展訊 | 朱濤個展 20260321

我們處於一個快速且「方便」的時代，一切得來的如此輕易，以至於我們很容易忽略行走和勞作的意義，慢慢失去了用感官去體驗的能力。

We live in a fast and “convenient” era. Everything comes to us so easily that we gradually overlook the meaning of walking and labor, slowly losing our ability to experience the world through our senses.

大埔屏風山 I, 彩色鉛筆紙本,2020

我和朱濤相識於2022年，可以說是一見如故。他是個風趣幽默學識淵博的人，當時我正在做一件和建築有關的裝置。在遇到朱濤之前我也請教過一些建築師，他們都會選擇電腦建模，然後不假思索的告訴我這個方案無法實現，因為不符合物理運動的規律。最後是朱濤和他的團隊在香港大學的建築系幫我解決了這件裝置中最核心的問題，讓這件作品在櫥窗中像困獸一樣晃動起來。

I met Zhu Tao in 2022. One could say we immediately felt a natural affinity. He is humorous, knowledgeable, and widely learned. At the time I was working on an installation related to architecture. Before meeting Zhu Tao, I had consulted several architects. They all chose to rely on computer modeling and then, almost without hesitation, told me that the proposal could not be realized because it did not conform to the laws of physical motion. In the end, it was Zhu Tao and his team at the Department of Architecture at the University of Hong Kong who helped me solve the most crucial problem of the installation, allowing the work to begin swaying in the shop window like a trapped beast.

黎薇 Storm Signal No. X 草圖

△ 朱濤2022年9月21日畫的草圖，解釋「皮筋框架」的結構變形原理，點擊圖片查看詳情。

雷生春以及積木建築圖 2022， ? ZHUTAO ARCHITECTURE DESIGN STUDIO

在和朱濤討論作品的過程中，他是第一個聽到我的想法時非常興奮的人。像一個孩子，充滿好奇心，任何事情都要認真嘗試，行動力很強。在他的意識裡，似乎沒有什麼是不合理的，一切都可以質疑，可以挑戰。

During our discussions about the work, Zhu Tao was the first person who became genuinely excited upon hearing my idea. Like a child, he was full of curiosity. He wanted to try everything seriously and possessed an extraordinary energy for action. In his mind, nothing seemed inherently unreasonable—everything could be questioned and everything could be challenged. 

△ 朱濤2011年參觀應縣木塔後畫的草圖，分析木塔的結構體系以及被炮彈擊中後的變形。

聖馬可廣場, 蠟筆紙本, 2016

令我印象最深刻的是：他手中的筆一直沒有停過，不停地畫，他把不同材質的筆混合使用，那個筆袋簡直和我原來用的一模一樣。那些有擦痕的手稿充斥著人的氣味，鮮活又笨拙，但無比動人。在一個AI橫行的時代，看到這樣的表達讓人覺得彌足珍貴。

What impressed me most was that the pen in his hand never stopped moving.He kept drawing continuously, mixing pens of different materials together. His pencil case was almost exactly the same as the one I used to carry. Those manuscripts, full of erasures and corrections, carried the smell of human presence—vivid and clumsy, yet deeply moving. In an era where AI runs rampant, encountering such a form of expression feels especially precious.

聖托里尼 I, 蠟筆、彩色鉛筆紙本, 2024

我關注朱濤的公眾號「空間行動」(Space Action) 。經常可以看到他用手稿畫出來的「日記」，作為一個也經常隨身攜帶繪畫工具的人，我完全可以體會那種手忙腳亂：朱濤說他帶著學生在羅馬的時候，每天要衝到山頂才能捕捉日落的場景，他每次都能跑贏他的學生，成功收穫那片浸泡在金色裡的城市。

I follow Zhu Tao’s public account “Space Action”. The  re one often sees “diaries” drawn by hand. As someone who also carries drawing tools with me most of the time, I can fully understand that sense of hurried improvisation. Zhu Tao once said that when he was in Rome with his students, they had to run to the top of a hill every day to capture the sunset. Each time he managed to outrun his students and claim that city soaked in golden light.

羅馬 III, 水彩紙本, 2016

在2025年12月的一個下午，我去拜訪了朱濤。有幸看到了他所有的手稿，我記得那天我坐在他的書房裡，一張張的看，時間似乎凝固在那個下午的某個時刻。我的身體在香港大美督某處村落裡，天色漸漸變暗，但是那些生龍活虎的畫面，把我帶去了不同的地方：這些畫面都是朱濤的足跡。

One afternoon in December 2025, I visited Zhu Tao and had the privilege of seeing all of his manuscripts. I remember sitting in his study that day, looking through them one by one. Time seemed to freeze at a certain moment that afternoon. My body was in a small village somewhere in Tai Mei Tuk, Hong Kong, and the sky outside gradually darkened. Yet those vivid images carried me to different places. These images are the footprints of Zhu Tao.

石澳, 鉛筆紙本, 2011

我們用展覽開幕的日子 20260321 作為展覽的題目，以此表達他行走的步數。這些步數並非空洞的數據，而是一個人在用他的身體去體驗不同的空間，不同的風景。所以在朱濤的手稿中，我看到的不僅僅是景觀，而是不同氣質和氛圍的城市。身臨其境，我甚至可以聞到那些地方的氣味：浸泡在陽光裡的威尼斯，濕漉漉的落雨的京都，風沙漫天，倉日高懸的青海地貌，以及空氣中帶有鹹味，海風瀰漫的希臘。

We chose the exhibition opening date—20260321—as the title of the exhibition, to represent the number of steps he has taken. These steps are not empty data; they are the traces of a person using his own body to experience different spaces and landscapes. In Zhu Tao’s manuscripts, what I see is not merely scenery, but cities with different temperaments and atmospheres. One feels present within them. I can almost smell those places: Venice soaked in sunlight, rain-drenched Kyoto, the wind-blown landscapes of Qinghai beneath a blazing sun, and Greece where the air carries the salt of the sea and the wind is filled with its scent.

聖托里尼 II, 蠟筆、彩色鉛筆紙本, 2024

我不想用任何「藝術專業」的詞彙去描述朱濤的作品，因為有時候專業詞彙在真誠的表達面前顯得蒼白無力。屬於視覺的東西是直觀的，無法用語言描述的，只能留給視覺去解決。我相信，在這個展覽現場，每個人都可以依靠自己的感官找到屬於自己的景觀。

I do not wish to use any “professional” art terminology to describe Zhu Tao’s work, because sometimes such vocabulary appears pale and powerless in the face of sincere expression. Things that belong to the visual realm are intuitive and cannot truly be described through language; they must be left for the eyes to resolve. I believe that in this exhibition, everyone will be able to rely on their own senses to find the landscapes that belong to them.

宏福苑, 彩色鉛筆紙本, 2026

藝術是日積月累的真實。畫面本身所帶有的力量和畫幅的尺寸、材質都無關，而是帶有人的精神力量。這種精神力量正是人存在的根本。

跟朱濤比起來，有些藝術家有頭銜，有市場，但唯獨沒有藝術。

Art is the accumulation of reality over time. The power carried by an image has nothing to do with the size of the work or the material it is made from—it comes from the spiritual force of the person behind it. This spiritual force is precisely the foundation of human existence.

Compared with Zhu Tao, some artists have titles and markets—but no art.

黎薇 / 2026, 3

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  20260321

開幕酒會：2026 年 3 月 21 日

4: 30 - 6: 30 PM

策展人：黎薇

香港黃竹坑道49號得力工業大廈10樓E

如果咨询作品请联络：

藝術家簡介

朱濤建築工作室創始人和主持、香港大學建築系副教授、香港大學中國建築與城市研究中心主任，紐約哥倫比亞大學建築學碩士、建築歷史與理論博士。作為建築師，他的作品主要為公共建築，包括學校、圖書館、汽車客運站、街道、公園和水庫等多種類型。作為學者，他通過寫作探討當代中國建築和城市問題。他的論文發表在AA Files, AD, Bauwelt, a+u, Domus和《時代建築》等期刊上。他出版的歷史專著包括《梁思成與他的時代》(理想國，2014) 以及與十九位國際建築學者聯手寫作的首部世界當代建築通史A Critical History of Contemporary Architecture 1960-2010  (Ashgate, 2014）。

朱濤一直倡導「行走中的建築學」：頻繁到世界各地旅行，用腳步丈量大地，以身體體驗空間。在常年的行走中，寫生繪畫成了他最重要的記錄、分析眼前所見和與之對話的手段。每一次寫生繪畫，都是在某個特定時空中，通過眼手心的高度協同，不僅僅“看世界”，而是“看見”世界。

Zhu Tao is the Founder and Principal of Zhu Tao Architecture Studio, Associate Professor and Co-director of the Center for Chinese Architecture and Urbanism, The University of Hong Kong. He received his Master of Architecture and PhD in Architecture History and Theory at Columbia University. As an architect, his work primarily focuses on public projects, including schools, libraries, bus stops, streets, parks, and reservoirs.  As a scholar, his research focuses on contemporary Chinese architecture and urbanism. He has published essays in AA Files, AD, a+u, Bauwelt, Domus, and Time+Architecture. His recent writings include the book Liang Sicheng and His Times (Imaginist, 2014), which examines Chinese architectural development in relation to Mao Zedong’s socio-political campaigns during the 1950s, and a chapter “Architecture in China in the Reform Era 1978-2010” for the book A Critical History of Contemporary Architecture 1960-2010 (Ashgate, 2014). 

Zhu Tao has always advocated "Architecture on my walk": frequently traveling around the world, measuring the earth with his feet, and experiencing space with his body. In his years of travel, sketching and Plein air painting have become his most important means of recording, analyzing what he sees, and engaging in dialogue with it. Each sketching or painting is, in a specific time and space, a high degree of coordination between the eyes, hands, and heart, not just "looking at " the world, but "seeing" it.