Using a repeated module in the form of a stackable stool as the main design element, the young studio of Xu Yijing and Neil McLean created a flexible, ethically sourced and efficient form of exhibition design. Acting as a plinth for large exhibits, as small knolls for people to rest on and as a stage for presentations and discussions. They were surprised to discover that it also doubles as a playground for children who love the changing surfaces and tunnels the shapes create.

"Overall we decided to approach the event's theme of Sharism by allowing for relaxed, informal transmission of ideas and theories in a large public space located in the central atrium of the exhibition." Says SANS designer Neill Mclean. "It was important to provide another experience to visitors that is active if perhaps arriving at a time when no events have been organized. The Cafe also serves as a new base for the flâneur in either Beijing or Shanghai to rest their feet, enjoy a good, fairtrade coffee from one of Beijing's only boutique roastaires and experience the exhibition." Working with a very tight budget and aware of China's production strengths, SANS decided to use two differently scaled mass produced modules as the basis for a "pop-up" exhibition in Kengo Kuma's recently completed Sun Li Tun SOHO development. This in turn will be followed by a more traditional "warehouse turned art gallery" fit-out in Shanghai's 800 Show. Also, working to exhibit such diverse works together we decided on extremely generic forms and materials that are highly customisable by participants and curators.

The smaller of these two modules takes the form of a stackable stool make from square section tube built by local building contractors. This module is then multiplied to create most of the other devices and stand-alone structures for the exhibition. "As a practice we try to work through ethical methods of re-appropriation of commodities into spaces and hopefully back into commodities again." Says McLean With the construction of these small modules we sought out a local contractor who could claim a sense of ownership in the project and worked closely through the construction process with reciprocal design changes with people who knew their craft. This is in antithesis to the usual invisible process of production in China." After the conclusion of "Get it Louder" the modules will either been picked up by individuals as furniture or given to an organization in Beijing to use as we did as seating and exhibition furniture, completing the cycle and extending the lifespan of exhibition. Beatrice Galilee