Sensual City Studio

FAKE BUILDINGS The first long day in Shanghai was long in terms of time, but the more it passed, the more we tended to forget about it, being brought back to reality only by occasional biological reminders: hunger, thirst and the need to go to the toilet. At a certain point, it became obvious that I was not in fact a superhero, but merely human. [ + ]

FAKE BUILDINGS

The first long day in Shanghai was long in terms of time, but the more it passed, the more we tended to forget about it, being brought back to reality only by occasional biological reminders: hunger, thirst and the need to go to the toilet.
At a certain point, it became obvious that I was not in fact a superhero, but merely human. The message my body was sending me was loud and clear: “Hey, it’s time to go to the toilet!” But where? Whom should I ask? How does it even work here?! I panicked.
After seeing my pained face, a friend said to me, “Let’s go together; I’m bursting too.” We decided to go to the building that looked the newest, where we would ask to use the toilet. My friend assured me that “there’ll be a Western toilet there for sure. You know… one with a seat…” We both walked determinedly at a brisk pace.
Then we saw it: a marble building, all clean and shiny, with a blue glazed façade. We were in the centre of Shanghai, after all.
We opened the door, entered the foyer, and…  well, there was not much to see.
It was still a rough construction site.
Despite this surprise, we still really needed to go. So we asked the porter. He pointed at a wooden box within this huge, empty building. It turned out there were no Western toilets after all, or indeed anything remotely similar.
Since then, I have stopped trusting façades.

[ - ]

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.

[ - ]

STADIUM Each of my walks was unique. Even when I started out by walking the same route, it would differ from one day to another. [ + ]

STADIUM

Each of my walks was unique. Even when I started out by walking the same route, it would differ from one day to another. One day something would attract my attention in a much stronger manner than another, effortlessly making the decision of which path to take for me.
This time, I had an early dinner at the lilong. I had a discussion over the bright red shrimps, which I would eat and savour one after the other, with some of my neighbours sitting on the tables in front of the street vendor.
I decided to go for a walk, in order to digest the feast I had just enjoyed.
Now, without noticing, since there are always so many people on the streets at this time, in the early evening I wasn’t focusing much on my walk. Suddenly, I began to wonder whether this might be one of the largest and therefore most crowded renovated streets, and continued to do so for the next three hours.
However, this time I saw more lighting items to be purchased than normally. Binoculars   , items to put in one’s hair, flags and light-up hands. I looked up to see the sky filled with bright little UFOs in every colour of the rainbow, moving up and down the plaza. For indeed there was a plaza in front of me. My gaze shifted, and I saw the stadium, where a concert was in progress. I managed to follow the people, all going in one direction. The concert was sold out; however, they allowed me to come closer, since they thought I must have a ticket; they probably assume a laowai always has one, especially in a crowd of Shanghainese teenagers.
Even afterwards, I didn’t know the name of the band, but I will never forget the view from the top of this megastructure over the city and the football pitch, brightened up by colourful objects and singing citizens.

[ - ]

MIMICS It is remarkable how you can have long conversations “just” using hand movements, facial contractions, bodily contortions and so forth… You find that there is always a way to communicate… well, maybe… actually, no, not always. The way Westerners represent drinking with a hand gesture, for instance, might turn out to be the gesture for the number six in Chinese; the number eight might be used for indicating a person or object; and the number ten might mean to be close to someone. [ + ]

MIMICS

It is remarkable how you can have long conversations “just” using hand movements, facial contractions, bodily contortions and so forth… You find that there is always a way to communicate… well, maybe… actually, no, not always.
The way Westerners represent drinking with a hand gesture, for instance, might turn out to be the gesture for the number six in Chinese; the number eight might be used for indicating a person or object; and the number ten might mean to be close to someone. Most of these hand gestures correspond to the way we learned to make shadow animals on the walls, with our parents, before going to sleep. The way Westerners usually represent eating doesn’t mean anything to most Chinese people… but you can always keep trying… until the person on the receiving end gets bored and leaves, that is.

[ - ]

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.

[ - ]

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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