In mid-December, during the opening weekend of the 7th Shenzhen/Hong Kong Bi-City Biennale of Urbanism/Architecture (UABB), the three former factory buildings hosting the main exhibitions are bursting at the seams. Outside, in pockets of the Nantou Old Town, which the biennale has effectively colonized for its duration, architectural installations occupy empty lots and ground-floor shopfronts.
Visitors inspect installations such as WEGO, by The Why Factory and MVRDV, a 9-meter-high architectural folly transplanted from an Eindhoven square where it debuted during last year’s Dutch Design Week, or Pingheng, Understanding Chinese Reality, a mural by Spanish collective Boa Mistura that adorns the wall of one of the main exhibition venues.
The 7th UABB is curated by Meng Yan and Lu Xiaodu, both partners at architecture and urbanism office URBANUS, with offices in Shenzhen and Beijing, and by curator and critic Hou Hanru, based in San Francisco, Rome and Paris, who self-identifies as the “outsider” on the team. The biennale is divided into three main exhibitions: Global South, an exploration of countries in the global south and their “informal” urban strategies; Art Making City, a trove of contemporary art exhibits prominently featuring urban environments; and Urban Village, which puts the urban typology of the same name center stage.