# 〈Where do we come from? Who are we? Where are we going?〉Project
## Series of activities｜系列活動
* 2025.04.25 - 2025.09.07 Exhibition〈Where do we come from? Who are we? Where are we going?〉, Reimagining Radical Cities, New Taipei City Art Museum.
* 2025 〈City Mandala: Fighting for Ideals〉
* 2025.02.28〈The Composition of Home〉workshop
* 2024.12-2025.2〈Iron Lady〉workshop
* 2024.07-09 Portrait Project with Residents at Wenzaizun
* 2025.08.02 〈Diverse Ecosystems of Cities:Principles of Great Cities〉Workshop
* 2025.08.03 〈Brave New City: One Thousand and One Dreams〉workshop
* 2025.08.16 〈Rights to the City: Let's Dance the City Ballet Together〉Workshop
## Introduction
"Where Do We Come From? Who Are We? Where Do We Go?" is a collaboration project between Print & Carve Dept. and Wenzaizun Community Development Association.（[塭仔圳在地服務與發展協會](https://www.facebook.com/wenzaizun/)）The works include 〈The Composition of Home〉, created in collaboration with residents of Wenzai Zhen through a workshop; 〈Iron Lady〉, created in collaboration with factory residents; and 〈The City Mandala Fighting for Ideals〉, the final piece created primarily by members of Print & Carve Dept.
〈Iron Lady〉features works produced with women who previously worked in factories at Wenzaizun. The term ‘Iron Ladies’ refers to these women who, balancing roles as homemakers and blacksmiths, demonstrated solidarity and self-reliance during past anti-eviction struggles. The artwork embodies their expression of inner strength.
〈The Composition of Home〉is a printmaking work created in collaboration with current residents of Wenzaizun, young people concerned about their hometown, and friends interested in urban values. Through discussions on the values of home, streets, and communities, and everyone's ‘bottom-up’ planning imagination, it constructs an extended emotional identification with ‘home.’ Additionally, through D.I.T., it conveys the spirit of ‘needing to voice different perspectives and standing together to speak out.’
〈City Mandala: Fighting for Ideals〉 is a collaborative project between the Print & Carve Dept. and local residents, female blacksmith, and others, blending discussions and imaginings about the value of the city. The final work is composed of a community where ecology and humans coexist, scenes that emerge naturally like cells, and the diverse landscapes of the city unfolding like a scroll. Every detail conveys a urban space where people of different identities—the elderly, small business owners, farmers, workers, housewives, and others—can participate freely. It signifies that only when local voices are heard can an organic and inclusive ideal city come into being.
Following the completion of the exhibition Reimagining Radical Cities, three public engagement events were held in collaboration with the New Taipei City Museum of Art. These included workshops with community members, exploring different dimensions of the works within the Urban Mandala. The themes encompassed the city's diverse ecosystems and the conditions that shape great cities; the poetic nature of the city; and how various public spaces and streets foster vibrant urban life. Selected works were also exhibited at the museum after completion.
簡介：
〈我們從何而來？我們是誰？我們又該往哪裡去？〉為印刻部與塭仔圳在地發展與服務協會合作創作計劃，作品包含與塭仔圳居民工作坊創作之〈家的組成〉、與工廠居民合作之〈鐵娘子〉，以及印刻部成員主力創作的最終成品〈為理想戰鬥的城市曼陀羅〉。
〈鐵娘子〉為2024-2025年舉辦之「鐵娘子工作坊」共同創作成品，是與過去曾常駐在塭仔圳當地工廠工作的女性們創作的版畫作品，她們肩負著家庭主婦與黑手職人身份，在過去反迫遷抗爭中展現團結、自主的力量。作品內容為她們表達自身的精神力量。
〈家的組成〉——20250228「居民工作坊」是與現在居住在塭仔圳當地的住民、關心自己故鄉的青年們、關心都市價值的朋友們創作的版畫作品，從家、街道、社區的價值討論與每個人「由下而上」的規劃想像，構築成對「家」的延伸情感認同。並且藉由D.I.T傳達出「需要說出不同聲音、也需要站在一起發聲」的精神。
〈為理想戰鬥的城市曼陀羅〉為印刻部與在地居民、女性黑手職人交流體驗並融合對都市價值的討論與想像，最終作品以生態與人共存的圍觀社區、細胞般自然誕生的場景、捲軸般延伸的都市各異地貌來組成，各處細節傳達能夠包容老人、小商家、農民、工人、家庭主婦等不同身份的人們能夠自在參與的都市空間。
圖像整體以圓形曼陀羅代表對宇宙秩序與內在世界交融的意義，代表著當我們嘗試讓在地聲音被聽到的時候，一個有機且包容多元的理想都市才有可能被實踐。
在展覽基進城市的作品完成後，與新北市美術館合作三場面向公眾，包含與社區民眾合作的工作坊，這些活動以城市曼陀羅中的作品中的不同層次切入，包含城市的多元生態系，是哪些條件造就偉大的城市；城市的詩性；以及不同公共空間、街道如何造就有活力的城市生活。部分作品也在完成後於展場展出。
# 2025 〈City Mandala: Fighting for Ideals〉｜〈為理想戰鬥的城市曼陀羅〉
## *Poetry | 詩歌文字
>一座城市 A City IUNA CIUDAD
誰忘了她的過去 QUE OLVIDA SU PASADO
ta 沒有未來 NO TIENE FUTURO
只有記憶/而非遺忘 Nur Erinnerung, nicht Vergesslichkeit.
能夠形塑你是誰 Gestalten Sie, wer Sie sind.
你是誰，Wer du bist
你從哪裡來，Woher kommst du
並知道往哪裡去......und wohin gehst du.
The poem in the work, with their variations in subject matter and language, symbolise different identities and an anti-capitalist resistance to urban space that knows no geographical boundaries.
The first three lines derive from a visit to the Duranguito neighbourhood of El paso, on the US-Mexico border, when Print & Carve Dept took part in an exhibition of Ensamblaje Enzarzado(2024). A mural of a local old lady's resistance was painted on the wall, with the words 'IUNA CIUDAD/ QUE OLVIDA SU PASADO/ NO TIENE FUTURO’. in Spanish. The latter passage is taken from a Spanish text.
The following passage is from one of the anti-eviction and cultural preservation movement in Taiwan: [a comic ](https://www.thenewslens.com/article/28694)strip created during the preservation campaign of the Mitsui Warehouse in Beimen, which introduces the symbolism of the history of the Mitsui Warehouse building on the site, and ends with the lines: ‘Only memory / not forgetfulness / can shape who you are / where you came from / and know where you're going’.
在作品上的詩，主詞與語言的變化，象徵不同的身份，以及對城市空間的資本抗爭是不分地域的。
前三句其出處來自於印刻部成員參與〈糾纏組裝〉的展覽時，參觀位於美墨邊境城市厄爾巴索的杜蘭吉托社區，當地居民曾遭受迫遷運動，牆上繪畫了當地老太太抗爭的壁畫，以西班牙文寫著「一座城市/誰忘了他的過去/他沒有未來」。
後面的段落來自於台灣諸多的反迫遷運動中的其中一的案例：在參與北門三井倉庫保存運動中所創作的漫畫作品，介紹了三井倉庫建築位於該地點的歷史之象徵意義，最後結尾的幾句台詞：「只有記憶/而非遺忘/能夠形塑你是誰/你從哪裡來/並知道往哪裡去」。
---
## The first Layer_Space - Community - People Composition｜第一層 空間-社區-人的組成
The first Layer is the Core inner Circle, presenting the map of Wenzaizun are continuous streets, houses, surrounded by rivers and mountains, with a fisheye effect of this community in the urban landscape.
Bougainvillea, Feather Cockscomb, Camellia, Lewisia cotyledon, Iris, Graptopetalum mendozae, Hydrangeas, Chinese Moonflower, Hydrangeas, Chinese rose Flower, Heavenly bamboo and Rhodo are plants that we have seen in the fields, streets, parks, and gardens in Wenzaizun. There is a human figure in the center of each branch, representing that the community is made up of people.
Behind the flowers are the different creatures: ladybirds, fireflies, Mosquito fish ,butterfly dragonfly, common scaled water snake, formosan blue magpie, mandarin duck, rhinoceros beetle, grass carp, green-spotted triangle, and golden birdwing. Local elders told us that some of these animals are gradually decreasing in number or even disappearing, and they have also been living in this ecosystem.
第一層為核心內圈，由連貫的街道、房屋，河川與山脈圍繞的塭仔圳地圖，以魚眼凸面效果組成由微小至宏大的都市社區景象。
道路末端長出九重葛花、青葙、山茶花、露薇花、鳶尾花、丸葉姬秋麗、繡球花、月季、南天竹、杜鵑花，是曾經在塭仔圳野外/街道/公園裡看過的花卉，每朵花的枝椏中心有一個人影，代表社區是人的組成。
花卉背後是塭仔圳的不同生物：瓢蟲，火金姑、大肚魚、藍黑蜻蜓、草花蛇、台灣藍鵲、鴛鴦、獨角仙、草魚、綠斑鳳蝶、黃裳鳳蝶，透過長輩的口述，有些生物已逐漸減少絕跡，但曾經與人類一起晝夜生活於這個生態系。
## The second Layer Organic urban scene｜第二層 有機的都市場景
A good urban plan allows people to interact naturally. Give people a better way to understand the place they live in.
The cell-like irregular outer wall symbolises the organic ecology of the urban landscape.
Combined with our understanding of the lives of the residents of Wenzaizun, we have created 23 scenes of an ideal city based on the core concepts of ‘bottom-up’, ‘street ballet’, “feminism”, and ‘communal living’.
1. A pavement with cats and malayan night-herons where people and nature coexist.
2. A guerrilla performance using the public space under the viaduct.
3. Streets that are safe for pedestrians, skateboarding, and the elderly. 4. Riverside bike paths.
5. Street-side Ke-Tse opera.
6. Little egrets by the Ta-Liao-keng Creek next to Meihua New Village. 7. The flat market.
8 Shared bookcases on the street.
9. Teacher Tsai collected local stories about community history and geography and lead guided walks.
10.The daily life of the workers in the factory.
11. Roadside stall.
12. Snack stalls along the street.
13. Long-Term Care migrate workers have their casual time while working.
14 Resident Yeh shared his early days of earning a living by searching for Gynura at Fu Jen Catholic University.
15. Forest guarding.
16. Local plant and flower bazaar.
17 Resident Uncle Chen joined a senior theatre troupe and performed at the National Elementary School.
18. Resident Shi-En's collection of old video games, comics and good wine.
19. Resident Shuwen elected to be the mayor of the neighbourhood to promote the community.
20. Maple Bridge Coffee's owner and his wife chatting with customers.
21. The Printing Department held a live printing event at the Meiwah Story House.
22. Strolling around Brickyard Alley No. 1 with resident mr. Lu.
23. Hsinchuang Community College organised the Centennial Vision Walk.
好的都市規劃，應讓人們能自然互動、深入瞭解自身居住的土地。曼陀羅的第二層以細胞般的不規則外壁，象徵都市中有機的場景生態，結合我們認識的塭仔圳居民生活，以「由下而上」、「街道芭蕾」、「女性主義」、「共同生活」等核心概念，創作出理想城市的23個場景：
1. 人與自然共存的貓咪與黑冠麻鷺的人行道。
2. 高架橋下利用公共空間的游擊樂團表演。
3. 行人、滑板青年、老人都安全的街道。
4. 河濱自行車道。
5. 利用街道搭棚的歌仔戲表演。
6. 美華新村旁有白鷺鷥的塔寮坑溪。
7. 菜市場場景。
8. 在街道上的共享書櫃。
9. 蔡宗憲老師以文字介紹立牌來導覽塭仔圳。
10. 工廠裡的黑手職人日常。
11. 路邊辦桌酒席。
12. 沿街小吃攤。
13. 長照移工們在推輪椅與倒垃圾的閒聊時間。
14. 居民葉大哥分享過去曾在新莊輔仁大學的空地，尋找一葉草賺生活費。
15. 守護森林。
16. 植物花卉市集。
17. 居民陳叔叔參加老年劇團並在國小表演。
18. 居民世安家裡搜集古早遊戲機、漫畫與好酒。
19. 居民淑雯選里長在街上宣傳。
20. 楓橋咖啡老闆夫妻熱情與客人聊天。
21. 印刻部在美華故事館舉辦直播印製活動。
22. 與居民呂大哥漫步於磚雅厝一號周遭的場景。
23. 新莊社區大學舉辦百年願景散步節。
## The third layer Tools for representing identity｜第三層 代表身分的日常器具
Around 18 implements that represent identity or weapons against injustice. The urban programme cannot only see the national interest, but also the need to allow for the spirit of individuality and community.The 18 tools are:
1. Hammer - It can be used to destroy and repair houses, and can also be a production tool in factories.
2. Brick - the basic building material of a building.
3. Gloves - Essential for workers and home renovations
4. Election Vests - Residents have tried various ways to change the local political environment, including running for election.
5. Trophy - The bowling trophy that residents uncle Chen share their interests and achievements in life.
6. Fishing rod - Residents share their own recreational equipment, and go fishing at the beach to have their own adventures. 7. Gardening shears - to take care of the beautiful gardens at home.
8. Walking Aid - A good helper for the elderly to get around.
9. Pan and fried rice - An essential tool for home cooking. In the past, residents have used fried rice as a way to protest against the government’s use of urban planning to drive up land prices.
10. Books — The complete works of Marx’s “Capital: A Critique of Political Economy”, which are important to the young people who are struggling, as well as the spiritual food of the residents’ hard work and social concepts recorded, including “Goodbye,Wenzaizunin” , “Wenzaizun is my Neighbor”, and “Light Spot Story Collection”.
11. Computer - a helper in spreading ideas, connecting relationships, and inviting people to participate in local activities.
12. Loud Public - to let the voice from the bottom to the top be heard during the struggle.
13. Screws - Material used to join objects together and hold them tightly in place. It is also one of the tools and materials produced by the Wenzaizun factory.
14. Broom and dustpan - to clean up local streets and public spaces, the MCCC Storytelling Centre has been maintained by a number of joint clean-ups between students and residents.
15. Tailor - used in the factories of Peihua plastic factory in the past, and necessary for family workers.
16. Paint - material for repainting walls and protest cloth.
17. Fabric scissors - for cutting protest fabric and printmaking fabric, sometimes needed for sewing old clothes or for home-based labour.
18. Camera - to record precious moments, including local history and culture and the process of protest.
圍繞著18個代表身份認同的用具或對抗不公的武器，都市計畫不能只看到國家利益，也需要容許住民保有個人與社區精神。
18個器具分別為：
1. 鐵鎚 — 用於破壞與修復家屋，也可以是工廠裡的生產工具。
2. 磚頭 — 房屋的基本建材，有時是抗爭武器。
3. 手套 — 黑手職人的必備與整修家園的用具
4. 選舉背心 — 居民曾嘗試各種改變在地政治環境的方式，包括參選。
5. 獎盃 — 美華新村的陳叔叔當年與北華工廠同事去打保齡球得到的獎盃，他亦有多項國小志工獎狀，因此此物也象徵住民的在地交流紀念。
6. 釣魚竿 — 居民分享自己生活中的休閒器具，去海邊釣魚擁有自己的冒險。
7. 園藝剪 — 精心照護家裡的美麗花園 。
8. 助行器 — 老人出門走動的好幫手。
9. 平底鍋與炒飯 —居家煮食的必備工具。過去居民也曾用炒飯作為抗議政府以都市計畫炒高土地價格。
10. 書籍 — 對抗爭青年來說重要的馬克思《資本論》全集，以及居民們紀錄下的心血與社會理念精神糧食，包含《莎喲那拉再見塭仔圳》、《阮厝邊塭仔圳》、《光點故事集》等。
11. 電腦 — 傳播思想、聯繫關係、招喚大家參與在地活動的幫手
12. 大聲公 — 在抗爭中讓由下而上的聲音傳出去
13. 螺絲 — 將物體連接在一起的材料並固定到位的物件，也是塭仔圳工廠生產的工具與材料。
14. 掃把畚箕 — 清掃在地街道與公共空間，美華故事館有多次學生與居民的聯合打掃維護。
15. 裁縫機 — 過去北華塑膠工廠的用具，也是家庭代工必備。
16. 油漆 — 重漆牆壁與抗議布條的材料。
17. 布剪刀 — 剪抗議布條跟版畫布料，有時是縫製舊衣服或家庭代工所需。
18. 相機 — 紀錄下珍貴的時刻，包含地方歷史與文化與抗爭的過程。
## The fourth layer A city scroll including Wenzaizun｜第四層 包含塭仔圳地貌的城市捲軸
The houses are connected in a circle by scrolls, symbolizing the ever-changing daily scene. Public spaces, residences and regional characteristics of Wenzaizunin, it also integrates the growth, destruction and regeneration of urban buildings. It is the accumulation of memories and life trajectories of people living here, and also carries the lives of residents into the future.
街區以捲軸連貫成圓形，象徵生生不息的日常景色。除了散落各處的塭仔圳公共空間、住家與地區特色，也融合屬於都市建築的生長、被破壞與再生，是人們存活在此的記憶堆疊與生命軌跡，也承載住民的生活走向未來。
## Tassels at the bottom ——〈The Composition of Home〉workshop works and words ｜ 底層流蘇：家的組成居民工作坊作品與文字
# 2025.02.28〈The Composition of Home〉workshop
## [Our Workshop Preparation Process](https://hackmd.io/@pacd/homeworkshop)
The Wenzaizun Redevelopment Area, adjacent to Fu Jen Catholic University in Xinzhuang, was once synonymous with residents' and factories' resistance against forced evictions.
Residents who successfully resisted eviction remained and, alongside partners, have continued their efforts in this area. Amidst Wenzai Zhen's rapid daily transformations, they strive to preserve the land's original stories and convey a vision for shifting from eviction resistance to local service and development in Wenzaizun. Continuing to advocate for land and community participation, Print and crave dept. invites you to join residents in exploring visions of “home.” Exchange ideas and engage in discussions through printmaking and hands-on participation.
（Order of works: From left to right, top to bottom）
* Chen Xiaowen(陳曉雯)
Snacks, convenience—food is the people's priority.
Residential planning must avoid spaces without even a single window.
Road design should include streetlights, and surveillance cameras are preferable to ensure women's safety when walking at night.
Affordable store rents are needed to prevent large properties from crowding out small businesses.
* Ye Jianzhong(葉建忠)
Clean streets, trees, and electronic billboards can integrate local culture. Urban planning should avoid destroying residents' homes and local culture while creating a new generation of cities.
* Xiao Meng(小孟)
Personal space, a functional kitchen, a beautiful dining table, flood control, shade, and temperature regulation.
The street is the path home—ensuring people and drivers arrive safely, while also serving as a habitat for urban wildlife.
Urban leisure and tourism extend beyond consumption and real estate towers; the city is an extension of home and identity. With beloved public spaces, there are more places to go.
* Xu Shoujie（許守傑）
Pond, Hometown Memories, DE-GROW, Convergence
If there aren't that many needs, then don't build so many houses.
* Tsai Tsunghsien（蔡宗憲老師）
Warm, Sense of Belonging.
Cultural identity rooted in local elements requires landmarks or symbols that endure beyond time, awakening a sense of belonging to home.
This can be embodied in public facilities such as manhole covers, house numbers, and streetlights.
* Lin Chienru (林倩如)
Pets, books, bonds of life, freedom and safety, cultural action, accessibility.
Urban ballet, diversity and inclusion, openness, sanctuary, third spaces, dialogue and connection, friendliness, self-governance, multifunctional community space redevelopment, social safety net.
Cultural identity rooted in local elements requires landmarks or symbols that endure beyond time, awakening a sense of belonging to home.
* Uncle Chen (陳叔叔)
Living rooms require ample space, while streets and alleys must remain unobstructed in all directions, with a focus on traffic safety. As everyone's ideals differ, planning must prioritize comprehensive consideration of all aspects, and homes, streets, and cities are all interconnecte.
* Lin Yuting(林鈺婷)
Doorbell, family.
Coffee shop, space for people to walk. Shared green space.
* Johnny Chang
Photo Album、place to other
memory->publication->small everyday stories.
THE PRESENCE OF SMALL MEMORIES AND STORIES.TRANCES, COMMNAL AND PERSONAL.
LISTEN TO AND EMBRACE LOCAL STORIES/MEMORIES OF MANY COMMUNITIES/INDIVIDUALS IN A WAY.
THAT SUPPORT MANY DIFFERENT WAYS OF LIFE, SMALL SCALE, WELL CONNECTION,MAKED USE, SMALL PUBLIC SPACE.
* Qiu Shuwen（邱淑雯）
A home needs a lazy, daydreaming sofa and space to run and jump around. Roads and sidewalks must be convenient and safe, with bright night lights. Old trees and parks bring people together—people create warmth, memories, and joy.
Urban planning is a century-long endeavor. Don't rush it. Start from the bottom up, create mechanisms for public participation, and prioritize local needs. Hold pre-planning workshops—residents must be involved, not saddled with plans lacking public support.
* Lu Kuanhsun(呂冠勳)
Preserve the starfruit tree and the path by the gate—shared memories.
“Respect for people” must be upheld both procedurally and substantively.
Don't rush to fulfill campaign promises; plans shouldn't be rushed but require long-term vision.
Because each person is multifaceted, ample time must be given for everyone to voice their opinions.
Only then can we hear equal perspectives and achieve the urban values everyone needs.
* Chen Shian（陳世安）
Game consoles, fun.
We live here, and besides eating well and sleeping well, entertainment is also important—otherwise we'd just be walking corpses.
# 2024.12-2025.2〈Iron Lady〉workshop
From left to right are the individual creations of the three Iron Ladies: Jia Zhen, Shu Hui, and Xue Fen,and the second from the left is a collective creation by the Engraving Department.
* Jia Zhen
Her factory focuses on raw materials, showcasing the entire production process from raw materials to finished goods. Flanking the space are her family's Shiba dogs and a kitten discovered hiding inside large machinery when they relocated from Wenzaizhen to their new location.
* Shu-Hui
One hand holds a wrench, the other a spatula—symbolizing her dual identities as a skilled mechanic and homemaker. Above, the three most vital aspects of her life are depicted: sharing meals with family, attending meetings for the Wenzaizhen and advocating to the government, and maintaining the machinery at the factory.
* Xuefen
The personal history of Wenzaizhen from past to present: from her childhood when her father still farmed the land, to her days as a factory sub-landlord cleaning the factory and forging deep friendships with blue-collar craftsmen, culminating in the current state of Wenzai Ditch after demolition.
# 2024.07-09 Portrait Project with Residents at Wenzaizun
From July to September 2024, Print & Carve Dept. visited eight groups of residents and relevant representatives, surveying their living spaces and surrounding environments in Wenzaizun. We conducted collective portraiture workshops and invited creators interested in the historical anti-eviction struggles of Wenzaizun to participate.
Through a series of processes including data collection, field surveys, personal interviews, story sharing, and painting creation, we fostered mutual understanding through collaborative creation and interactive sharing. The exhibited works encompass sketches, notes, photographs, and objects shared by residents that hold significant meaning in their life stories, all contributed by different participants throughout the process.
**Portrait - Wu Junqi(吳俊奇)**
photo credit:yuling huang
**Portrait - Chen Shian(陳世安)**
photo credit:yuling huang
**Portrait - QIU,SHU-WEN（邱淑雯）**
photo credit:yuling huang
Portrait - Chen Wuyong（陳武勇）
**Portrait - Maple Bridge Coffee Couple(黃國璋、林瓊芳)**
photo credit:yuling huang
**Portrait - YE,JIAN-ZHONG（葉建忠）**
photo credit:yuling huang
**Portrait of the Iron Lady（淑惠、家甄、雪芬）**
photo credit:yuling huang
**Portrait - LIU,RUEI-CHIN(呂瑞欽)**
photo credit:yuling huang
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# 2025.08.02 〈Diverse Ecosystems of Cities: Principles of Great Cities〉Workshop
Diverse Urban Ecosystems × Urban Resistance Aesthetics × The Mandala of the Great City
This session will introduce the collaborative process with residents of Wenzaizun, sharing the ideal urban landscapes envisioned within the Mandala of Urban Resistance. We will explore how to consider the diverse needs within a great city, inviting participants to engage in collective reflection and brainstorming. Through woodcut printmaking, we aim to create bottom-up principles for what constitutes a “great city.”
### Group brainstorming and discussion:
“What qualities define a great city?”
<div style="position: relative; width: 100%; height: 0; padding-top: 56.2500%; padding-bottom: 0; box-shadow: 0 2px 8px 0 rgba(63,69,81,0.16); margin-top: 1.6em; margin-bottom: 0.9em; overflow: hidden; border-radius: 8px; will-change: transform;"> <iframe loading="lazy" style="position: absolute; width: 100%; height: 100%; top: 0; left: 0; border: none; padding: 0;margin: 0;" src="https://www.canva.com/design/DAGuthEDUj8/1TmBFiDUGCgPIZT-6Myw1Q/view?embed" allowfullscreen="allowfullscreen" allow="fullscreen"> </iframe></div>印刻部 設計的 <a href="https://www.canva.com/design/DAGuthEDUj8/1TmBFiDUGCgPIZT-6Myw1Q/view?utm_content=DAGuthEDUj8&utm_campaign=designshare&utm_medium=embeds&utm_source=link" target="_blank" rel="noopener">8/2Diverse Ecosystems of Cities: Principles of Great Cities〉Workshop</a>
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# 2025.08.03 〈Brave New City: One Thousand and One Dreams〉Workshop
Writing Urban Memories × Reconstructing City Visions × Imprinting Collective Futures
In Calvino's tales, each city is Marco Polo's metaphorical narration to Kublai Khan—a composite of memory, desire, fear, and symbols. “Daring to imagine” is the first step toward creating the impossible. Let us speak openly of imagination, for within it lies the hidden potential of our cities. This session extends urban imagination through a different lens, inviting participants to draw from their personal urban experiences. Using language, bodily sensations, and creative expression, we will envision and imprint both personal and collective dream cities.
> <div style="position: relative; width: 100%; height: 0; padding-top: 56.2500%; padding-bottom: 0; box-shadow: 0 2px 8px 0 rgba(63,69,81,0.16); margin-top: 1.6em; margin-bottom: 0.9em; overflow: hidden; border-radius: 8px; will-change: transform;"> <iframe loading="lazy" style="position: absolute; width: 100%; height: 100%; top: 0; left: 0; border: none; padding: 0;margin: 0;" src="https://www.canva.com/design/DAGumqDB4SE/OC590416xtgnZjf9aGIJ_A/view?embed" allowfullscreen="allowfullscreen" allow="fullscreen"> </iframe></div>印刻部 <a href="https://www.canva.com/design/DAGumqDB4SE/OC590416xtgnZjf9aGIJ_A/view?utm_content=DAGumqDB4SE&utm_campaign=designshare&utm_medium=embeds&utm_source=link" target="_blank" rel="noopener">2025/08/03 Brave New City Presentation </a>
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# 2025.08.16 〈Rights to the City: Let's Dance the City Ballet Together〉Workshop
The Death and Life of Great Cities × The Body Imagination of Urban Public Spaces × Street Rhythms
Jane Jacobs' “street ballet” describes the collaborative rhythms woven by countless strangers in everyday streets: neighborhood interactions, corner shops, children at play, elderly resting on benches—all spontaneous rhythms of life generated by citizens. This session begins with “The Body and Rhythm of the City,” inviting participants to observe, write, walk, and imprint their own experiences of the city's bodily rhythms. Practicing urban ballet together is not only about perceiving bodily space but also about asserting urban rights.
<div style="position: relative; width: 100%; height: 0; padding-top: 56.2500%; padding-bottom: 0; box-shadow: 0 2px 8px 0 rgba(63,69,81,0.16); margin-top: 1.6em; margin-bottom: 0.9em; overflow: hidden; border-radius: 8px; will-change: transform;"> <iframe loading="lazy" style="position: absolute; width: 100%; height: 100%; top: 0; left: 0; border: none; padding: 0;margin: 0;" src="https://www.canva.com/design/DAGwBXeCopM/jLTiOzNw0j_qnNJjvW9f0Q/view?embed" allowfullscreen="allowfullscreen" allow="fullscreen"> </iframe></div>印刻部 設計的 <a href="https://www.canva.com/design/DAGwBXeCopM/jLTiOzNw0j_qnNJjvW9f0Q/view?utm_content=DAGwBXeCopM&utm_campaign=designshare&utm_medium=embeds&utm_source=link" target="_blank" rel="noopener">8/16 The Right to the city </a>
#### More details about our project in Figma
<iframe style="border: 1px solid rgba(0, 0, 0, 0.1);" width="800" height="450" src="https://embed.figma.com/design/tViKz0qMzntaMXAZyBv9wZ/%E5%8D%B0%E5%88%BB%E9%83%A8%E3%80%88%E6%88%91%E5%80%91%E5%BE%9E%E4%BD%95%E8%80%8C%E4%BE%86%EF%BC%9F%E6%88%91%E5%80%91%E6%98%AF%E8%AA%B0%EF%BC%9F%E6%88%91%E5%80%91%E5%8F%88%E8%A9%B2%E5%BE%80%E5%93%AA%E8%A3%A1%E5%8E%BB%EF%BC%9F%E3%80%89?node-id=2197-292&embed-host=share" allowfullscreen></iframe>
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