“山水城市”展览
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展览在北京的吴浩一座清代庭院花园中举行。二十多个建筑模型和艺术作品散布在这座古老的庭院中。在岩石、屏风墙、竹林、水池和天空之下，每件作品的规模各异，共同构成了一个未来主义的乌托邦城市景观。展出的作品从一个鱼缸到“山水城市”的概念模型，后者代表了一个数十万平方米的提案。所有展品都表达了人类对自然的情感，并将“山水城市”描绘为未来的社会理想。与展览同时发布的新书《山水城市》是马岩松十年建筑实践和理论的重要转折点。
在书中，他说：“未来发展的城市将从对物质文明的追求转向对自然的追求。这是人类以自然环境为代价经历工业文明后所发生的变化。人与自然之间的情感和谐关系将在‘山水城市’上重建。”这本小册子阐述了这位年轻中国建筑师对未来居住的理想。“如果蓬勃的城市化无法孕育出新的城市文明和理想，那将是一个巨大的遗憾。”
著名中国科学家钱学森在1980年代提出了“山水城市”的概念。鉴于新兴的大规模水泥建筑，他提出了一种基于中国山水精神的新型城市发展模式，旨在让人们“远离自然，回归自然”。然而，这一理想化的城市概念并未付诸实践。作为世界上最大的制造基地，由于缺乏文化精神，中国当代出现了大量无灵魂的“货架城市”。钱学森指出，现代城市对权力和资本的崇拜导致了最大化和功利主义。“城市中的建筑不应成为生活的机器。即使是最强大的技术和工具也永远无法赋予城市灵魂。”
对马岩松而言，山水不仅指自然；它也是个体对周围世界的情感反应。“山水城市”是城市密度、功能性与自然景观艺术意境的结合。它旨在构建一个以人类精神和情感为核心的未来城市。
在“山水城市”的开幕论坛上，刘晓春、李先廷、包袍、王铭贤、金秋叶和马岩松参与了圆桌对话，毫无疑问，这成为了一个历史性的时刻。也许，“山水城市”的理念正是中国城市化能够为世界贡献的进步。
The exhibition is held in a Qing dynasty courtyard garden at Wu Hao in Beijing. More than twenty architectural models and artworks are scattered around the ancient courtyard. Among rocks, screen walls, bamboo groves, pools of water and beneath the sky, the scale of each piece varies and collectively they form a futuristic utopian urban landscape. The pieces on display range from a fish tank to the conceptual model of the "Shanshui City" which represents a proposal of hundreds of thousands of square meters in size. All the pieces exhibited express the sentiment of humans towards nature and depict the "Shanshui City" as the social ideal of the future. The newly issued book "Shanshui City" - released simultaneously with the exhibition - is an important turning point for Ma Yansong's ten years of architectural practice and theory.
In the book, he says: "The city of the future development will be shifted from the pursuit of material civilization to the pursuit of nature. This is what happens after human beings experience industrial civilization at the expense of the natural environment. The emotional harmonious relationship between nature and man will be rebuilt upon the 'Shanshui City.'" This brochure illustrates the young Chinese architect's ideals concerning futuristic habitation. "It would be a great pity if the vigorous urbanization could not breed new urban civilization and ideal."
The famous Chinese scientist Qian Xuesen proposed the concept of "Shanshui City" in the 1980s. In view of the emerging large-scale cement construction, he put forward a new model of urban development based on Chinese Shanshui spirit, which was meant to allow people to "stay out of nature and return to nature." However, this idealistic urban concept was not put into practice. As the world's largest manufacturing base, a large number of soulless "shelf cities" appeared in contemporary China due to the lack of cultural spirit. Qian Xuesen pointed out that modern cities' worship of power and capital leads to maximization and utilitarianism. "Buildings in cities should not become living machines. Even the most powerful technology and tools can never endow the city with a soul."
To Ma Yansong, Shanshui does not just refer to nature; it is also the individual's emotional response to the surrounding world. "Shanshui City" is a combination of city density, functionality and the artistic conception of natural landscape. It aims at composing a future city that takes human spirit and emotion at their cores.
In the opening forum of "Shanshui City," a round-table dialogue was held with the participation of Liu Xiaochun, Li Xianting, Bao Pao, Wang Mingxian, Jin Qiuye and Ma Yansong, leading to be, undoubtedly, a historic moment. Perhaps the “Shanshui City” ideology is the very progress that China’s urbanization can contribute to the world.