During such destruction and development, Chongqing’s upper half city transformed into a showcase for contemporary architecture, erasing memories of the past. The city’s bottom half is crammed with a lot of “old buildings,” which are careless design projects that repeatedly go through the “demolition – construction” cycle while being intended to “represent the simple and exquisite culture of Chongqing.”

在這樣的破壞和發(fā)展過程中，重慶的上半城市轉變成了當代建筑的展示區(qū)，抹去了過去的記憶。城市的下半部分擠滿了許多“老建筑”，它們是粗心設計的“仿古項目”，一遍又一遍地經歷“拆除-建設”循環(huán)，會館設計卻仍然主張著“代表重慶的古樸精致文化”。

“Chongqing is of a mountainous area. People entered the room once opening the door in the past. People liked to conduct many activities ‘outdoors’, such as washing clothes and cooking on the stove top. They could see the crowd stepping up and down on the stairs in their activity gaps. When we were young, we used to take our rice bowl and go to the next door to ask for some vegetable… The neighborhood was quite harmonious. Maybe because of such harmonious relationship, I think people tend to be relatively extroverted in Chongqing.

“重慶地處山區(qū)，過去人們打開門就進入了屋子。人們喜歡在‘戶外’進行各種活動，比如洗衣服或者在灶臺上做飯。處理家務事的間隙，抬眼可以望到階梯上穿梭的人群。小時候我們經常端著飯碗，到隔壁串門，去要一點蔬菜……鄰里之間相當融洽?；蛟S因為這樣的關系，我認為重慶人的性格往往相對外向。”

Xie Ke has been influenced by these far but clear memories, and the empathy behind them affects Chongqing people and touches outsiders.

這些經年已久卻不改鮮活的記憶影響著謝柯，而它背后的共情力則廣泛影響著重慶人，也讓外來者為之牽動。