited and Shared Culture” depicts the diverse and integrated “Living Culture” in the Pearl River Delta through aspects of Food and Residence, narrates the inherited and flowing “Multi-Ethnic Culture” from the convergence and migration of Han Chinese subgroups, and observes the different but harmonious “Spiritual Culture” in the region through aspects of language and beliefs. From the perspective of narrative experience, in addition to the progression from living culture to spiritual culture in terms of content, the exhibition hall is relatively small, and it is easy to get lost as visitors have to walk through various rooms, since the exhibition is based on the interior layout of people’s dwellings in the community. Therefore, we connect all the exhibits into one concrete whole with a “line” to guide visitors to complete the tour. ▼家谱中的民系流变，Genealogical evolution of subgroups of the Han Ethnicity 展馆建筑的三层展览开始，我们通过“饮食与居住”的视角来认识珠江口地区丰富多元的生活文化。食物是我们抵达的第一站，食物一，是从珠江口走向世界的传统粤菜“白切鸡”，食物二，则是在珠江口融合发展的西式甜点“蛋挞”，我们通过交互体验的方式来叙述食物地理空间的传播与食物形态的演变，以认识珠江口地区的味蕾共鸣，并从中理解珠江口中西文化的互通与共融。而居住空间形态的多样性是珠江口地区的另一特点，这里“聚族而居的围屋”“开放外向的骑楼街”以及“漂浮海上的疍家船”分别体现着共享珠江口地区的不同族群以及他们的生活方式与观念。 Beginning on the third floor of the exhibition, we explore the rich and diverse living culture of the Pearl River Delta from the perspective of “Food and Residence”. Food is our first stop. The first food is the traditional Cantonese dish “Baiqieji”, which went global from the Pearl River Delta, and the second food is the western dessert “Egg Tart”, which integrated the East and West in the Pearl River Delta. We are going to narrate the widespread of food across different places and the evolution of food forms through interactive experiences to realize similar taste buds in the Pearl River Delta and to understand the interconnection and integration of Chinese and Western cultures in the region. The diverse form of people’s dwellings is another characteristic of the Pearl River Delta, where the “Weiwu house featured by communal life”, “veranda with public space”, and “the Boat People’s boats floating on the sea” reflect the different ethnic groups that share the Pearl River Delta, as well as their lifestyles and concepts, respectively. ▼切鸡的全球化，The globalization of BAIQIEJI 展馆四层内容围绕珠江口地区的“族群文化”展开，东侧展厅包含着以家谱信息生成的可视化影片，影片以时间和地点为参考坐标记录着自古以来广府、客家、闽潮为主的民系从北方迁移至珠江口的过程；此外，我们还通过纪录片的形式展开讲述“宗祠”这个曾经见证个人与家族共同记忆的重要载体，在当下人们的生活之中的角色变化。西侧展厅，关注珠江口地区向海外迁徙的移民历史，以及华侨个体与故乡、亲人之间的情感连接，这些“行李箱装置”仿佛把这些故事发生的时刻给凝固住了。 The exhibition on the fourth floor focuses on the “Multi-Ethnic Culture” of the Pearl River Delta. The hall to the east of the exhibition displays a visual film generated by genealogical information, which has recorded the migration of Han Chinese subgroups, represented by Cantonese, Hakka, and Southern Fujian-chaoshan from the north to the Pearl River Delta since ancient times, according to different times and places. Additionally, in the form of documentary films, we also detail the “Ancestral Hall”, an important carrier that witnessed common memories of individuals and families, and its evolving role in contemporary life. The hall to the west of the exhibition concentrates on the history of overseas migrants from the Pearl River Delta and the emotional bonds between overseas Chinese and their hometowns and loved ones, all of which, called “suitcase installations”, seem to freeze the moments that these stories took place. ▼摇篮曲里的族群和音，The lullaby for harmony 展馆五层的内容叙事围绕着珠江口地区海陆交融的“精神文化”展开。首先，我们将诞生于海陆之间妈祖信仰的由来与演变通过沉浸体验的方式带给观众，这里核心讲述了人对海洋变化莫测的恐惧与妈祖给予人的心灵慰藉。接着，我们通过摇篮装置触发传唱于珠江口地区不同民系间的共同歌谣《月光光》带领大家回到的童年时光。最后，在一组相互对照的屏幕装置中将深港相同的地名的影像作品及其背后文化和地理的解析作为结束。 Moreover, the exhibition on the fifth floor primarily talks about the “Spiritual Culture” characterized by the integration of land and sea in the Pearl River Delta. At first, we introduce the origin and evolution of Mazu Worship, born between land and sea, to the audience through an immersive experience. The exhibition mainly explains man’s fear of the unpredictable ocean and the peace of mind provided by Mazu. Then, we use the cradle installation to trigger the singing of the common song “The Moonlight”, which is sung among different Han Chinese subgroups in the Pearl River Delta, bringing us back to our childhood. Finally, the exhibition ends up with a set of mutually contrasting screen installations, including a video imaging of the same place names in Shenzhen and Hong Kong, and the cultural and geographical analysis behind them. ▼妈祖信仰中的海陆心理，The Psychology of Mazu Worship 同源馆 · 行政同属DIVERSE HOMOLOGY PAVILION · THE INHERITED AND SHARED ADMINISTRATION 行政同属分馆从政治文明的角度切入，以空间与权力为视角来叙述历史上同属于在南头设立的管理机构，其行政、海防或经济辖区（珠江口区域）管辖权力的历史演变，以及因政治管辖权力的变化与复杂的地理空间之间相互塑造的关系。行政同属分馆是同源馆群中的主馆，坐落在报德广场的北侧，拥有一栋高大且独立的建筑。展览叙事体验是由具象的南头在地历史向抽象的历史精神的渐进。展馆一层的一展厅，我们以与展馆毗邻的新安县衙古今对照为叙事的起点，这是南头古城历史上政治权力的重要体现，通过一组透明结合实体材质的建筑模型，将布局严谨的明清县衙与今天的县衙相互嵌套，重现了历史的庄严。二展厅，我们将叙事的空间范围从县衙扩大至以南头古城为核心的整个南头区域，通过南头古城内的遗址及历史文献记载，我们考察历代朝廷在南头设置的涵盖了经济、行政与军事方面的管理机构，将这段跨越两千多年时间的历史依托于南头地图装置呈现出来。 From the perspective of political civilization, “The Inherited and Shared Administration” narrates the governing bodies established in the Nantou City in history through aspects of space and power. To be concrete, the exhibition explores the historical evolution of the administrative, coastal defense, or economic jurisdictions (within the Pearl River Delta), as well as the relationship shaped by the mutual influence between changes in the political jurisdiction and the complexity of the geographic space. As the main building of the Diverse Homology Pavilion, The Inherited and Shared Administration, located on the north side of Baode Square, holds a tall and separate building. The narrative experience of the exhibition is a gradual progression from the tangible local history of Nantou City to the abstract historical spirit. In Room 1 on the first floor, we start the narration by contrasting ancient and contemporary Xin’an County Yamen adjacent to the building, which is the important embodiment of political power in the history of the Nantou City. Furthermore, a set of transparent architectural models made of solid materials shows the county yamen with rigorous layout in the Ming and Qing dynasties and its counterpart at the present, reproducing the solemnity of the history. In Room 2, we expand the narrative scope from the county yamen to the entire Nantou area with Nantou City as the core. According to the ruins and historical documents within the Nantou City, we delve into the governing bodies in terms of economy, administration, and military affairs established by royal courts in Nantou, presenting the history spanning over 2,000 years through the Nantou map installation. ▼行政同属分馆-空间轴测图，axonometric 展馆二层，内容的空间范围从南头地区逐渐放大到整个珠江口区域，关注古代南头古城曾设置过的管理机构，及其管辖权力所涵盖的：盐业、行政、海防管理三个层面，并且通过三组装置来呈现。三展厅的装置是遗址望远镜，通过互动触发全景视频影像，将历史遗址链接展厅内外，观看至今仍广泛留存于珠江口地区（粤港澳大湾区：深圳、香港、澳门、东莞、广州、珠海、惠州等地）体现着历代朝廷对该区域的管治；具体的说，分别是珠江口地区的盐业生产及行销体系、地方行政管理分布与体系，以及沿海军事防卫空间布局。四展厅的装置是专家热线，通过电话亭装置与专家学者们连线，听他们讲述古代珠江口地区的盐业管辖、行政管理以及海防建设的特点以及对当下的启示作用。五展厅由三组历史大事记构成，我们将历代朝廷设置于南头地区的管理机构及沿革历史由经济、行政、海防三个方面分别展开，为观众对珠江口地区的管辖历史建立多方位的理解。 On the second floor, the scope of the exhibition gradually expands from the Nantou area to the entire Pearl River Delta, focusing on the governing bodies established in the Nantou Ancient Town in the past and the jurisdictions they covered: salt industry, administration, and coastal defense management, which are displayed through three sets of installations. The installation in Room 3 is the telescope for reviewing relics. Through the interaction with visitors, panoramic video imaging can be triggered, linking historical sites inside and outside the exhibition to view the sites that still exist widely in the Pearl River Delta (Guangdong-Hong Kong-Macao Greater Bay Area: Shenzhen, Hong Kong, Macao, Dongguan, Guangzhou, Zhuhai, Huizhou, etc.) All of that embodies the governance of royal courts over the region. To be specific, the salt production and marketing system, the distribution and system of local administration, and the spatial layout of coastal military defense in the Pearl River Delta are covered in the exhibition. The installation in Room 4 is the phone booths for experts, through which visitors can talk with experts and scholars and listen to them narrating the characteristics of ancient salt jurisdiction, administration, and coastal defense construction in the Pearl River Delta, along with their insights and revelation to the present. The Room 5 is composed of three sets of historical events. We unfold the evolution and history of the governing bodies established by royal courts in the Nantou region from three aspects including economy, administration, and coastal defense. The exhibition is supposed to provide a multi-faceted understanding of the jurisdiction history in the Pearl River Delta for the audience. ▼藏在新南头之中的粤东首郡，The largest East-Cantonese County in a renewed Nantou Town ▼遗址望远镜，Reviewing relics through telescopes 展馆三层，叙事内容重点关注历史上珠江口地区因行政管辖而发生的空间与边界话题，其中包含历史上不断变动的南头辖区范围与特有的边界空间话题。六展厅，我们以南头古城为锚点，整体考察历代朝廷在此设置的权力机关及其辖区范围，以时间与空间的交叠，重构出一套贯通古今的南头辖区空间图景。七展厅，聚焦明清时期来自朝廷对南头地区（新安县）海陆边界的行政管理政策，边界政令的开放与收紧，如潮起潮落般反反复复；这里以一组动态装置结合影像内容，将不断变动的政令与空间演示有机结合，客观反映了该地区复杂的地理空间与变化的管辖权力之间相互塑造的关系。八展厅，叙事内容递进至政令变迁下人们的生活及其展现出的珠江口地区的性格，我们以三组屏幕装置抽象与艺术化表达，在这个被权力不断塑造的边界地带，农民、疍民、官员、海商、海盗是如何以灵活变通的生活态度来应对反复无常的政策之间的故事。 On the third floor of the exhibition, the narration focuses on the spatial and boundary topics that occurred in the history of the Pearl River Delta due to the administrative jurisdiction, which includes the ever-changing boundaries of the Nantou jurisdiction and unique topics on boundary space. The Room 6, we use the Nantou City as an anchor point, exploring the authorities established by royal courts here and their jurisdictional boundaries, and reconstructing a spatial panorama of the Nantou jurisdictional area that bridges the ancient and contemporary in accordance with different times and spaces. Room 7 concentrates on the administrative policies on the sea and land borders of the Nantou area (Xin’an County) during the Ming and Qing dynasties, depicting the easing and tightening of the border regulations, akin to the ebb and flow of tides. A combination of dynamic installations and the video integrates the ever-changing regulations with spatial demonstrations, objectively reflecting the relationship shaped by the mutual influence between the complex geographic space and the changing jurisdiction in the region. In Room 8, the narration is developed into people’s lives under the influence of evolving regulations and the character of the Pearl River Delta. We use three sets of screen installations to abstractly and artistically tell the story of how farmers, the Boat People, officials, merchants on the sea, and pirates respond to the capricious policies with a flexible attitude towards life in the border zone constantly shaped by power. ▼潮汐式边界，Tidal boundary 展馆四层，结束了在南头两千多年政治历史中的游走，也来到展馆空间最高的位置。于此，我们既可随着展厅里的时空之钟体会历史的跨越，亦可俯瞰今日的南头古城感受时代的跃迁。 The exhibition concludes on the fourth floor, which also happens to be the building’s highest point, after taking visitors on a captivating journey through over 2,000 years of political history in the Nantou region. Here, we can not only experience the historic leap with the bell of time and space in the exhibition hall but also overlook today’s Nantou City to witness the advance of time. ▼南头钟声，Bells echoing in Nantou 在行政同属分馆，我们尝试让每个展厅的空间体验都截然不同，以内容叙事与互动体验的结合为观众构建出一场场不断切换场景蒙太奇。“同源馆群”，藏于更新后的南头古城历史文化街区的主题展馆群落，以亲人的姿态与友好的方式，期待大家的到来。 In “The Inherited and Shared Administration”, we attempt to make the spatial experience of each exhibition hall distinctly different, creating a montage of continuously switching scenes for the audience with a combination of content narrative and interactive experience. “Diverse Homology Pavilion”, a building complex nestled in the historical and cultural streets of the renewed Nantou City, is looking forward to your arrival with cordiality and friendliness. ▼夜览行政同属分馆内外，Night view 【1】深圳南头古城：一步千年 九街风华，《羊城晚报》， 2023年3月22日[1] Nantou Ancient Town in Shenzhen: One Step, a thousand years of history; Nine Streets, the timeless splendor of Nantou Ancient Town, Yangcheng Evening News, March 22, 2023 项目名称: 同源馆群项目类型：展览项目地点：深圳市，南山区，南头古城设计单位（联合设计请注明所有设计方，并确认各设计单位已认可发布内容）：直径叙事设计事务所网站: www.dia-narrative.com设计团队完整名单：策展设计：直径叙事设计策展人/总设计师：李德庚艺术总监/装置艺术家：周文斗内容专家:行政同属分馆：李庆新、李晓龙、张一兵（以姓名首字母排序）文化同心分馆：廖虹雷、刘丽川、史建、张卫东、张一兵（以姓名首字母排序）经济同体分馆：李庆新、林旭鸣山海同貌分馆：南兆旭、南一方、郭倩、黄秦、张高峰、康镇江平面设计：United Design Lab新媒体设计：Signal α新媒体制作：火橙未来、某界艺术动画制作：有熊文化、直径叙事设计AR技术开发及动画制作：Candybook视频影像：方向文化、黑三石文化、IAM 我在、潮汐东方模型制作：深圳精艺达建筑模型有限公司装置制作：上海建谆景观工程有限公司展览施工：深圳市杰尔斯展示股份有限公司摄影师：TAL、直径叙事设计特别感谢机构：方正字库、宝安曾氏大宗祠个人：陈一萌、董玄天、冯光、郭燕珊、梁凯怡、刘小勇、梅姨、莫非、孙立民、汪弘毅、徐慧峰、谢新球、曾国祥（以姓名首字母排序）业主：深圳市南山区建筑工务署代建单位：深圳市万科发展有限公司南头古城规划及设计管理：万科城市研究院、万路设计建成状态：建成,2024年春节前后全部开放若为方案，则标明方案状态：体现方案未来情况的描述，包括但不限于中标方案/竞赛获胜方案/设计委托等设计时间（起迄年月）：2019-2021建设时间（起迄年月）：2021-2023展览总面积（平方米）：1461平方米
