Yeysk City of Streams–Bi-City Biennale of Urbanism\Architecture Yan Tian Venue 对流城市深港城市建筑双城双年展盐田分展



Bi Rongrong’s participating works:

Wall Painting: Connection Mode No. V – Laying/Overlaying

Wall Paper: Connection Mode No. X – Unknotting/Knotting

Fishing Net: Connection Mode No. L – Hauling In/Throwing Out

Cable: Connection Mode No. C – Floating/Navigating



空间二:壁纸:关于连结的第 X 种方式—解/结

空间三:渔网:关于连结的第 L种方式—收/放




The façade, the passageway and the corridor are integral parts of the building with different functions. And in terms of the communication with the public, the route forms a shift from a completely open and outdoor space to a half-open public space and then to a long, narrow and relatively less public indoor space. While working with the three spaces which are visually and physically interrelated, I resort to “cable”, a common tool to be seen at the Yantian Port, to make a connection among them. In reality, fishing boats are connected by cables that are seemingly messy and yet arranged quite in order. The ways they are fastened and the thickness of the cables vary due to their different uses. For the wall paper at the passageway, I did some research into the parabola-like patterns composed by the cables as well as how they were knotted. If we see the different surfaces of the passageway as those of a fishing boat, would these parabola-like patterns and knotting methods make the interconnection between these surfaces more visible? 



Standing in front of the building, viewers would gain a full picture of a huge wall painting on the façade. Covering the whole space of the front façade, the wall painting features fragments of objects I encountered during my previous journeys. Making their way into the painting, forms, colors and lines are constantly blending and progressing, generating a variety of connections among which I feel that light is the only connector that could break through time and space and wanders smoothly within. 

站在这个楼道空间的最外部,放眼能望见户外外墙面上大体量的壁画作品,这件与墙面同宽同高的壁画中之物则采集自我在不同旅途中所遇见的对象物之碎片,它们转换至绘画之中,则以形、色、线之间的层次递进交叠而不断地创建关联,在这种关系中, 我似乎感受到光是能够打破时间和空间,而穿梭在其中的连结物。


Following the passageway and going upstairs, the space becomes more independent. It could block light and re-generate it. In the corridor space I try to extend my research into the cables, managing to have a more intimate dialogue with viewers through the light rays and weaving texture of the cables. The cables in this work are knotted in a way similar to the fishing net commonly used in this area. Sharing the same height of the space, but due to the different proportional relation, its function and interrelation with us change accordingly. The shape of anchor imbues it with great intensity. I endeavor to capture such intensity and foster new power within the space, which embodies an alternative kind of connection I observe in this corridor space. 



Connection modes evolve infinitely according to space and time. Within these three spaces, I number my way of connecting with roman numerals V, X, L and C. The numbers increase continuously and substantially, implying that there are countless possibilities lying within. 








Connection Mode No. V – Laying/Overlaying

Mural 26.5×25.7m

Coordinated by Bo Bing and Li Wengao

Created by the painting team of Tian Min, Liu Yushi, Chen Xianliang, Wu Xianguo, Liu Jianlong, Huang Yong et al. 


墙面壁画  26.5×25.7m




Connection Mode No. X – Unknotting/Knotting

Wallpaper printing, variable size 

《关于连结的第 种方式——解/结》




Connection Mode No. L – Hauling In/Throwing Out

Woven by Mr. Guo Zhiqiang, a Hardware Expert from Nan Ao,


3.3m tall, upper galvanized pipe diameter: 3m, middle diameter: 2m, lower diameter: 1.7m; luminescent, electric powered



3.3 上圆镀锌管直径3中径2下径1.7米, 冷光线插电



Connection Mode No. C – Floating/Navigating

Instructed  by Mr. Guo Zhiqiang, a Hardware Expert from Nan Ao.

Anchor, wire rope, buoy, pulley, rope,  variable size




A net weaving process|织网的一个过程
Click to play the video|点击播放