On November 9th, Gabarron's Hub for Artistic Creation by Siza, after its success in Shanghai during September 7th-10th, officially moved to IFC, Guangzhou (Space M), where a mind salon was held at the event site focusing on the present and future urban space. This exhibition is organized by the Green Spring Gabarron Foundation. MATSU as a senior partner of this exhibition specially provides the new Matsu Copenhagen workplace system, exhibition series and furniture products to create a high-end business negotiation atmosphere that is architecturally aesthetic and inspiring.

Gabarron's Hub for Artistic Creation by Siza
Gabarron's Hub for Artistic Creation by Siza is a showcase of villa and artistic creation space by Portuguese architect Alvaro Siza for the Spanish national treasure artist Gabarron, which includes Gabarron's home, five small villas for guests and Gabarron's art studio. This is most likely the closure piece of work by maestro Siza.
During the exhibition, the complete design solution of Gabarron's Hub for Artistic Creation by Siza was unveiled for the first time, including design drawings, architectural models and master manuscripts, as well as a great number of photos and videos to show the two maestros’ entire design process from survey, design to repeated discussions.

A discussion on the present and future urban space
At the exhibition, six guests from Guangzhou and Shenzhen had a lively discussion on the “present and future urban space”. The atmosphere was relaxed and free, but the dialogue thought-provoking.

According to Mr. Li Baozhang, the urban space, speaking of residing and living, the thing that has the most immediate impact on individuals is actually the community space, rather than the urban space. Therefore, urban space should be returned to community space, while community space should come down to the organization of community and the community people's way of life.

Pang Wei expressed his view referring to the allusion of “The Blind Men and the Elephant”: “Some of the blind people touched the elephant’s stomach, and the others the legs – they had no idea what a real elephant is like. We common people have limited understanding of this world too. That throws us in despair, but that is why it’s a wonderful world.”

In the past, we had too much emphasis on public space, for which private spaces were compressed and constrained. For example, the private gardens have been unseen for long in China. A high-density city should first of all allow the possibility of exclusive private spaces.

Sheng Yuhong mentioned the old town of Shanghai and the European cities, where he believed there was once a connection between neighborhood and family members amid the blocks that relaxed us. But nowadays as more and more high-rise buildings are built in China, small spaces that allow people to walk in and feel are sinking into oblivion.

Zhao Xing believes that the aesthetic education of Chinese citizens is quite important. Designers work in a service industry, where works are created according to customer needs. So only by improving our aesthetics will the city's public space become better and better.

As a media person outside the architect industry, Zhou Wei sees museum and art galleries as things that actually make sense in a city. Universities and colleges where talents of higher education are trained and nurtured are the right places for erecting art galleries and museums, but at the same time they are spaces in need of improvement in China.