“Hall of Mental Cultivation” provides a comprehensive showcase of the Politics, culture, information of lifestyle, traces remained by different periods of the Qing Dynasty. VR for The Hall of Mental Cultivation is the use of VR technology to reproduce the original furnishings of the Hall of Mental Cultivation, which enables everyone to"walk into" the palace building, learn about cultural relics with zero distance. When the audiences wear VR glasses, they are able to enter the Hall of Mental Cultivation from the first point of view. They can review the memorial to the emperor, play around with the treasure. These real sensory effects with classical music, as well as progressive guide and historical explanation, allow visitors to have a deep, immersive and personal visit in the Hall of Mental Cultivation.

养心殿最集大成地展现了清王朝政治、文化、生活信息，这里留下了各个时期的痕迹。《故宫养心殿VR》就是利用VR技术再现了养心殿原状陈设，让大家“走进”宫殿建筑，“零距离”接触文物。戴上VR眼镜，观众便可以第一视角进入养心殿，批阅奏折、把玩珍宝，真实的感官效果配上古典的音乐，还有渐进的引导和历史讲解，足不出户也能身临其境地深度探访养心殿，开启专属自己的养心殿之旅。

“Hall of Mental Cultivation” provides a comprehensive showcase of the Politics, culture, information of lifestyle, traces remained by different periods of the Qing Dynasty. VR for The Hall of Mental Cultivation is the use of VR technology to reproduce the original furnishings of the Hall of Mental Cultivation, which enables everyone to"walk into" the palace building, learn about cultural relics with zero distance. When the audiences wear VR glasses, they are able to enter the Hall of Mental Cultivation from the first point of view. They can review the memorial to the emperor, play around with the treasure. These real sensory effects with classical music, as well as progressive guide and historical explanation, allow visitors to have a deep, immersive and personal visit in the Hall of Mental Cultivation.

养心殿最集大成地展现了清王朝政治、文化、生活信息，这里留下了各个时期的痕迹。《故宫养心殿VR》就是利用VR技术再现了养心殿原状陈设，让大家“走进”宫殿建筑，“零距离”接触文物。戴上VR眼镜，观众便可以第一视角进入养心殿，批阅奏折、把玩珍宝，真实的感官效果配上古典的音乐，还有渐进的引导和历史讲解，足不出户也能身临其境地深度探访养心殿，开启专属自己的养心殿之旅。

“Hall of Mental Cultivation” provides a comprehensive showcase of the Politics, culture, information of lifestyle, traces remained by different periods of the Qing Dynasty. VR for The Hall of Mental Cultivation is the use of VR technology to reproduce the original furnishings of the Hall of Mental Cultivation, which enables everyone to"walk into" the palace building, learn about cultural relics with zero distance. When the audiences wear VR glasses, they are able to enter the Hall of Mental Cultivation from the first point of view. They can review the memorial to the emperor, play around with the treasure. These real sensory effects with classical music, as well as progressive guide and historical explanation, allow visitors to have a deep, immersive and personal visit in the Hall of Mental Cultivation.

养心殿最集大成地展现了清王朝政治、文化、生活信息，这里留下了各个时期的痕迹。《故宫养心殿VR》就是利用VR技术再现了养心殿原状陈设，让大家“走进”宫殿建筑，“零距离”接触文物。戴上VR眼镜，观众便可以第一视角进入养心殿，批阅奏折、把玩珍宝，真实的感官效果配上古典的音乐，还有渐进的引导和历史讲解，足不出户也能身临其境地深度探访养心殿，开启专属自己的养心殿之旅。

“Hall of Mental Cultivation” provides a comprehensive showcase of the Politics, culture, information of lifestyle, traces remained by different periods of the Qing Dynasty. VR for The Hall of Mental Cultivation is the use of VR technology to reproduce the original furnishings of the Hall of Mental Cultivation, which enables everyone to"walk into" the palace building, learn about cultural relics with zero distance. When the audiences wear VR glasses, they are able to enter the Hall of Mental Cultivation from the first point of view. They can review the memorial to the emperor, play around with the treasure. These real sensory effects with classical music, as well as progressive guide and historical explanation, allow visitors to have a deep, immersive and personal visit in the Hall of Mental Cultivation.

养心殿最集大成地展现了清王朝政治、文化、生活信息，这里留下了各个时期的痕迹。《故宫养心殿VR》就是利用VR技术再现了养心殿原状陈设，让大家“走进”宫殿建筑，“零距离”接触文物。戴上VR眼镜，观众便可以第一视角进入养心殿，批阅奏折、把玩珍宝，真实的感官效果配上古典的音乐，还有渐进的引导和历史讲解，足不出户也能身临其境地深度探访养心殿，开启专属自己的养心殿之旅。

“Hall of Mental Cultivation” provides a comprehensive showcase of the Politics, culture, information of lifestyle, traces remained by different periods of the Qing Dynasty. VR for The Hall of Mental Cultivation is the use of VR technology to reproduce the original furnishings of the Hall of Mental Cultivation, which enables everyone to"walk into" the palace building, learn about cultural relics with zero distance. When the audiences wear VR glasses, they are able to enter the Hall of Mental Cultivation from the first point of view. They can review the memorial to the emperor, play around with the treasure. These real sensory effects with classical music, as well as progressive guide and historical explanation, allow visitors to have a deep, immersive and personal visit in the Hall of Mental Cultivation.

养心殿最集大成地展现了清王朝政治、文化、生活信息，这里留下了各个时期的痕迹。《故宫养心殿VR》就是利用VR技术再现了养心殿原状陈设，让大家“走进”宫殿建筑，“零距离”接触文物。戴上VR眼镜，观众便可以第一视角进入养心殿，批阅奏折、把玩珍宝，真实的感官效果配上古典的音乐，还有渐进的引导和历史讲解，足不出户也能身临其境地深度探访养心殿，开启专属自己的养心殿之旅。

“Hall of Mental Cultivation” provides a comprehensive showcase of the Politics, culture, information of lifestyle, traces remained by different periods of the Qing Dynasty. VR for The Hall of Mental Cultivation is the use of VR technology to reproduce the original furnishings of the Hall of Mental Cultivation, which enables everyone to"walk into" the palace building, learn about cultural relics with zero distance. When the audiences wear VR glasses, they are able to enter the Hall of Mental Cultivation from the first point of view. They can review the memorial to the emperor, play around with the treasure. These real sensory effects with classical music, as well as progressive guide and historical explanation, allow visitors to have a deep, immersive and personal visit in the Hall of Mental Cultivation.

养心殿最集大成地展现了清王朝政治、文化、生活信息，这里留下了各个时期的痕迹。《故宫养心殿VR》就是利用VR技术再现了养心殿原状陈设，让大家“走进”宫殿建筑，“零距离”接触文物。戴上VR眼镜，观众便可以第一视角进入养心殿，批阅奏折、把玩珍宝，真实的感官效果配上古典的音乐，还有渐进的引导和历史讲解，足不出户也能身临其境地深度探访养心殿，开启专属自己的养心殿之旅。

Moujiti has established long term collaboration relationship with Forbidden City - Palace Museum (Gu Gong). By working with the most prestige culture institution of China Moujiti’s challenge is how to utilize digital media to dive deep into Chinese traditional culture content and digest thoroughly, but also to be able to interpret it, and communicate it within the current Chinese contemporary context. Xiang Rui is the Chinese traditional symbolism system and it’s ranking order that was used in the Forbidden City in the past, like on jade ware, textile patterns, furnitures, architecture, and paintings etc. In order to intuitively communicate this order we implemented a vertical scroll that illustrate a journey from heaven to ocean, through fluid interaction it de-codes the meaning of each symbol and series of antique collections where it was implemented. During the process if iPad is flipped 90 degrees it shows the map where is item is displayed in the Forbidden City. A little DIY game allows users to re-compose their own Xiang Rui and share with friends through social network.

故宫博物院是某集体的长期合作伙伴，《紫禁城祥瑞》探讨如何利用数字媒体将深厚的传统文化精髓进行内容提炼和当代演绎，使其能够有效和人性化地在现代语境中传播。在《紫禁城祥瑞》中，我们采用了从天到海的竖式动态画卷，以行云流水般的交互体验还原了皇宫紫禁文化符号的等级形制，自上而下地逐层对诸祥瑞含义进行详细解密和故宫藏品实例应用，翻转ipad即显示此祥瑞的故宫所在位置，并为游客提供现场导览。动态的交互手法和充满乐趣的个人定制游戏激发了用户参与，扩大了紫禁文化在社交网络平台的大众传播效应。

Moujiti has established long term collaboration relationship with Forbidden City - Palace Museum (Gu Gong). By working with the most prestige culture institution of China Moujiti’s challenge is how to utilize digital media to dive deep into Chinese traditional culture content and digest thoroughly, but also to be able to interpret it, and communicate it within the current Chinese contemporary context. Xiang Rui is the Chinese traditional symbolism system and it’s ranking order that was used in the Forbidden City in the past, like on jade ware, textile patterns, furnitures, architecture, and paintings etc. In order to intuitively communicate this order we implemented a vertical scroll that illustrate a journey from heaven to ocean, through fluid interaction it de-codes the meaning of each symbol and series of antique collections where it was implemented. During the process if iPad is flipped 90 degrees it shows the map where is item is displayed in the Forbidden City. A little DIY game allows users to re-compose their own Xiang Rui and share with friends through social network.

故宫博物院是某集体的长期合作伙伴，《紫禁城祥瑞》探讨如何利用数字媒体将深厚的传统文化精髓进行内容提炼和当代演绎，使其能够有效和人性化地在现代语境中传播。在《紫禁城祥瑞》中，我们采用了从天到海的竖式动态画卷，以行云流水般的交互体验还原了皇宫紫禁文化符号的等级形制，自上而下地逐层对诸祥瑞含义进行详细解密和故宫藏品实例应用，翻转ipad即显示此祥瑞的故宫所在位置，并为游客提供现场导览。动态的交互手法和充满乐趣的个人定制游戏激发了用户参与，扩大了紫禁文化在社交网络平台的大众传播效应。

Moujiti has established long term collaboration relationship with Forbidden City - Palace Museum (Gu Gong). By working with the most prestige culture institution of China Moujiti’s challenge is how to utilize digital media to dive deep into Chinese traditional culture content and digest thoroughly, but also to be able to interpret it, and communicate it within the current Chinese contemporary context. Xiang Rui is the Chinese traditional symbolism system and it’s ranking order that was used in the Forbidden City in the past, like on jade ware, textile patterns, furnitures, architecture, and paintings etc. In order to intuitively communicate this order we implemented a vertical scroll that illustrate a journey from heaven to ocean, through fluid interaction it de-codes the meaning of each symbol and series of antique collections where it was implemented. During the process if iPad is flipped 90 degrees it shows the map where is item is displayed in the Forbidden City. A little DIY game allows users to re-compose their own Xiang Rui and share with friends through social network.

故宫博物院是某集体的长期合作伙伴，《紫禁城祥瑞》探讨如何利用数字媒体将深厚的传统文化精髓进行内容提炼和当代演绎，使其能够有效和人性化地在现代语境中传播。在《紫禁城祥瑞》中，我们采用了从天到海的竖式动态画卷，以行云流水般的交互体验还原了皇宫紫禁文化符号的等级形制，自上而下地逐层对诸祥瑞含义进行详细解密和故宫藏品实例应用，翻转ipad即显示此祥瑞的故宫所在位置，并为游客提供现场导览。动态的交互手法和充满乐趣的个人定制游戏激发了用户参与，扩大了紫禁文化在社交网络平台的大众传播效应。

Moujiti has established long term collaboration relationship with Forbidden City - Palace Museum (Gu Gong). By working with the most prestige culture institution of China Moujiti’s challenge is how to utilize digital media to dive deep into Chinese traditional culture content and digest thoroughly, but also to be able to interpret it, and communicate it within the current Chinese contemporary context. Xiang Rui is the Chinese traditional symbolism system and it’s ranking order that was used in the Forbidden City in the past, like on jade ware, textile patterns, furnitures, architecture, and paintings etc. In order to intuitively communicate this order we implemented a vertical scroll that illustrate a journey from heaven to ocean, through fluid interaction it de-codes the meaning of each symbol and series of antique collections where it was implemented. During the process if iPad is flipped 90 degrees it shows the map where is item is displayed in the Forbidden City. A little DIY game allows users to re-compose their own Xiang Rui and share with friends through social network.

故宫博物院是某集体的长期合作伙伴，《紫禁城祥瑞》探讨如何利用数字媒体将深厚的传统文化精髓进行内容提炼和当代演绎，使其能够有效和人性化地在现代语境中传播。在《紫禁城祥瑞》中，我们采用了从天到海的竖式动态画卷，以行云流水般的交互体验还原了皇宫紫禁文化符号的等级形制，自上而下地逐层对诸祥瑞含义进行详细解密和故宫藏品实例应用，翻转ipad即显示此祥瑞的故宫所在位置，并为游客提供现场导览。动态的交互手法和充满乐趣的个人定制游戏激发了用户参与，扩大了紫禁文化在社交网络平台的大众传播效应。

紫禁城祥瑞》全明星阵容强势扩容回归，一起来探索精彩无限的“祥瑞之岛”，破解传统文化符号背后隐藏的秘密吧！ 清代准皇后如何通过大婚化身为“凤”？狻猊为何总为香具代言？打开球形熏炉3D模型的外壳，看看熏炉滚动时，悬心机械结构如何保持中心盛香小碗始终朝上……《紫禁城祥瑞PRO》以主题性、多角度呈现17种传统祥瑞符号，甄选170余件故宫博物院藏文物精品，解读这些传统符号的历史演变及文化内涵。

紫禁城祥瑞》全明星阵容强势扩容回归，一起来探索精彩无限的“祥瑞之岛”，破解传统文化符号背后隐藏的秘密吧！ 清代准皇后如何通过大婚化身为“凤”？狻猊为何总为香具代言？打开球形熏炉3D模型的外壳，看看熏炉滚动时，悬心机械结构如何保持中心盛香小碗始终朝上……《紫禁城祥瑞PRO》以主题性、多角度呈现17种传统祥瑞符号，甄选170余件故宫博物院藏文物精品，解读这些传统符号的历史演变及文化内涵。

紫禁城祥瑞》全明星阵容强势扩容回归，一起来探索精彩无限的“祥瑞之岛”，破解传统文化符号背后隐藏的秘密吧！ 清代准皇后如何通过大婚化身为“凤”？狻猊为何总为香具代言？打开球形熏炉3D模型的外壳，看看熏炉滚动时，悬心机械结构如何保持中心盛香小碗始终朝上……《紫禁城祥瑞PRO》以主题性、多角度呈现17种传统祥瑞符号，甄选170余件故宫博物院藏文物精品，解读这些传统符号的历史演变及文化内涵。

紫禁城祥瑞》全明星阵容强势扩容回归，一起来探索精彩无限的“祥瑞之岛”，破解传统文化符号背后隐藏的秘密吧！ 清代准皇后如何通过大婚化身为“凤”？狻猊为何总为香具代言？打开球形熏炉3D模型的外壳，看看熏炉滚动时，悬心机械结构如何保持中心盛香小碗始终朝上……《紫禁城祥瑞PRO》以主题性、多角度呈现17种传统祥瑞符号，甄选170余件故宫博物院藏文物精品，解读这些传统符号的历史演变及文化内涵。

紫禁城祥瑞》全明星阵容强势扩容回归，一起来探索精彩无限的“祥瑞之岛”，破解传统文化符号背后隐藏的秘密吧！ 清代准皇后如何通过大婚化身为“凤”？狻猊为何总为香具代言？打开球形熏炉3D模型的外壳，看看熏炉滚动时，悬心机械结构如何保持中心盛香小碗始终朝上……《紫禁城祥瑞PRO》以主题性、多角度呈现17种传统祥瑞符号，甄选170余件故宫博物院藏文物精品，解读这些传统符号的历史演变及文化内涵。

紫禁城祥瑞》全明星阵容强势扩容回归，一起来探索精彩无限的“祥瑞之岛”，破解传统文化符号背后隐藏的秘密吧！ 清代准皇后如何通过大婚化身为“凤”？狻猊为何总为香具代言？打开球形熏炉3D模型的外壳，看看熏炉滚动时，悬心机械结构如何保持中心盛香小碗始终朝上……《紫禁城祥瑞PRO》以主题性、多角度呈现17种传统祥瑞符号，甄选170余件故宫博物院藏文物精品，解读这些传统符号的历史演变及文化内涵。

紫禁城祥瑞》全明星阵容强势扩容回归，一起来探索精彩无限的“祥瑞之岛”，破解传统文化符号背后隐藏的秘密吧！ 清代准皇后如何通过大婚化身为“凤”？狻猊为何总为香具代言？打开球形熏炉3D模型的外壳，看看熏炉滚动时，悬心机械结构如何保持中心盛香小碗始终朝上……《紫禁城祥瑞PRO》以主题性、多角度呈现17种传统祥瑞符号，甄选170余件故宫博物院藏文物精品，解读这些传统符号的历史演变及文化内涵。

Wuhao is curated shop who’s aim is to promote high end Chinese designers, it’s located in a quiet little garden of Qing Dynasty princess WanRong hidden away in the deter of Beijing. It’s brand strategies works closely with the curatorial thinking, it made elegant Chinese contemporary design products and the beautiful environment become into one poetic experience. In order to migrate this authentic offline experience to online. Moujiti first captured the very essence of Wuhao’s aura, created a seamless virtual mirror of the physical by intergrading subtle and intuitive interactive methods. The layout and the journey of the website is planned according to the Chinese Yiching’s “ four seasons, five elements", plus overlapping tens and hundreds of layers of visual elements that can take audience though the nostalgic journey of time.

吾号是一个打造本土时尚设计师的高端平台，取址于幽静神秘的婉容公主府，其品牌推广策略充分融合了独具匠心的策展思路，使细致优美的当代设计作品与故居的花园厅堂融为一体。为了将高雅的线下实景体验移植到线上，某集体敏锐地捕捉并还原了其神秘诗意的体验精粹，网站平面布局规划以方位，四季和五行为基础，并层叠地深入时间布局，完全感受浸入式神秘花园般的诗意体验。

Wuhao is curated shop who’s aim is to promote high end Chinese designers, it’s located in a quiet little garden of Qing Dynasty princess WanRong hidden away in the deter of Beijing. It’s brand strategies works closely with the curatorial thinking, it made elegant Chinese contemporary design products and the beautiful environment become into one poetic experience. In order to migrate this authentic offline experience to online. Moujiti first captured the very essence of Wuhao’s aura, created a seamless virtual mirror of the physical by intergrading subtle and intuitive interactive methods. The layout and the journey of the website is planned according to the Chinese Yiching’s “ four seasons, five elements", plus overlapping tens and hundreds of layers of visual elements that can take audience though the nostalgic journey of time.

吾号是一个打造本土时尚设计师的高端平台，取址于幽静神秘的婉容公主府，其品牌推广策略充分融合了独具匠心的策展思路，使细致优美的当代设计作品与故居的花园厅堂融为一体。为了将高雅的线下实景体验移植到线上，某集体敏锐地捕捉并还原了其神秘诗意的体验精粹，网站平面布局规划以方位，四季和五行为基础，并层叠地深入时间布局，完全感受浸入式神秘花园般的诗意体验。

Wuhao is curated shop who’s aim is to promote high end Chinese designers, it’s located in a quiet little garden of Qing Dynasty princess WanRong hidden away in the deter of Beijing. It’s brand strategies works closely with the curatorial thinking, it made elegant Chinese contemporary design products and the beautiful environment become into one poetic experience. In order to migrate this authentic offline experience to online. Moujiti first captured the very essence of Wuhao’s aura, created a seamless virtual mirror of the physical by intergrading subtle and intuitive interactive methods. The layout and the journey of the website is planned according to the Chinese Yiching’s “ four seasons, five elements", plus overlapping tens and hundreds of layers of visual elements that can take audience though the nostalgic journey of time.

吾号是一个打造本土时尚设计师的高端平台，取址于幽静神秘的婉容公主府，其品牌推广策略充分融合了独具匠心的策展思路，使细致优美的当代设计作品与故居的花园厅堂融为一体。为了将高雅的线下实景体验移植到线上，某集体敏锐地捕捉并还原了其神秘诗意的体验精粹，网站平面布局规划以方位，四季和五行为基础，并层叠地深入时间布局，完全感受浸入式神秘花园般的诗意体验。

Wuhao is curated shop who’s aim is to promote high end Chinese designers, it’s located in a quiet little garden of Qing Dynasty princess WanRong hidden away in the deter of Beijing. It’s brand strategies works closely with the curatorial thinking, it made elegant Chinese contemporary design products and the beautiful environment become into one poetic experience. In order to migrate this authentic offline experience to online. Moujiti first captured the very essence of Wuhao’s aura, created a seamless virtual mirror of the physical by intergrading subtle and intuitive interactive methods. The layout and the journey of the website is planned according to the Chinese Yiching’s “ four seasons, five elements", plus overlapping tens and hundreds of layers of visual elements that can take audience though the nostalgic journey of time.

吾号是一个打造本土时尚设计师的高端平台，取址于幽静神秘的婉容公主府，其品牌推广策略充分融合了独具匠心的策展思路，使细致优美的当代设计作品与故居的花园厅堂融为一体。为了将高雅的线下实景体验移植到线上，某集体敏锐地捕捉并还原了其神秘诗意的体验精粹，网站平面布局规划以方位，四季和五行为基础，并层叠地深入时间布局，完全感受浸入式神秘花园般的诗意体验。

Wuhao is curated shop who’s aim is to promote high end Chinese designers, it’s located in a quiet little garden of Qing Dynasty princess WanRong hidden away in the deter of Beijing. It’s brand strategies works closely with the curatorial thinking, it made elegant Chinese contemporary design products and the beautiful environment become into one poetic experience. In order to migrate this authentic offline experience to online. Moujiti first captured the very essence of Wuhao’s aura, created a seamless virtual mirror of the physical by intergrading subtle and intuitive interactive methods. The layout and the journey of the website is planned according to the Chinese Yiching’s “ four seasons, five elements", plus overlapping tens and hundreds of layers of visual elements that can take audience though the nostalgic journey of time.

吾号是一个打造本土时尚设计师的高端平台，取址于幽静神秘的婉容公主府，其品牌推广策略充分融合了独具匠心的策展思路，使细致优美的当代设计作品与故居的花园厅堂融为一体。为了将高雅的线下实景体验移植到线上，某集体敏锐地捕捉并还原了其神秘诗意的体验精粹，网站平面布局规划以方位，四季和五行为基础，并层叠地深入时间布局，完全感受浸入式神秘花园般的诗意体验。

Wuhao is curated shop who’s aim is to promote high end Chinese designers, it’s located in a quiet little garden of Qing Dynasty princess WanRong hidden away in the deter of Beijing. It’s brand strategies works closely with the curatorial thinking, it made elegant Chinese contemporary design products and the beautiful environment become into one poetic experience. In order to migrate this authentic offline experience to online. Moujiti first captured the very essence of Wuhao’s aura, created a seamless virtual mirror of the physical by intergrading subtle and intuitive interactive methods. The layout and the journey of the website is planned according to the Chinese Yiching’s “ four seasons, five elements", plus overlapping tens and hundreds of layers of visual elements that can take audience though the nostalgic journey of time.

吾号是一个打造本土时尚设计师的高端平台，取址于幽静神秘的婉容公主府，其品牌推广策略充分融合了独具匠心的策展思路，使细致优美的当代设计作品与故居的花园厅堂融为一体。为了将高雅的线下实景体验移植到线上，某集体敏锐地捕捉并还原了其神秘诗意的体验精粹，网站平面布局规划以方位，四季和五行为基础，并层叠地深入时间布局，完全感受浸入式神秘花园般的诗意体验。

Wuhao is curated shop who’s aim is to promote high end Chinese designers, it’s located in a quiet little garden of Qing Dynasty princess WanRong hidden away in the deter of Beijing. It’s brand strategies works closely with the curatorial thinking, it made elegant Chinese contemporary design products and the beautiful environment become into one poetic experience. In order to migrate this authentic offline experience to online. Moujiti first captured the very essence of Wuhao’s aura, created a seamless virtual mirror of the physical by intergrading subtle and intuitive interactive methods. The layout and the journey of the website is planned according to the Chinese Yiching’s “ four seasons, five elements", plus overlapping tens and hundreds of layers of visual elements that can take audience though the nostalgic journey of time.

吾号是一个打造本土时尚设计师的高端平台，取址于幽静神秘的婉容公主府，其品牌推广策略充分融合了独具匠心的策展思路，使细致优美的当代设计作品与故居的花园厅堂融为一体。为了将高雅的线下实景体验移植到线上，某集体敏锐地捕捉并还原了其神秘诗意的体验精粹，网站平面布局规划以方位，四季和五行为基础，并层叠地深入时间布局，完全感受浸入式神秘花园般的诗意体验。

Wuhao is curated shop who’s aim is to promote high end Chinese designers, it’s located in a quiet little garden of Qing Dynasty princess WanRong hidden away in the deter of Beijing. It’s brand strategies works closely with the curatorial thinking, it made elegant Chinese contemporary design products and the beautiful environment become into one poetic experience. In order to migrate this authentic offline experience to online. Moujiti first captured the very essence of Wuhao’s aura, created a seamless virtual mirror of the physical by intergrading subtle and intuitive interactive methods. The layout and the journey of the website is planned according to the Chinese Yiching’s “ four seasons, five elements", plus overlapping tens and hundreds of layers of visual elements that can take audience though the nostalgic journey of time.

吾号是一个打造本土时尚设计师的高端平台，取址于幽静神秘的婉容公主府，其品牌推广策略充分融合了独具匠心的策展思路，使细致优美的当代设计作品与故居的花园厅堂融为一体。为了将高雅的线下实景体验移植到线上，某集体敏锐地捕捉并还原了其神秘诗意的体验精粹，网站平面布局规划以方位，四季和五行为基础，并层叠地深入时间布局，完全感受浸入式神秘花园般的诗意体验。

City As Museum is a visionary project that attempts to re-think the concept of “museum”, and it’s relationship with culture content like the cities’ historical heritage and especially the dynamic content generated by the users like oral history. Culture sites like vanished temples, city gates, and ruins of famous literati’s residencies, layered with stories from the people has all been fused together forming our collective social memory. City is not only the backdrop of events and stories, it’s have always been part of the hybrid reality of our urban life. “City As Museum” is to connect story telling with culture sites through location based technology (AR / VR etc) to pull the people back to the physical space to explore the “ city itself is the museum”.

“城市博物馆”作为一个愿景项目尝试重新思考”博物馆”概念，以及博物馆和其部分文化内容之间的关系. 尤其是针对于已经消失在城市里历史遗迹如: 庙宇, 故居，和流传于大众之间的口传历史，历史和我们现在生活的重重叠加共同组成了我们的集体社会记忆。城市不仅仅是记忆和故事的背景，而是我们混合现实中不可或缺的一部分.“城市博物馆”试图通过数字媒体技术试图将用户生成的民间传说等口传内容和城市中的遗失古建,历史人物等进行基于实景的历史重现的关联和融合,使大众回到城市中去实地体验城”市即是博物馆”。

City As Museum is a visionary project that attempts to re-think the concept of “museum”, and it’s relationship with culture content like the cities’ historical heritage and especially the dynamic content generated by the users like oral history. Culture sites like vanished temples, city gates, and ruins of famous literati’s residencies, layered with stories from the people has all been fused together forming our collective social memory. City is not only the backdrop of events and stories, it’s have always been part of the hybrid reality of our urban life. “City As Museum” is to connect story telling with culture sites through location based technology (AR / VR etc) to pull the people back to the physical space to explore the “ city itself is the museum”.

“城市博物馆”作为一个愿景项目尝试重新思考”博物馆”概念，以及博物馆和其部分文化内容之间的关系. 尤其是针对于已经消失在城市里历史遗迹如: 庙宇, 故居，和流传于大众之间的口传历史，历史和我们现在生活的重重叠加共同组成了我们的集体社会记忆。城市不仅仅是记忆和故事的背景，而是我们混合现实中不可或缺的一部分.“城市博物馆”试图通过数字媒体技术试图将用户生成的民间传说等口传内容和城市中的遗失古建,历史人物等进行基于实景的历史重现的关联和融合,使大众回到城市中去实地体验城”市即是博物馆”。

City As Museum is a visionary project that attempts to re-think the concept of “museum”, and it’s relationship with culture content like the cities’ historical heritage and especially the dynamic content generated by the users like oral history. Culture sites like vanished temples, city gates, and ruins of famous literati’s residencies, layered with stories from the people has all been fused together forming our collective social memory. City is not only the backdrop of events and stories, it’s have always been part of the hybrid reality of our urban life. “City As Museum” is to connect story telling with culture sites through location based technology (AR / VR etc) to pull the people back to the physical space to explore the “ city itself is the museum”.

“城市博物馆”作为一个愿景项目尝试重新思考”博物馆”概念，以及博物馆和其部分文化内容之间的关系. 尤其是针对于已经消失在城市里历史遗迹如: 庙宇, 故居，和流传于大众之间的口传历史，历史和我们现在生活的重重叠加共同组成了我们的集体社会记忆。城市不仅仅是记忆和故事的背景，而是我们混合现实中不可或缺的一部分.“城市博物馆”试图通过数字媒体技术试图将用户生成的民间传说等口传内容和城市中的遗失古建,历史人物等进行基于实景的历史重现的关联和融合,使大众回到城市中去实地体验城”市即是博物馆”。

City As Museum is a visionary project that attempts to re-think the concept of “museum”, and it’s relationship with culture content like the cities’ historical heritage and especially the dynamic content generated by the users like oral history. Culture sites like vanished temples, city gates, and ruins of famous literati’s residencies, layered with stories from the people has all been fused together forming our collective social memory. City is not only the backdrop of events and stories, it’s have always been part of the hybrid reality of our urban life. “City As Museum” is to connect story telling with culture sites through location based technology (AR / VR etc) to pull the people back to the physical space to explore the “ city itself is the museum”.

“城市博物馆”作为一个愿景项目尝试重新思考”博物馆”概念，以及博物馆和其部分文化内容之间的关系. 尤其是针对于已经消失在城市里历史遗迹如: 庙宇, 故居，和流传于大众之间的口传历史，历史和我们现在生活的重重叠加共同组成了我们的集体社会记忆。城市不仅仅是记忆和故事的背景，而是我们混合现实中不可或缺的一部分.“城市博物馆”试图通过数字媒体技术试图将用户生成的民间传说等口传内容和城市中的遗失古建,历史人物等进行基于实景的历史重现的关联和融合,使大众回到城市中去实地体验城”市即是博物馆”。

City As Museum is a visionary project that attempts to re-think the concept of “museum”, and it’s relationship with culture content like the cities’ historical heritage and especially the dynamic content generated by the users like oral history. Culture sites like vanished temples, city gates, and ruins of famous literati’s residencies, layered with stories from the people has all been fused together forming our collective social memory. City is not only the backdrop of events and stories, it’s have always been part of the hybrid reality of our urban life. “City As Museum” is to connect story telling with culture sites through location based technology (AR / VR etc) to pull the people back to the physical space to explore the “ city itself is the museum”.

“城市博物馆”作为一个愿景项目尝试重新思考”博物馆”概念，以及博物馆和其部分文化内容之间的关系. 尤其是针对于已经消失在城市里历史遗迹如: 庙宇, 故居，和流传于大众之间的口传历史，历史和我们现在生活的重重叠加共同组成了我们的集体社会记忆。城市不仅仅是记忆和故事的背景，而是我们混合现实中不可或缺的一部分.“城市博物馆”试图通过数字媒体技术试图将用户生成的民间传说等口传内容和城市中的遗失古建,历史人物等进行基于实景的历史重现的关联和融合,使大众回到城市中去实地体验城”市即是博物馆”。

City As Museum is a visionary project that attempts to re-think the concept of “museum”, and it’s relationship with culture content like the cities’ historical heritage and especially the dynamic content generated by the users like oral history. Culture sites like vanished temples, city gates, and ruins of famous literati’s residencies, layered with stories from the people has all been fused together forming our collective social memory. City is not only the backdrop of events and stories, it’s have always been part of the hybrid reality of our urban life. “City As Museum” is to connect story telling with culture sites through location based technology (AR / VR etc) to pull the people back to the physical space to explore the “ city itself is the museum”.

“城市博物馆”作为一个愿景项目尝试重新思考”博物馆”概念，以及博物馆和其部分文化内容之间的关系. 尤其是针对于已经消失在城市里历史遗迹如: 庙宇, 故居，和流传于大众之间的口传历史，历史和我们现在生活的重重叠加共同组成了我们的集体社会记忆。城市不仅仅是记忆和故事的背景，而是我们混合现实中不可或缺的一部分.“城市博物馆”试图通过数字媒体技术试图将用户生成的民间传说等口传内容和城市中的遗失古建,历史人物等进行基于实景的历史重现的关联和融合,使大众回到城市中去实地体验城”市即是博物馆”。

City As Museum is a visionary project that attempts to re-think the concept of “museum”, and it’s relationship with culture content like the cities’ historical heritage and especially the dynamic content generated by the users like oral history. Culture sites like vanished temples, city gates, and ruins of famous literati’s residencies, layered with stories from the people has all been fused together forming our collective social memory. City is not only the backdrop of events and stories, it’s have always been part of the hybrid reality of our urban life. “City As Museum” is to connect story telling with culture sites through location based technology (AR / VR etc) to pull the people back to the physical space to explore the “ city itself is the museum”.

“城市博物馆”作为一个愿景项目尝试重新思考”博物馆”概念，以及博物馆和其部分文化内容之间的关系. 尤其是针对于已经消失在城市里历史遗迹如: 庙宇, 故居，和流传于大众之间的口传历史，历史和我们现在生活的重重叠加共同组成了我们的集体社会记忆。城市不仅仅是记忆和故事的背景，而是我们混合现实中不可或缺的一部分.“城市博物馆”试图通过数字媒体技术试图将用户生成的民间传说等口传内容和城市中的遗失古建,历史人物等进行基于实景的历史重现的关联和融合,使大众回到城市中去实地体验城”市即是博物馆”。

Baitasi (The White Pagoda Temple) is a cultural and historical preservation zone located just across Beijing’s Financial Street District on the west second ring. A traditional hutong area covering 37 hectares, with Xizhimen business district on the north, looking upon Fuchengmen commercial area and adjacent to Xidan and Xisi shopping districts on the east side, Baitasi presents itself as a cultural oasis, a peaceful enclave among newly developed Operating Areas. A settlement founded during the Yuan Dynasty, it has preserved itself through the Ming and Qing periods to this day.With its profound historical heritage and rich cultural connotations, the area is home to some of the city’s most ancient attractions: the Miaoying Temple (or White Pagoda Temple) built during the Yuan Dynasty, the Archive of Buddhist Texts, the Beijing Lu Xun Museum (built around the philosopher’s former residence), the Ci Yin Temple, which attracts crowds of worshippers on the 1st and 15th day of every lunar month, and the unique Birds and Fish Market, all cast among the traditional MinGuo courtyard houses in an architectural style that integrates eastern and western traits. Having lived through historical periods rooted in the establishment of the ancient capital, Baitasi is considered one of Xicheng district’s cultural hearts.

白塔寺区域地处北京民宅聚集的老街区，也是这个古都保留的最后几个低建筑群居民区之一，目前正在探索和开辟一条新的城市升级和社区再生发展之路。 受到中国一种最具丰富内涵的传统士大夫文化和现代都市文化的滋养，“白塔寺再生计划”孕育着这样一种可能性，即让看似已成过去时的全方位生活方式，通过逐步渗透到目光敏锐的年轻一代文化消费群体和80年代以后出生的人群，在他们的生命体验中焕发新的光彩。 “北京国际设计周 白塔寺再生计划”将邀请标准营造建筑师张轲、TAO迹建筑事务所创始人及主持建筑师华黎、直向建筑创始合伙人董功等著名建筑界人士启动一系列建筑案例研讨活动，围绕“将院落打造成未来生活中心”的主题，并将举办系列建筑、文化、社会性及探索性项目，这些项目相互交织，将过去文化和群体生态系统遗留的印记与一个由科技驱动的、由远见卓识的始创者、思想者和创作者们（制造者）共同组成的社区环境进行叠加，以产品、服务、系统等多种形式提升创新表现力，让提升社区形象的再生计划设想尽早落实。 该项目选择白塔寺区域为背景，围绕“连接与共生”主题，大胆探索如何利用文化作为主驱动力将过去的社区内群体关系与当今的互联和智能融合起来，重点关注当代创意产业的创业者们如何借助新一代创作手段和角度，遵循协作共创精神，帮助实现该区域社会性与结构性分离的同时，能够从中汲取灵感创造出有效的(智能生活),共生共赢的有品质的文化生活方式。

Baitasi (The White Pagoda Temple) is a cultural and historical preservation zone located just across Beijing’s Financial Street District on the west second ring. A traditional hutong area covering 37 hectares, with Xizhimen business district on the north, looking upon Fuchengmen commercial area and adjacent to Xidan and Xisi shopping districts on the east side, Baitasi presents itself as a cultural oasis, a peaceful enclave among newly developed Operating Areas. A settlement founded during the Yuan Dynasty, it has preserved itself through the Ming and Qing periods to this day.With its profound historical heritage and rich cultural connotations, the area is home to some of the city’s most ancient attractions: the Miaoying Temple (or White Pagoda Temple) built during the Yuan Dynasty, the Archive of Buddhist Texts, the Beijing Lu Xun Museum (built around the philosopher’s former residence), the Ci Yin Temple, which attracts crowds of worshippers on the 1st and 15th day of every lunar month, and the unique Birds and Fish Market, all cast among the traditional MinGuo courtyard houses in an architectural style that integrates eastern and western traits. Having lived through historical periods rooted in the establishment of the ancient capital, Baitasi is considered one of Xicheng district’s cultural hearts.

白塔寺区域地处北京民宅聚集的老街区，也是这个古都保留的最后几个低建筑群居民区之一，目前正在探索和开辟一条新的城市升级和社区再生发展之路。 受到中国一种最具丰富内涵的传统士大夫文化和现代都市文化的滋养，“白塔寺再生计划”孕育着这样一种可能性，即让看似已成过去时的全方位生活方式，通过逐步渗透到目光敏锐的年轻一代文化消费群体和80年代以后出生的人群，在他们的生命体验中焕发新的光彩。 “北京国际设计周 白塔寺再生计划”将邀请标准营造建筑师张轲、TAO迹建筑事务所创始人及主持建筑师华黎、直向建筑创始合伙人董功等著名建筑界人士启动一系列建筑案例研讨活动，围绕“将院落打造成未来生活中心”的主题，并将举办系列建筑、文化、社会性及探索性项目，这些项目相互交织，将过去文化和群体生态系统遗留的印记与一个由科技驱动的、由远见卓识的始创者、思想者和创作者们（制造者）共同组成的社区环境进行叠加，以产品、服务、系统等多种形式提升创新表现力，让提升社区形象的再生计划设想尽早落实。 该项目选择白塔寺区域为背景，围绕“连接与共生”主题，大胆探索如何利用文化作为主驱动力将过去的社区内群体关系与当今的互联和智能融合起来，重点关注当代创意产业的创业者们如何借助新一代创作手段和角度，遵循协作共创精神，帮助实现该区域社会性与结构性分离的同时，能够从中汲取灵感创造出有效的(智能生活),共生共赢的有品质的文化生活方式。

你是谁？你是否丢失了人生的一小时？当我们愿意停下来的时候，即是我们的好奇心被捕获的时刻。 戏游，是一场令时间被悬置的游戏。 这里没有舞台、没有明星、没有演员、没有故事……只有你是主角。 如何找回人作为个体的部分？通过艺术的回响，通过戏游的现场体验。这样，在瞬间将人从现实环境中抽离，仿佛完成一个身份的转换，从迷失于人群到面对自我，通过戏游的一小时的浸没式体验，寻找我们丢失的一小时，完成找寻自我的路途。 这场历时三天的艺术事件，它不仅是品牌推广的一次发声，也是一次越域艺术事件。 「LOST IN PLAY • 戏游」试图链接更丰富的艺术领域，结合当下的感官体验，实验性的创作了一部浸没式的彩妆体验，从其丰富度与先锋性来说，非常大胆，从其体验角度来说，改变了传统观展的观众与内容的关系，观众即主角；它不仅是一次精致的艺术现场，还从哲学层面呼应了这个多元文化时代的某种特质。

你是谁？你是否丢失了人生的一小时？当我们愿意停下来的时候，即是我们的好奇心被捕获的时刻。 戏游，是一场令时间被悬置的游戏。 这里没有舞台、没有明星、没有演员、没有故事……只有你是主角。 如何找回人作为个体的部分？通过艺术的回响，通过戏游的现场体验。这样，在瞬间将人从现实环境中抽离，仿佛完成一个身份的转换，从迷失于人群到面对自我，通过戏游的一小时的浸没式体验，寻找我们丢失的一小时，完成找寻自我的路途。 这场历时三天的艺术事件，它不仅是品牌推广的一次发声，也是一次越域艺术事件。 「LOST IN PLAY • 戏游」试图链接更丰富的艺术领域，结合当下的感官体验，实验性的创作了一部浸没式的彩妆体验，从其丰富度与先锋性来说，非常大胆，从其体验角度来说，改变了传统观展的观众与内容的关系，观众即主角；它不仅是一次精致的艺术现场，还从哲学层面呼应了这个多元文化时代的某种特质。

你是谁？你是否丢失了人生的一小时？当我们愿意停下来的时候，即是我们的好奇心被捕获的时刻。 戏游，是一场令时间被悬置的游戏。 这里没有舞台、没有明星、没有演员、没有故事……只有你是主角。 如何找回人作为个体的部分？通过艺术的回响，通过戏游的现场体验。这样，在瞬间将人从现实环境中抽离，仿佛完成一个身份的转换，从迷失于人群到面对自我，通过戏游的一小时的浸没式体验，寻找我们丢失的一小时，完成找寻自我的路途。 这场历时三天的艺术事件，它不仅是品牌推广的一次发声，也是一次越域艺术事件。 「LOST IN PLAY • 戏游」试图链接更丰富的艺术领域，结合当下的感官体验，实验性的创作了一部浸没式的彩妆体验，从其丰富度与先锋性来说，非常大胆，从其体验角度来说，改变了传统观展的观众与内容的关系，观众即主角；它不仅是一次精致的艺术现场，还从哲学层面呼应了这个多元文化时代的某种特质。

你是谁？你是否丢失了人生的一小时？当我们愿意停下来的时候，即是我们的好奇心被捕获的时刻。 戏游，是一场令时间被悬置的游戏。 这里没有舞台、没有明星、没有演员、没有故事……只有你是主角。 如何找回人作为个体的部分？通过艺术的回响，通过戏游的现场体验。这样，在瞬间将人从现实环境中抽离，仿佛完成一个身份的转换，从迷失于人群到面对自我，通过戏游的一小时的浸没式体验，寻找我们丢失的一小时，完成找寻自我的路途。 这场历时三天的艺术事件，它不仅是品牌推广的一次发声，也是一次越域艺术事件。 「LOST IN PLAY • 戏游」试图链接更丰富的艺术领域，结合当下的感官体验，实验性的创作了一部浸没式的彩妆体验，从其丰富度与先锋性来说，非常大胆，从其体验角度来说，改变了传统观展的观众与内容的关系，观众即主角；它不仅是一次精致的艺术现场，还从哲学层面呼应了这个多元文化时代的某种特质。

你是谁？你是否丢失了人生的一小时？当我们愿意停下来的时候，即是我们的好奇心被捕获的时刻。 戏游，是一场令时间被悬置的游戏。 这里没有舞台、没有明星、没有演员、没有故事……只有你是主角。 如何找回人作为个体的部分？通过艺术的回响，通过戏游的现场体验。这样，在瞬间将人从现实环境中抽离，仿佛完成一个身份的转换，从迷失于人群到面对自我，通过戏游的一小时的浸没式体验，寻找我们丢失的一小时，完成找寻自我的路途。 这场历时三天的艺术事件，它不仅是品牌推广的一次发声，也是一次越域艺术事件。 「LOST IN PLAY • 戏游」试图链接更丰富的艺术领域，结合当下的感官体验，实验性的创作了一部浸没式的彩妆体验，从其丰富度与先锋性来说，非常大胆，从其体验角度来说，改变了传统观展的观众与内容的关系，观众即主角；它不仅是一次精致的艺术现场，还从哲学层面呼应了这个多元文化时代的某种特质。

你是谁？你是否丢失了人生的一小时？当我们愿意停下来的时候，即是我们的好奇心被捕获的时刻。 戏游，是一场令时间被悬置的游戏。 这里没有舞台、没有明星、没有演员、没有故事……只有你是主角。 如何找回人作为个体的部分？通过艺术的回响，通过戏游的现场体验。这样，在瞬间将人从现实环境中抽离，仿佛完成一个身份的转换，从迷失于人群到面对自我，通过戏游的一小时的浸没式体验，寻找我们丢失的一小时，完成找寻自我的路途。 这场历时三天的艺术事件，它不仅是品牌推广的一次发声，也是一次越域艺术事件。 「LOST IN PLAY • 戏游」试图链接更丰富的艺术领域，结合当下的感官体验，实验性的创作了一部浸没式的彩妆体验，从其丰富度与先锋性来说，非常大胆，从其体验角度来说，改变了传统观展的观众与内容的关系，观众即主角；它不仅是一次精致的艺术现场，还从哲学层面呼应了这个多元文化时代的某种特质。

你是谁？你是否丢失了人生的一小时？当我们愿意停下来的时候，即是我们的好奇心被捕获的时刻。 戏游，是一场令时间被悬置的游戏。 这里没有舞台、没有明星、没有演员、没有故事……只有你是主角。 如何找回人作为个体的部分？通过艺术的回响，通过戏游的现场体验。这样，在瞬间将人从现实环境中抽离，仿佛完成一个身份的转换，从迷失于人群到面对自我，通过戏游的一小时的浸没式体验，寻找我们丢失的一小时，完成找寻自我的路途。 这场历时三天的艺术事件，它不仅是品牌推广的一次发声，也是一次越域艺术事件。 「LOST IN PLAY • 戏游」试图链接更丰富的艺术领域，结合当下的感官体验，实验性的创作了一部浸没式的彩妆体验，从其丰富度与先锋性来说，非常大胆，从其体验角度来说，改变了传统观展的观众与内容的关系，观众即主角；它不仅是一次精致的艺术现场，还从哲学层面呼应了这个多元文化时代的某种特质。

你是谁？你是否丢失了人生的一小时？当我们愿意停下来的时候，即是我们的好奇心被捕获的时刻。 戏游，是一场令时间被悬置的游戏。 这里没有舞台、没有明星、没有演员、没有故事……只有你是主角。 如何找回人作为个体的部分？通过艺术的回响，通过戏游的现场体验。这样，在瞬间将人从现实环境中抽离，仿佛完成一个身份的转换，从迷失于人群到面对自我，通过戏游的一小时的浸没式体验，寻找我们丢失的一小时，完成找寻自我的路途。 这场历时三天的艺术事件，它不仅是品牌推广的一次发声，也是一次越域艺术事件。 「LOST IN PLAY • 戏游」试图链接更丰富的艺术领域，结合当下的感官体验，实验性的创作了一部浸没式的彩妆体验，从其丰富度与先锋性来说，非常大胆，从其体验角度来说，改变了传统观展的观众与内容的关系，观众即主角；它不仅是一次精致的艺术现场，还从哲学层面呼应了这个多元文化时代的某种特质。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

“铸忆”城市复兴成就展集合建筑、电影及舞台置景、平面设计、文学、多媒体、纪录片、摄影等不同领域的专家和艺术家，包括策展人王子耕和薄宏涛，展陈主创团队主要成员有展陈设计指导王子耕、数字媒体创意总监费俊、置景美术指导赵娜莉、叙事脚本作者蒋方舟、叙事设计尚垒、模型指导陈屹杰及平面设计指导刘治治等。策展人及创意团队将以浸入式的空间和个体叙事层面表达首钢工业区的历史、当下和未来，借由微观抽象窥探以首钢为代表的中国现代化转型之路。 展览选址威尼斯的圣凯特琳娜教堂，一方面在空间维度上，北京与威尼斯这两座历史之城自古都是文化交融之城，而水城威尼斯与首钢恰又形成“水”与“火”的交响，令人期待两城隔空对话的火花。另一方面，在时间维度上，“铸忆”展宏观地以建筑思维呈现首钢园区的转型与复兴成就，又从微观层面上选取了“制图间”、“准备间”、 “住房”、“文艺活动室”等具有代表性的生产生活片段，以电影蒙太奇手法展示个体生活，绝佳地呼应了本年度威尼斯建筑双年展暨电影节这两大文化艺术盛事。 “铸忆”城市复兴成就展，以微观具象为切入点，聚焦充满鲜活生命力的个体，窥探了以首钢为代表的中国近代化转型之路；更纵观首钢工业区的历史、当下与未来，从宏观上勾勒出首钢园区为代表的首都城市复兴新地标的建构历程。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

INTERACTIVE BEIJING (IB) is an innovation platform that aims to Inform, Inspire, and Incubate. IB takes on the most relevant social subjects using human oriented design approach. Through a set of programs like conferences, workshops, competitions, mentorship camps, and exhibitions, we aim to foster new talents and incubate innovative ideas that could bring positive changes to society.

交互北京是一个创新平台，旨在启示、启发、和启动。 交互北京从以人为本的设计方法出发，思考并试图解决那些与我们最为相关的社会问题。通过一系列研讨会、工作坊、竞赛、辅导营和展览，交互北京旨在发现新的才能并帮助启动那些将为社会带来积极改变的创新想法。

Overly saturated discourses in the public sphere about emerging technologies and the optimistic prophecy that surrounds it have held our imagination under seige, under the spell of a new theology. This leaves us no mental space for “epistemological” contemplation and reflection, only able to react to its immediate effects. Physicist Richard Feynman pointed out the dialectic split of human beings learn- ing about the world: either driven by concepts (epistemological) or tools (science and technology), “if our discoveries are driven by concepts, we tend to explain the old stuff from a new angle, if it’s driven by tools, we end up explaining what we have created or discovered”. The distinct human condition of essentially not being able to coexist with our natural environment has led us to invent tools to increase our natural capacity and to change our environment. In the classic scene from Stanley Kubrick's “2001: A Space Odyssey”, at the dawn of civilisation, apes accidentally discovered that a piece of leg bone could be used as a weapon. The film shows the bone transformed into a gigantic space craft drifting in the darkness of space. It is precisely this conceptualisation of tool/weapon that has been a driving force for humanity up until today: space travel, synthetic intelli- gence, transhumanism and so on. This drive is not without consequential by-products: environmental catastrophes, legions of machines, data, software, intelligence covering the surfaces of earth, the rise of urbanisation, polarisation of wealth and resources distribution, robotics and the impact on the labour market, data privacy, the reality of the virtual, democratisation of cyber space, mind uploading, human energetic editing, bio-genetical inequality... The question lies not in how closely we are approaching the singularity from a future horizon, but of true relevance are all the questions about the implementation of the current available technologies and the newly emerged potentialy impacted ethical zones. Embedded in this are the essential questions such as: how/who will use it, who will benifit and who will decide? It’s unavoidable to quote Zizek here: “The ethical ‘ought’ is not the obstacle in the path of modern science but a guide, an epochal con- stellation of value and understanding occurring in the social-political realm that emancipates itself from the naive resignation included by the deterministic causality of rationalisation.” Under the moniker of an “Ethics of technology”, this exercise attempts to bring the thinkers, technologists, artist, and practitioners across all fields - every one of us affected together - to discuss the re-articulation and re-configuration of the ethical orders and the distribution of technology’s sensibility. Organised by the Central Academy of Fine Arts, Beijing design week and Hochschule fur Gestaltung Offenbac, Beijing Media Art Bienalle “Ethics of Technology” consists two parts. The first part includes five pillars of technology: AI/ROBOTICS, BIG DATA/ALGO- RITHMS, BIO-GENETICS, VR/AR/MR, along with META SCIENCE, together forming a core of tools and method. The second part is made up of a selected body of art/research works and practices which are reflective and relevant to ideas on ethics and morality. Furthermore the event expands into forums, panel discussions, public engagement, an online hyperlink exhibition and publications.

新科技及其将对未来人类命运和社会所带来的乐观预言充斥着我们的公共话语领域，其将我们置身于”新科技神学”的神秘咒语的同时，也使我们遭受到了一场”想象力”的围攻。此系列话语不仅紧迫而且嘈杂，并强行掠夺我们思想空间。除了对科学技术所带来的影响作出应急反应之外，我们似乎无暇对其进行必要的“认识论”的沉思与反省。物理学家理查德·费曼指出我们人类认识世界的辩证二分法：由概念(认识论)或由工具(科学技术)驱动，“如果我们人类的探索和发现是由“概念”所驱动，那我们则趋于用新的角度解释旧的东西；如果是被“工具”所驱动，我们将会(用老的看法)解释我们的新发现与新创造出来的东西。” 人类本身与生俱来的局限性直接导致了我们无法和自然环境和谐共生，我们的生存本能则需要我们不断地发明制造工具,来弥补先天的不足,从而改变我们的生存环境使其适应人类。在斯坦利·库布里克的电影《2001太空漫游》的经典场景中：在人类文明之初，人猿在无意识探索中无意发现他们的腿骨可以被当作武器来使用，镜头里这根腿骨慢慢渐变为一艘巨型宇宙飞船，孤独地在漆黑外太空漫游。恰恰是这种对工具/武器的概念化继而驱动着我们走到了科技发达的今天：太空漫游、人造智能和超人类主义…对工具(科技)的发明和使用推动了人类社会巨大进步,同时不可避免也带来了一系列未曾预见的后果：环境灾难、巨大的机器数据阵列、软件,波段，情报,等层层叠叠地覆盖在地球表面上空的、城市化进程加剧、财产与资源分配的两极分化，机器劳力对人力市场的潜在冲击、数据隐私、现实的虚拟化、网络空间民主化、意识上传、人类基因改写、基因物种不平等化等等。 从未来的角度看，我们并不想追问科技预言中的奇点临近与否，我们的真正问题是已有科技在现实应用所导致的一系列前所未有的伦理危机。如此类基础问题：谁可以使用,并如何使用,谁将受益,决定权在谁? 因而在此不得不引用齐泽克的一句话：“伦理中‘必要’并不应该成为通往现代科学之路上的绊脚石，而应该成为其指导，正是这个在社会政治领域中形成的划时代的价值观与认知的版图，使其从一个武断的理性化因果关系中解放出来，而不再对其盲从。” 在“技术伦理”主题下，北京媒体艺术双年展旨在汇集社会领域的思想者、技术分子和先驱、艺术家以及各领域的实践者 - 同时包括我们每一个受影响的人 - 来一起探讨伦理秩序的重新阐述和部署，以及对科技应用中的敏感性(度)的再分配。 由中央美术学院和北京国际设计周、德国奥芬巴赫造型艺术大学共同举办的《北京媒体艺术双年展》”技术伦理“包括两个部分：第一部分包含五大科技支柱：人工智能AI/机器人技术、大数据/算法、生物基因技术、虚拟/增强/现实/混合现实和物理科学，来共同形成的核心工具和方法论。第二部分由一系列从不同角度对科技和伦理有深入反思的艺术作品 /研究组成。衍生内容包括论坛、座谈会、城市中的公共屏幕、公共区域的12个集装箱，线上超链接展及出版物等等。