Sensual City Studio

COLD MEAT 2 It was a sunny morning, but I seemed to be suffering from stomach problems. I still don’t know if it was because of the excitement, or because of the extravaganza of a dinner I had last night with my Chinese friends. [ + ]

COLD MEAT 2

It was a sunny morning, but I seemed to be suffering from stomach problems. I still don’t know if it was because of the excitement, or because of the extravaganza of a dinner I had last night with my Chinese friends.
I arrived at the piazza in front of Shanghai Railway Station: a huge, bare piazza. I turned my head to the left, and there was a clock; I looked further to the left still, and there was a huge electronic billboard, displaying everything from advertisements for watches to the weather, as well as the departures and arrivals of trains. The rest… was just people – people everywhere – and a selection of their belongings.
I thought I might need water and something to eat for the road. I decided, for the first time in my life, to buy a Coke. My dad always said that  in case of stomach troubles, the best solution was to drink some Coke and relax;  cola is even good for repairing cars. In the store, I found the Coca-Cola; however, finding something to eat was proving more difficult than I thought. I just couldn’t find something I was able to, or wanted to, eat. In most cases, this was because I simply couldn’t understand what was inside the plastic wrappers containing edible material.

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KITCHEN 2 Walking around Shanghai, it is easy to become obsessed with discovering every street, looking into courtyards, taking pictures and videos of everything, literally everything. Each layer of the city, each smile, each movement of each living being and object, combined with the abstract   aspects of this city, all makes you   drift. [ + ]

KITCHEN 2

Walking around Shanghai, it is easy to become obsessed with discovering every street, looking into courtyards, taking pictures and videos of everything, literally everything. Each layer of the city, each smile, each movement of each living being and object, combined with the abstract   aspects of this city, all makes you   drift. Soon enough, you fall in love with their food, present in every corner of the city, so ingrained into their culture. Then, as you move around, you suddenly realize that kitchens in China actually belong outside the house. When I asked why, my Chinese friends would simply reply, “It is dangerous to cook inside; Chinese food is made to be cooked outside.” I keep walking, further and further, and let myself be absorbed by this city, which I start calling home.

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PYJAMAS AND SLIPPERS For the Shanghainese, there’s no distinction between public space and private space: the whole of the city is their home. However, with  our Western eyes, we search for the boundary between public and private. [ + ]

PYJAMAS AND SLIPPERS

For the Shanghainese, there’s no distinction between public space and private space: the whole of the city is their home. However, with  our Western eyes, we search for the boundary between public and private. It doesn’t exist: public is private, and vice versa.
But people are having to fight to keep alive many of the customs that make the Shanghainese so comfortable in this living space of theirs.
On my first day in Shanghai:
– Hey guys, have you seen that guy wearing blue striped pyjamas riding a moped?!
– Yeah, right.
Later:
– Oh! There’s another one, in the supermarket, look!
– Yeah, you’re right! Take a picture!
Later on still:
– Jammies and slippers are everywhere! People wear them when taking a nap outside their homes, taking their children to school, eating, shopping, driving, riding their bikes…

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ANCESTORS 1 In the past – and in rural China today still – the most important item to be acquired, and an essential item at that, was the coffin. The coffin is intended to be the home of the body, whose soul is not completely detached but rather in the perpetual afterlife. [ + ]

ANCESTORS 1

In the past – and in rural China today still – the most important item to be acquired, and an essential item at that, was the coffin.
The coffin is intended to be the home of the body, whose soul is not completely detached but rather in the perpetual afterlife.
The afterlife is the life in which one remains forever, in the spiritual world. There is therefore no absolute detachment of the deceased from his or her family. After one’s death, a transformation will occur – usually within one to three days, sometimes longer, depending on the tradition – as a result of which one becomes an ancestor. As an ancestor, a person’s social continuity is ensured, even after biological death.
The coffin would be placed in the ground, and on top of it the ancestor’s treasures and cherished items, and then it would be covered by earth, creating a little mound, a tumulus  . Around the tumulus, the tomb takes on the form of a womb, as death marks one’s birth into the afterlife. In addition, it can be seen as a kind of “alpha” sign, symbolizing that the end is the beginning.
It is said that the higher the grass grows on top of the tumulus, the greater the fortune of the ancestor in the eternity of the other world.

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GLOWING KITES The Qingming Festival is a wonderful time to discover what is, in my humble opinion, one of the pillars of Chinese culture. The rituals that take place as part of this festival, whereby everyone welcomes in the spring , are inextricably linked to one theme : transformation. [ + ]

GLOWING KITES

The Qingming Festival is a wonderful time to discover what is, in my humble opinion, one of the pillars of Chinese culture. The rituals that take place as part of this festival, whereby everyone welcomes in the spring , are inextricably linked to one theme : transformation.
The transformation of paper matter into real objects in the afterlife, for example.
On this day, however, a more subtle transformation is also supposed to take place: the transformation of wishes and fears into real, tangible   outcomes in this world and in this life.
It was necessary to find a way of transmitting greetings to those loved ones who are now enjoying another life, in another space. For this reason,   it is believed that the Chinese invented kites – especially for this day, in order to commemorate and honour their ancestors, thus fulfilling their duty of filial piety.
Today, kites fly in the daytime and at night.   In the evening, so that messages don’t get lost, colourful lanterns are attached to the kite strings, and the kites are then transformed into a “sacred lantern”. Nowadays, the Shanghainese attach LEDs to the strings and cloth of their kites, so that shapes can be discerned in the sky, reminiscent of formations of clouds that look like real objects, recalling memories of past events. However, most of these lights simply enrich the dark evening sky and bring back the lost stars of Shanghai, just for one night, just for this night.

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BLUE DRAGON One of my happiest days in Shanghai was actually the saddest for many children.   On this day, I passed through urban corridors, where the city sometimes becomes a village – a village full of recollections, memories, and rituals   to improve people’s lives. [ + ]

BLUE DRAGON

One of my happiest days in Shanghai was actually the saddest for many children.   On this day, I passed through urban corridors, where the city sometimes becomes a village – a village full of recollections, memories, and rituals   to improve people’s lives.
In a country where farming is fast declining, many children in the city, on this day, had to sacrifice their appearance in some way – for example, by having their   hair cut off – in order to ensure that a faraway region – where they have never been, that they don’t even know exists, but where their parents used to live happily – will receive abundant rain and be forever rid of insects. Houses are cleaned, popcorn is eaten, and women do not sew, so as to prevent any needles puncturing the eyes of the dragon, who raises his head on this day. Once the house has been cleaned from top to bottom, some people spread plant ashes throughout and around their home, so that the dragon will feel welcome, inciting him to provide plenty of rain for good harvests.

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DÉRIVE Thanks to Shanghai’s safety, size and language barrier, it is the perfect city in which to dérive – to drift, to wander… Get in a taxi, walk, take a bus, follow any metro line, until you arrive somewhere… Get lost and discover the metropolis. [ + ]

DÉRIVE

Thanks to Shanghai’s safety, size and language barrier, it is the perfect city in which to dérive – to drift, to wander…
Get in a taxi, walk, take a bus, follow any metro line, until you arrive somewhere…
Get lost and discover the metropolis.

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A SHANGHAINESE DAY 1 Anything can happen anywhere in Shanghai. Within its flat landscape, ideal for cycling, are superposed numerous layers of matter, human realities and emotions – a landscape that can be easily broken down or built up in this metropolis, where motion is the only constant, and where the juxtaposition of time, space and its actors are agents of both the city and its motion  . [ + ]

A SHANGHAINESE DAY 1

Anything can happen anywhere in Shanghai. Within its flat landscape, ideal for cycling, are superposed numerous layers of matter, human realities and emotions – a landscape that can be easily broken down or built up in this metropolis, where motion is the only constant, and where the juxtaposition of time, space and its actors are agents of both the city and its motion  .
Everything moves. Lynch said that there are static parts of the city and there are mobile ones: citizens. However, here in Shanghai, the static parts disappear, are relocated, recreated, created, all at once. In a very short period of time, you can find yourself living in a different city, without having crossed any threshold.
The mobile parts, actually, are the parts that are most adaptable and which embrace change, as something that was meant to be. The citizens circulating around the city sometimes view the place they live as a small town: a town where everyone knows their neighbours, the stallholders on the market, and their evening dancing partner; a village within the city, where some of their family members moved to join them in an effort to make their dreams come true; a village where I can be myself – a Shanghainese.

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A SHANGHAINESE DAY 3 Before going out again to play mah-jong or carrom with three other neighbours, under the pleasant shade of the plane trees, I fetch my grandson from school. His parents arrive shortly and we all eat together, and perhaps a neighbour drops by, too. [ + ]

A SHANGHAINESE DAY 3

Before going out again to play mah-jong or carrom with three other neighbours, under the pleasant shade of the plane trees, I fetch my grandson from school. His parents arrive shortly and we all eat together, and perhaps a neighbour drops by, too. I enjoy that very much, as the more of us there are, the better we eat. I don’t like anyone to be hungry, so I get the large table out, to accommodate all the little dishes I’ve prepared. Then it’s time to watch the sunset. We eat, smoke and chit-chat. Now, the golden time begins in Shanghai. My family will take an evening walk in the park, probably already in their pyjamas, because Shanghai is our home, and we don’t relate completely to the notions of private and public. We’ll go and listen to the new open-air karaoke singer that everyone is keen to see and enjoy. He grew up in a lilong that no longer exists. Finally, I’ll go to meet my dancing partner, but, before that, I shall buy my grandson a notebook from a friend who has been selling them on the street corner for the last two weeks. She sets out her merchandise between a guy selling LED kites and another guy selling colourful socks. Later, I’ll go to sleep; tomorrow is going to be a busy day. Let’s hope the temperatures hold up tomorrow.

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SEARCH

Le Sensual City Studio est conçu comme un lieu de réflexion où se fabrique la pensée, long cheminement nécessaire au travail de conception et de réalisation des projets. Approcher l’espace dans sa complexité physique, fonctionnelle, sociologique, nécessite un décloisonnement des disciplines et un travail collectif : c’est ce que reflète la composition de l’équipe, étoffée par un riche faisceau de contributeurs. Cette démarche, à la croisée des savoirs et de la création, permet la rencontre des regards : une  démarche de co-construction ouverte qui enrichit la compréhension des enjeux et donne un sens à la conduite des projets menés au sein du Studio. Cette posture de recherche et d’approfondissement s’inscrit dans la tradition humaniste du studio, cabinet d’étude de la Renaissance où sciences et arts convergent et se nourrissent de leurs apports mutuels.

Cette interface est la matérialisation métaphorique de notre démarche : elle propose de partager une série de projets conçus dans des cadres variés et des logiques de recherche ponctuelles ou récurrentes. Que cela soit en déplaçant les cadres d’une commande ou en se créant des opportunités de réflexion, le projet reste le même : celui de la ville sensuelle.

Édition │ Publication du site
Le site www.search.sensual-city.com est édité par Sensual City Studio, 24 rue Dareau, 75014 Paris, France.
Directrice de la publication : Pauline Marchetti
T +33 (0)954 013 567
F +33 (0)143 132 021
studio@sensual-city.com
SIRET 52860142000029 – code APE 7410Z

Conception │ Réalisation du site
Design : © Olivier Lebrun
Code : © Ahmed Ghazi

Hébergement du site
Le site www.sensual-city.com est hébergé par Gandi, 63-65 boulevard Massena, 75013 Paris, France.
Pour contacter cet hébergeur, rendez-vous à l’adresse https://www.gandi.net/fr
L’accès au site ainsi que l’utilisation de son contenu s’effectuent dans le cadre des mentions d’utilisation décrites ci-après. Le fait d’accéder et de naviguer sur le site constitue de la part de l’internaute une acceptation sans réserve des précisions suivantes.
Sensual City Studio s’efforce d’assurer au mieux l’exactitude et la mise à jour des informations diffusées sur ce site, dont elle se réserve le droit de corriger, à tout moment et sans préavis, le contenu. Toutefois, le Studio ne peut garantir l’exactitude, la précision ou l’exhaustivité des informations mises à la disposition sur ce site.

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TXTIMGVID
AMBIANCE
[61][120][15]
CIEL
[33][75][35]
CLIMAT
[31][67][33]
COMMUNAUTÉ
[25][26][9]
CORPS
[44][66][27]
EAU
[26][41][31]
ÉCHANGE
[80][130][20]
ENVIRONNEMENT
[21][82][17]
ÉQUILIBRE
[55][108][22]
ÉVÈNEMENT
[40][56][20]
EXPÉRIENCE
[45][90][9]
IDENTITÉ
[37][48][3]
IMAGINAIRE
[25][69][7]
INTIMITÉ
[11][21][7]
LUMIÈRE
[36][89][12]
MATIÈRE
[16][45][11]
MÉMOIRE
[18][41][1]
MISE EN SCÈNE
[48][74][38]
MOUVEMENT
[52][57][36]
MULTITUDE
[34][56][17]
MYSTÈRE
[13][47][8]
NUIT
[8][18][4]
PARCOURS
[33][54][5]
PAUSE
[35][17][22]
POROSITÉ
[24][54][1]
RÉCIT
[34][61][2]
REFLET
[5][21][10]
RYTHME
[6][20][4]
SEUIL
[37][64][8]
SIGNE
[43][62][13]
SITUATION
[40][54][23]
SON
[30][24][15]
TERRITOIRE
[36][59][6]
TRAME
[7][36][0]
TRANSPARENCE
[6][42][0]
VERTICALITÉ
[12][13][12]
VIDE
[7][30][5]
VIVANT
[47][74][34]
VOYAGE
[11][20][4]
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