Carrie Art and Design Journal

雷生春堂 - 香港一級歷史建築，建於1931 Lui Seng Chun ﹣ Hong Kong Grade I historic building, built 1931

2012-10-14T20:18:00.004+08:00

On Oct 13, 2012 - I joined a group for a guided tour at Lui Seng Chun - the Grade 1 Heritage in Hong Kong. Lui Seng Chun is one of the seven historic buildings included "Revitalising Historic Buildings Through Partnership Scheme" initiated by the Hong Kong Government. Hong Kong Baptist University was selected from the bidding and convert it to be one of its 14 Centres for Chinese Medicine and Healthcare. After almost 8 years of revitalisation work, the brand new Lui Seng Chun was finally re-opened commenced operations on April 25th 2012.

2012年10月13日 我參加了一個雷春生堂﹣香港一級文物 ﹣的導賞團。雷春生是香港特區政府發展局的「活化歷史建築伙伴計劃」第一批裡七幢歷史建築物之一，浸會大學於2009年獲選參與，將雷生春活化成集中醫藥保健服務、公共健康教育、歷史文化展覽為一身的「香港浸會大學中醫藥學院——雷生春堂」。經過近8年的更新工程，全新的雷生春終於於2012年4月25日重新開放並投入服務。

雷生春堂位於九龍旺角荔枝角道119 號，荔枝角道與塘尾道的交匯處，屬油尖旺區，踞昔日塘尾村範圍。1928年旺角區開闢道路，有說塘尾道因村得名。

雷亮先生早年自廣東台山縣移居香港，1929年向政府購入此地段，用地面積123平方米。其後聘請建築師布爾設計及興建舖居大宅 — 雷生春。大宅於1931年落成，樓高四層，總實用面積598平方米，上層為住所，地面為三間店舖，雷生春藥房位於街角。是典型的騎樓式唐樓，是香港少數現存上世紀三十年代的舖居大宅。它反映了新古典主義風格，並具有意大利建築特色，其特點是由一個方形的框架，並在前面一排欄杆裝飾。安裝在建築物頂部的藥材店的名稱與標記的石匾，都是香港戰前的典型建築特色。雷生春被視為的香港戰前的“唐樓”的完整例子。

「雷生春」的內牆、樓板均用砂泥構造及鐵枝承重。地面層外牆以摻雜黑石米及白赤兩色蠔殼的水磨石裝飾，室內及走廊的鋪地物料是20世紀初常見的水泥地磚，整個地面設計也是同一圖案。

自60年代開始，雷氏家族成員人口漸增，相繼遷離，至70年代大宅空置。2000年，古物諮詢委員會評定雷生春為一級歷史建築，雷氏後人為保存故居並回饋社會，同年決定把雷生春捐予政府。

關於建築師

布爾·哈格里夫斯於1874年4月29日在英國伯恩出生。伯恩是一個授權的建築師皇家英國建築師學會（RIBA）。從1900年至1912年在他的出生地執業，後來於1913年移民到加拿大亞伯達，後來他在新加坡，伊拉克巴格達執業，1929至1934年於香港。雷亮先生任命這位專門設計上居下舖的建築師布爾設計雷生春。

About Lui Seng Chun
Lui Seng Chun is an old Chinese shophouse (tong lau) originally owned by Mr. Lui Leung, a renowned businessman who moved to Hong Kong from Taishan county in Guangdong province. Designed and built by architect W.H. Bourne, the building was completed in 1931 with a total gross floor area of 600 square metres. Typical of all tong laus at the time, the ground floor of the four-storey building was used as shops while the upper floors were used as dwellings.

Typical of all tong laus at the time, the ground floor of the four-storey building was used as shops while the upper floors were used as dwellings. It reflects the Neo-Classical style which is characterized by a square-shaped frame and a row of decorative balustrades in front. The deep verandahs together with the stone plaque marked with the name of the medicine shop installed at the top of the building are all typical architectural features of pre-war Chinese tenements. Lui Seng Chun is regarded as the representative of "Tong-lau" of the pre-war period in Hong Kong.

Yellow sand and reinforcement bars were used in constructing the interior walls and floor slabs of Lui Seng Chun. The exterior wall on the ground floor wasdecorated with green terrazzo. The flooring of interior and external corridors are cement tiles which were commonly used in the early 20th century as flooring, most of the floor are with the same colour-patterned cement tiles.In terms of structure, the external walls of the building are made of plastered red brickwork with columns and beams of reinforced concrete.

Since the 1960s, the Lui family began to move out of the building as the family continued to grow in size. The building became vacant in the 1970s. In 2000, the Antiquities Advisory Board designated Lui Seng Chun a Grade I historic building. With the vision of preserving the building and to contribute to society, the Lui family decided to donate the building to the Government in the same year.

About the Architect

Walter Hargreaves Bourne was born in April 29, 1874 in Sylvan Cottage, Darlington, UK.

Bourne was an authorized architect from the Royal Institute of British Architects ("RIBA"). He was considered to be globe-trotter in his days Born in the UK, and practiced in his birthplace from 1900-1912, Bourne emigrated to Medicine Hat, Alberta, Canada in 1913, he later practised in Straits Settlement in Singapore; Baghdad in Iraq in 1920 and Hong Kong from 1929 to 1934. Upon Bourne's arrival in Hong Kong, Mr. Lui Leung, appointed Bourne, who specialized in designing shophouses to construct Lui Seng Chun.


1920年地圖，塘尾村與邊界清晰可見； 1931年雷生春落成，在塘尾村範圍。 The map was drawn in 1920. The location of Tong Mi Village and its boundary were clearly visible. Lui Seng Chun was constrcted in 1931 within the Tong Mi Village area.


「雷生春」地層平面圖，顯示原來開敞式設計，1942年。 The ground floor layout plan of Lui Seng Chun shows its original open plan design, 1942.

室內沒有間隔，只用屏風，木櫃組合廳房。
There were no fixed walls inside. Movable partitions or wooden cabinets were used for dividing up the space.

基本維修前的一樓後外廊，內庭鋅板鋪蓋。
The rear verandah on the first floor before the basic repair works. The courtyard was covered with aluminum sheets.

部份前外廊曾裝上窗戶作室
Window were once added to part of the verandahs to create more rooms.


三層 Level 3


首層保留的牌匾 (部份雕花翻新，加上防蟲底漆及髹上原有色調油漆） Ground Level Preserved Plaque （partly re-constructed carving, a pest-control primer was applied to the repaired woodware followed by a paint with colour matching the original one)

當年雷生春跌打藥水的包裝
Original Package of Lui Seng Chun Bonesetters Medicine

位於這三角形建築物的主入口
Main Entrance at the corner of the Triangular Building


沿荔枝角道的舖面 Shopfront along Lai Chi Kok Road


廚房爐灶上的裝置 Elements from a stove in the kitchen

基本維修後的屏門
The Double Doors after Basic Repair Works

基本維修前的屏門
The Double Doors before Basic Repair Works

木匾新舊雕花
Old and New Wooden Plaque Carving


內牆及其鐵枝 Wall Section and its Reinforcement Bar

新舊水磨石
Old and New Terrazzo

原有地磚及倣裝地磚的模具
The Original Floor Tiles & the Molds of the New Tiles

首層新加涼茶鋪
Ground Level New Herbal Tea Counter

活化後的雷生春堂
Lui Seng Chun after Revitalisation Work

The name Lui Seng Chun is derived from a couplet by the Lui family in the medicine shop of the original building.
「雷生春」的名字源自雷氏家族的一對對聯﹕
雷雨功深揚灑露，
生民仰望藥回春。

Further Reading:
http://www.heritage.gov.hk/tc/rhbtp/ProgressResult_Lui_Seng_Chun.htm

http://scm.hkbu.edu.hk/lsc/tc/index.html

‘(un) Made in China’ Exhibition - April 20 – June 20, 2012

2012-06-11T06:00:00.000+08:00

http://unmadeinchina.com/detail.html

Like the poster more than the exhibition.

Carrie

Chapel of the Holy Cross - Richard Hein (1957 AIA Award of Honor)

2011-11-12T07:40:00.003+08:00

Completed in 1956, the chapel was under construction for 18 months and cost a total of $300,000 USD. In 1957, the chapel was awarded the American Institute of Architects an Award of Honor. Citizens of Arizona also dubbed the Chapel of the Holy Cross one of the Seven Man-Made Wonders of Arizona in 2007.

The Chapel of the Holy Cross built in the red rocks of Sedona, Arizona is the epitome of what many architects try to achieve when designing religious architecture. It’s reliance on the symbolic rock as it’s foundation and the sprawling views of the surrounding environment create a humbling and spiritual experience within the walls of the church.

The chapel was inspired and commissioned by a student of Frank Lloyd Wright, sculptor Marguerite Brunswig Staude, who worked with project architect Richard Hein and architect August K. Strotz to complete this noteworthy and award winning chapel. More on the Chapel of the Holy Cross after the break.

Built directly over a butte, the valley stretches towards the horizon about 200 feet below. Besides it’s beautiful figurative ties to the Catholic faith through it’s structure on the solid rock, the giant cross that supports the structure of the glass is one of the notable characteristics of this chapel.

Painter and sculptor Marguerite Brunswig Staude had initially intended to build the chapel in Europe, but after not having found an appropriate site she returned to the United States, soon discovering this hillside in Sedona. It is surprisingly modern and contemporary, despite being built over half a century ago. The simple style of clean edges and regular forms only accentuate the surroundings and large cross at the front.

Located on the southern side of Twin Buttes, the chapel is accessible just off of the main road to Sedona (Highway 179) on Chapel Road. No regular services are held within the church, as it is meant to be a place of reflection and meditation. Visitors are greeted by a sign marking the entrance that reads “Peace to all who enter.” The interior is very simple, with nothing more than a few pews and an alter, so that attention will not be taken away from the spiritual inflection and physical block glass windows and large cross that emphasize the space.

http://www.archdaily.com/131125/ad-classics-chapel-of-the-holy-cross-richard-hein/

Sunset Chapel - Acapulco, Mexico

2011-11-12T06:51:00.001+08:00

The stunning Sunset Chapel in Acapulco, Mexico, was completed only recently, but it has already gained much attention for its stark and arresting design by Esteban and Sebastián Suárez of Mexico City-based BNKR Arquitectura.

It is a memorial chapel that will eventually be surrounded by a "garden" of crypts. With its bare-concrete structure that appears eternal, and its slatted walls and glass cross that allow the light to perform its daily magic in the space, Sunset Chapel looks and behaves like a modern-day Stonehenge. Mysterious and stark, yet reassuring and calming; protective, yet part of the surrounding nature.

The elevated shape was partly dictated by an enormous boulder that already ruled the site, and by the wish to allow the spectacular view to be visible from within. At only 120 square meters in size, the chapel evokes a surprising sense of strength. - Tuija Seipell

quote from Cool Hunter http://www.thecoolhunter.net/article/detail/1896/sunset-chapel--acapulco-mexico

Half the Sky: Women in the New Art of China 23-09 to 12-11-2011 半边天：中国女性新艺术

2011-11-01T08:20:00.000+08:00

Yin Xiuzhen 尹秀珍《发动机》

Drexel University Curates Major Exhibition of Contemporary Chinese Women Artists
featuring 60 works of art by 22 Chinese Women Artists

Bingyi, Cao Fei, Chen Qiulin, Han Yajuan, Hu Xiaoyuan, He Weina, Jiang Jie, Lin Jingjing, Liu Liyun, Liu Manwen, O Zhang, Qing Qing, Qi Peng , Shi Hui, Song Kun, Tao Aimin, Xiang Jing, Xiao Lu, Xing Danwen, Xu Xiaoyan, Yu Jingyang

An historic exhibition of contemporary Chinese women artists will be presented at Drexel University from September 23 to November 12, 2011. Co-curated by the National Art Museum of China and the Leonard Pearlstein Gallery of Drexel University, this survey-scale exhibition will be the first of its kind in the United States. More than 60 artworks by 22 woman artists, including painting, photography, sculpture, video and installation, will be on display.

In July, 2008, Holland Carter of the NY Times referred to Chinese women artists as the "quietly emerging sector" of the Chinese contemporary art world. But the phenomenal rush of so many Chinese artists to international success has bypassed the majority of deserving women artists. Half the Sky attempts to redress this situation by representing a cross section of gifted women artists currently working both inside China and in the Chinese diaspora.

It has been decades since Mao Zedong set communist ideology by proclaiming that women "hold up half the sky." In the West, the Women’s Movement of the 1970s and 80s has elevated the esteem in which women artists are held to a point of approximate parity with men. And yet Chinese women artists, while certainly not ignored on the world stage, are nevertheless overlooked to a significant degree.

Cui Xiuwen

Chen Qing Qing

For more information, please visit http://www.drexel.edu/westphal/events/halfthesky/

If the world were a village of 100 people - Toby Ng

2011-10-08T09:54:00.003+08:00

Excellent graphics to tell us the story of us on the earth. Designer Toby Ng graduated from Central St.Martins, London in 2008. This set of 20 posters is built on statistics about the spread of population around the world under various classifications. The numbers are turned into graphics to give another sense a touch – Look, this is the world we are living in.

red dot award: communication design 2009
GDC Awards 2009
International Design Awards 2009
HOW International Design Awards 2010

http://www.toby-ng.com

School Bridge @ Fujian Pinghe 福建平和 - Li Xiao Dong 李小东 (winner of Aga Khan Award for Architecture 2010)

2011-03-25T06:33:00.002+08:00

The “Bridge School” bridges the two parts of the small village of Xiashi that lie on either side of a small creek that runs through the village. The structure is created by two steel trusses that span the creek with the space between them housing the functions of the school. Suspended from the structure and running below it is a pedestrian bridge for the people of the village to use.

Small and modern in design, with no reference to the area’s traditional building style, the school has nonetheless become the physical and spiritual centre of what was a declining village. Placed in such a way that it addresses its surroundings, the Bridge School connects the village together, providing a central, social space.

The broader social aspect of the project was part of the brief, which was developed with the school principal and head of the village to answer community needs rather than simply those of a primary school. A public library separates the two classrooms and the ends of each classroom, or the two ends of the school can be opened up, creating open stages at either end of the building that are integrated with the public spaces outside. The stage at the northern end can be used for performances, with the toulou as a backdrop. The result is a project that has successfully invigorated the entire community, encapsulating social sustainability through architectural intervention.

Images of Women IX Exhibition @ Schoeni Art Gallery Hong Kong March 17 - April 4 2010

2011-03-22T01:03:00.001+08:00

Zhu Yi Yong, Memory of China Series No. 25, Oil on canvas, 130 x 100, 2010

Works by Cai Lei, Chen Fei, Chen Li, Chen Yu, Fan You Rong, Hou Yan Yan, Jiang Guo Fang, Li Gui Jun, Liu Fei, Liu Hong Yuan, Mok Wai Hong, Peng Wei, Shuai Mei, Wang Yi Guang, Weng Dan Xian, Yang Gao, Yang Mian, Zhao Yi Qian, Zhu Yi Yong

Vernissage: 16 March 2011, 5:00pm - 11:59pm
Exhibition Continues: 17 March 2011 - 4 April 2011

Main Gallery, 21 - 31 Old Bailey Street, Central, Hong Kong

Schoeni Art Gallery is pleased to announce the return of our renowned serial exhibition entitled Images of Women IX on 16 March 2011, coinciding with Hong Kong’s largest charity art event the HK Artwalk 2011. The first Images of Women exhibition was held in 1995 and curated by our gallery’s founder, the late Manfred Schoeni. The exhibition had been held for 8 times over the years since its first showing. Images of Women aimed to explore the different interpretations of the female from a variety of contemporary Chinese artists. Many iconic artists of Chinese contemporary art, whether from the Realism or Avant-Garde school, have exhibited in these serial exhibitions at some point of their career, including Jiang Guo Fang, Ai Xuan, Li Gui Jun, Wang Yi Dong, Zhong Biao, Zhu Yi Yong, Qi Zhi Long and Liu Ye amongst many others. We are delighted to bring back once again the splendour and magnificence of the female form, represented artistically by some of China’s most intriguing artists, to our audience.

Throughout art history, women and the female form have always fascinated male artists, as well as female artists alike. The female protagonists in paintings have served many purposes including men’s interests, obsession, masculine desires, fantasies and anxieties, or from time to time, even gender issues and feminist concerns. The many faces of women and their characteristics such as their sensuality, sensitivity, delicate subtlety, courage and mysteriousness have continued to amuse many artists, arousing their imagination as they repeatedly attempt to portray the enigmatic spirit of this complex creature in their oeuvre.

Li Gui Jun, New Town, Oil on Canvas, 160 x 140, 2002


Peng Wei, Feather Cloth, Paper Painting Installation, 53 x 30 x 22, 2007

Contemporary Japanese Calligraphy from Nanto @ HKU Arts Gallery 日本現代南礪書法 2011-2-23 to 3-20

2011-03-16T00:21:00.000+08:00

Kamibayashi Michiyo
Infinity
107 x 79 cm

The exhibition is jointly organized by the University Museum and Art Gallery and the Ise Cultural Foundation, with the assistance of the Consulate General of Japan in Hong Kong and the Toyama Prefecture Government, Japan.

The exhibition features calligraphic works by “Gen do sya”, a group of contemporary artists from the city of Nanto in Toyama Prefecture, Japan. They specialize in an innovative art form that combines calligraphy, painting and drawing. Their free-hand works express aesthetics of modern Japan. This avant-garde approach is evident in the seven female artists’ unique calligraphic styles.

In addition to calligraphy, the exhibition also displays other artworks reflecting the lifestyle of Nanto culture. These include prints by artists such as Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858), lacquer wares, cloisonné- enamelled vessels and tea utensils.

The exhibition was first exhibited in Tokyo last year and will travel to Beijing in April after Hong Kong.

Tokime Nobuko
Revel (play with water) II
91 x 91 cm

Itabashi Terumi
Drift
106 x 78 cm

Otsuka Tomoko
Shall we dance?
178 x 90 cm

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HKU University Museum and Art Gallery

is located next to the University's main entrance on Bonham Road. While the Museum occupies the entire Fung Ping Shan Building, the Art Gallery is housed in the lower three storeys of the T T Tsui Building.

Opening hours:
Mon to Sat 9:30 am-6 pm, Sun 1:00-6:00 pm

Closed on public holidays and university holidays (16 March, 24 December, 31 December p.m.)

sources: http://www.hku.hk/hkumag/main.html

Hong Kong: Creative Ecologies 2011-2-5 to 5-11

2011-03-06T22:31:00.000+08:00

The Creative Ecologies exhibition is a showcase of Hong Kong creative power and design to form the creative environment within the city.

The exhibition is built from 3 topics to express 3 different creative zones:

Thematic Zone One: “Creative Hong Kong”
The first thematic zone projects a visual and conceptual introduction of the networks and influences that make up Hong Kong’s “Creative Ecologies”.

Thematic Zone Two: The Creative Landscape
The second thematic zone presents viewers with a macroscopic overview of 7 Hong Kong enterprises that have used design in innovative ways.

Thematic Zone Three: “A Better Tomorrow” - The Future Generation
The installation presents variations on the theme of “a better tomorrow” as an expression of youthful energy/inventing spirit and aspirations by designers on the rise to recognition and stardom a compelling statement of the new creative power.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Hong Kong: Creative Ecologies – Business, Living, Creativity

Chief Curator	Kai-Yin Lo
Curator	Danny Yung
Consultant	Philip Dodd

Exhibition
Date: 5 February 2011 - 11 May 2011
Venue: Thematic Gallery 6, Hong Kong Heritage Museum, 1 Man Lam Road, Sha Tin, Hong Kong

Concurrent Events

Guided Tour with Design Dialogue
Available to school groups
Date: 21 Feb, 2 ,11, 17 Mar, 29 Apr (2 sessions per day)
Guided Tour with Design Workshop
Date: 14, 23, 31 Mar; 7 & 11 Apr

Public Forum
Chief curator Kai-Yin Lo will join design experts and business leaders to address an array of issues on sustainable design and how to enhance the competitiveness of enterprises and meet the social needs.
Date: 20 March (SUN)
Time: 14:30- 17:00
Venue: Hong Kong Heritage Museum Theatre
Date: 30 April (SAT)
Time: 14:30- 17:00
Venue: The Chiang Chen Studio Theatre, Hong Kong Poly University

For registration and more details, please visit:
www.creativeecologies.hk
Tel : 3793 8449
Email: jaime.chan@hkdesigncentre.org

"Power Plant" @ HK Art Festival 2011 (2011-2-18 to 3-13) 戶外聲光雕塑展覽活動《聲光園》@ 香港藝術節2011

2011-02-18T00:21:00.002+08:00

Soak up the sounds, let in the light

Artist: Mark Anderson, Anne Bean, Jony Easterby, Ulf Pedersen and Kirsten Reynolds

From 18 February - 13 March (except Feb 21, 28 and Mar 7)
There will be FOUR entry times every night (except Mondays):
8:00pm, 8:30pm, 9:00pm and 9:30pm
Admission fee: HK$20

Location: Kowloon Wall City Park (Entrance of the exhibition located at the East Gate of the Park on Tung Tsing Road)

Tickets available at all URBTIX outlets and www.urbtix.hk now.

http://www.hk.artsfestival.org/en/prog/48/
http://www.powerplant.org.uk/

2010 art space in factory 798 Beijing 798艺术区2010艺术空间 by Thanlab Office

2011-02-15T08:41:00.003+08:00

798 art zone in Dashanzi area Beijing is the first well known artist village in Beijing, converted from government owned military 798 factory which oringinally produced electronics and abandoned for a period of time. Artist studios started to occupied the space in 2002 followed by galleries, art centres, cafes and restaurants. While 798 becomes more popular as a tourist sight seeing spot, the rent was going up and more formal and commercialize art galleries and companies replaced the artist studios.
"2010 Arts Space" is one of the new comer in 798, its new building is designed by architect and professor Han Tao (韩涛) design studio "Thanlab Office". The Building is a three-storey exhibition space in cube form with cut in space to form entrances and opening and allow daylight to entry into each levels. A tree branches concept is served both the building structure; also formed and defined the building internal space. The holly branches design enables natural light to wash down the levels while providing lines of sight to different zones. The tops of the arms puncture through to the roof, remaining open to the sun to provide an ideal condition for the exhibition rooms, extensive light studies were
conducted which also determined the permeability of the facade.
The building layered in three main programs of the facility and stacked on top of eachother as storeys, with ground floor as the exhibition space, second floor as administrative and services, and third floor as studioes. using a tree-like structure, the separate zones were intermixed and integrated throughout the building, while simultaneously subdividing the static geometry of the floors. the result is a multi-level structure that overlaps and associates both art and commercial spaces together.

External View of 2010 art space (sources: thanlab office)

First level Exhibition Space (sources: thanlab office)

Second Level (sources: thanlab office)

(sources: thanlab office)

Third Floor Light Tube (sources: thanlab office)

Day Light Study at different time of a day (clockwise from top left) 6:00 am, 9:00 am, 12:00 pm, 3:00 pm (sources: thanlab office)

subdivide the space in to a tree structure to let sunlight in and provide views out (sources: thanlab office)

within the tree: art space
outside the tree: commercial space (sources: thanlab office)

Study Model of tree geometry (sources: thanlab office)

First Level Layout Plan (sources: thanlab office)

Second Level Floor Plan (sources: thanlab office)

Third Level Floor Plan (sources: thanlab office)

Light Tubes Layout (sources: thanlab office)

Section (sources: thanlab office)

schematic diagram - stacking of uses and programs
(pink) guest room
(blue) art agency office / restaurant
(green) art exhibition space (sources: thanlab office)


schematic diagram - distribute the exhibiting spaces throughout the building by puncturing through the different levels (pink) guest room (blue) art agency office / restaurant (green) art exhibition space (sources: thanlab office)

schematic diagram - tree structure translated to the facade treatment
(pink) guest room
(blue) art agency office / restaurant
(green) art exhibition space (sources: thanlab office)

3D Model of steel structure (sources: thanlab office)

Construction of the Light Tube (sources: thanlab office)

Construction (sources: thanlab office)

Looking up throught the light tube (sources: www.designboom.com)

Ground Level Structure (sources: www.designboom.com)

Light tubes structure (sources: www.designboom.com)

Roof top with light tube opening (sources: www.designboom.com)

Sources: www.designboom.com

The Water House Shanghai 上海水舍 by Neri & Hu opened in May 2010

2011-02-09T04:26:00.004+08:00


Central Courtyard with hotel room windows (sources: http://www.nhdro.com)

The Waterhouse is a 19 rooms boutique hotel located at the south bund district of Shanghai, it is an old Japanese army head quarter built in the 1930’s along the Huangpu River front. The hotel total area is 28,000sm composed by two buildings: a hotel and an event warehouse with a rooftop bar and a restaurant. This refurbished project maintain the warehouse with industrial accent to recall the history of this district and a touch of modern Chinese aesthetic.
The entire designing concept of The Waterhouse was based on "a blurring or an inversion of internal & external spaces, creating a disorienting yet refreshing spatial experience for guests in search of something out of the ordinary." Quoted from Neri & Hu's description:

The interior strategy is expressed through a blurring and inversion of the inside/outside as well as public/private, creating a disorienting yet refreshing spatial experience for the hotel guest who longs for the extraordinary. The public spaces allow one to peek into private rooms and the private spaces invite one to look on to public arenas, resulting in an unexpected welcome that defines the hotel’s hospitality.

Neri & Hu receives 'Architectural Review Emerging Architecture Award 2010' by the Royal Institute of British Architects (RIBA) for the Waterhouse

Water House (sources: http://www.nhdro.com)

Reception (sources: http://www.nhdro.com)

Entrance & Reception Area (sources: http://www.nhdro.com)

Waterhouse Entrance (sources: http://www.archdaily.com)

Roof top (sources: http://www.archdaily.com)

Restaurant Table No. 1 (sources: http://www.nhdro.com)

Restaurant Table No 1 (sources: http://www.nhdro.com)

Sources:
http://waterhouseshanghai.com/
http://www.nhdro.com
http://archdaily.com

Wang Shugang Show @ Beijing Opposite House 2011 Jan - March 王书刚雕塑装置作品展_ 瑜舍酒店

2011-02-07T02:24:00.002+08:00

Wang Shugang Show @ Beijing Opposite House 2011 Jan - March
王书刚雕塑装置作品展_ 瑜舍酒店

Graduated from Beijing Central Academy of Fine Arts in 1985, Wang Shugang (b. 1960) developed his career in Germany over 20 years and returned to China in 2000, currently based in Beijing. His works have been widely exhibited between China, America and Europe and are publicly displayed in China, Germany and Canada. His arts is well-known in expressing the 20th century daily life in China with Buddhist iconography in a playful sense.

Sources:
http://review.redboxstudio.cn
http://housevibe.cn

DeTour 2010 @ Hong Kong - Nov 26 to Dec 12, 2010

2010-11-26T13:38:00.000+08:00

About DETOUR

Established in 2006, DETOUR is the annual flagship programme of Hong Kong Ambassadors of Design, aimed at showcasing Hong Kong as a regional creative hub and featuring inspiring designs from Hong Kong’s young and emerging creative talent.

DETOUR engages the wider community and brings the entire city together to celebrate the synergy of local and international creative ventures.

The two-week series of events incorporates the most original, bold and stimulating ideas from both Hong Kong and across the globe.

This year, the Ambassadors will partner with Japan. Victoria Prison at Old Bailey Street, Central, Hong Kong is the anchor venue from 26th November to 12th December. In addition to events held at the heritage anchor site, there will be 40 satellite events happening at various location in town.

WHEN November 26 – December 12, 2010

OPENING HOURS Mon-Thu 12pm-7pm, Fri-Sun 9am-11pm

WHERE Victoria Prison at Old Bailey Street, Central PLUS various other locations in Hong Kong

WHAT Several core events and more than 50 participating events

Business of Design Week (BODW) - Hong Kong 29 Nov - 4 Dec, 2010

2010-11-16T09:09:00.001+08:00

One of the most significant events on the international design calendar, BODW is Asia's leading annual event on design, innovation and brands organised by the Hong Kong Design Centre since 2002. Bringing the best of the global design world to Hong Kong, BODW has aimed to encourage businesses to unleash the power of design by focusing on the vital relationship and complex interplay between design and business.

This annual event features a series of exhibitions, forums, outreach programmes and networking opportunities for designers, business leaders, educators, SMEs and the public to exchange ideas and address a wide array of 21st century challenges. An unparalleled line-up of experts, world-wide leaders and creative legends in the field of design and innovation will gather to promote the value and power of design.

http://www.bodw.com/2010/eng/index.php

GC Prostho Museum Research Center, Kengo Kuma

Japanese Architect Kengo Kuma (隈研吾, born 1954) is one of the speakers in BODW 2010.

Kuma was born in Kanagawa, Japan, and attended Eiko Gakuen junior and senior high schools. After completing a major in architecture at the University of Tokyo in 1979, he worked for a time at Nihon Sekkei and TODA Corporation. He then moved to New York for further studies at Columbia University as a visiting researcher from 1985 to 1986. In 1987, he founded the "Spatial Design Studio". In 1990, "Kengo Kuma & Associates", his own studio was established. During the 1998-1999 academic year, he was a visiting professor on the faculty of environmental information at Keio University. In 2008, Kuma earned his Ph.D from Keio University , and he is currently a professor on the faculty of science and technology there, in the department of system design engineering.

Kuma's stated goal is to "recover the tradition of Japanese buildings" and to reinterpret it for the 21st century. In 1997 he won the prestigious Architectural Institute of Japan Award. Kengo Kuma is still designing architectural buildings with the inspiration of light and nature to achieve his goals such as the LVMH (Louis Vuitton Moet Hennessy) Group's Japan Headquarters as well as one of the largest spas in the Caribbean for Mandarin Oriental Dellis Cay.

My aim is 'to recover the place'.
the place is a result of nature and time, this is the most important
aspect. I think my architecture is some kind of frame of nature.
with it we can experience nature more deeply and more intimately.
transparency is a characteristic of japanese architecture,
I try to use light and natural materials to get a new kind of
transparency.

Nice Online Artist Network ~ Saatchi Online

2010-10-08T07:28:00.000+08:00

Nice Online Artist Network ~ Saatchi Online

http://www.saatchionline.com/

"We are an open social platform to provide the global art community a new way to discover, share, exhibit, promote, discuss and sell art online. We built this site for artists, art lovers, and anyone who appreciates a creative syndicate. We built this world for you."

Thx Gigi's information~!

The 8th Gwangiu Biennale 2010: 10000 Lives , Korea 2010.9.3-11.7 第八屆南韩光州双年展: 万人谱

2010-10-07T08:27:00.001+08:00

Cindy Sherman women writers appeared in
person as the hero's identity or sexual violence,
despair, and work activities are covered.

The 8th Gwangiu Biennale 2010: 10000 Lives , Korea 2010.9.3-11.7 第八屆南韩光州双年展: 万人谱
http://gb.or.kr/?mid=main_eng

The Gwangiu Biennale was established in 1995 to commenorate the 1980 Democratisation Movement in Gwanjiu. Now in its eighth cycle, the Biennale is Asia's oldest large scale modern art biennale.

The title is inspired from “Maninbo” or “10,000 Lives” (万人谱) the 30-volume epic poem by Korean poet Ko Un who wrote over 4,000 poems in prison for his participation in the 1980 democracy movement, the poets describe every person he had ever met -- personally or indirectly, and explores the relationships between people and images.

Main Exhibition Hall

Poet Ko Un's 'maninbo' Introduction to the lives of many people and the Gwangju Biennale, as well as making people so far left behind the many images of people hearing the story focused.

The Artisitic Director for the 2010 biennale, Massimiliano Gioni, is the youngest and the first European taken this role. Works from 31 countries by 134 artists is now showing at Gwangiu Biennale Hall, Gwangju Museum of Art and Gwangju Folk Museum.

(Left) Graphic designer and PhotographerMorton Bartlett
Title: antique dolls
(Right) Sculptor Geiger Decades Red

Decode photographer Pilriproreuka Lee "1000"
Polaroid picture taken over 25 years in 1000 scenes

German artist Katharina
"St. Catherine break the boundaries
of the sacred and the secular"

Ydessa Hendeles: “The Teddy Bear Project”

resurrected yihanyeol

Peter Fischli and David Weiss:
“Visible World”

Zaha Hadid won RIBA Stirling Prize: MAXXI Museum @ Rome 英國建築師皇家學會史特靈獎2010得主：扎哈。哈迪德

2010-10-05T08:00:00.001+08:00

Zaha Hadid won RIBA Stirling Prize: MAXXI Museum @ Rome

英國建築師皇家學會史特靈獎2010得主：扎哈。哈迪德

No place like Rome ...
Zaha Hadid outside her Stirling prize-winning Maxxi museum.
Photograph: Guido Montani/EPA

MAXXI, National Museum of XXI Century Arts
Rome, Italy
Architect: Zaha Hadid Architects
Client: Ministry of Cultural Heritage and Activities, Fondazione MAXXI and Ministry of Infrastructure and Transport
Contractor: Consortium MAXXI 2006, ITALIANACOSTRUZIONI and Società Appalti Costruzioni
Structural Engineer: Studio S.P.C., Anthony Hunt Associates and OK Design Group
Services Engineer: Max Fordham and Partners and OK Design Group
Contract Value: €150m
Date of Occupation: November 2009

Gross internal area: 21,200 sq m

The museum isn’t Rome as we know it, but is all the more exciting for that, locally juxtaposed with army barracks and industrial warehouses, but with glimpses of distant views to Roman roof tops and cupolas. Its suburban context allows it a freedom denied to architects in the centre of Rome.

This is a museum of paths and routes, a museum where the curators have to invent how to hang and place the works of 21st Century art that have been collected since inception of the project – and the century. The permeable plaza recreates routes and connections, but also forces you to consider the new context that is created to engage with the activities within. The whole building is behind a 2.5 metre high industrial aluminium mesh fence which is there to protect the outdoor art that’s planned. Its setting has echoes of OMA’s Casa da Musica, an impression re-enforced by the perched box of an upper gallery with its panoramic window, reached by an array of stairs, ramps and lifts.

The museum, for all its structural pyrotechnics, is rationally organised as five main suites. The building is bravely day lit with a sinuous roof of controllable skylights, louvres and beams, whilst at the same time conforming to very strict climate control requirements of modern galleries; the skylights both orientate and excite the visitor, but also turn them into uplifting spaces.

MAXXI is described as a building for the staging of art, and whilst provocative at many levels, this project shows a maturity and calmness that belies the complexities of its form and organization. The nature of the project means everything has to be over-specified – throughout the design process the architects had no idea what these series of rooms would be used to hang, so walls which will bear a ton of rusting steel might be graced by miniatures. In use, in addition to the innovative hanging, video projections bounce off the white curves, animating the spaces.

This is a mature piece of architecture, the distillation of years of experimentation, only a fraction of which ever got built. It is the quintessence of Zaha’s constant attempt to create a landscape, a series of cavernous spaces drawn with a free, roving line. The resulting piece, rather prescribing routes, gives the visitor a sense of exploration. It is perhaps her best work to date and shows she was right all along.

Quote from PIBA, Commenting on MAXXI, the judges said:

‘MAXXI is described as a building for the staging of art, and whilst provocative at many levels, this project shows a calmness that belies the complexities of its form and organization. The nature of the project means everything has to be over-specified – throughout the design process the architects had no idea what the series of rooms would be used to hang, so walls which will bear a ton of rusting steel might be graced by miniatures.

The museum, for all its structural pyrotechnics, is rationally organised as five main suites. The building is bravely day lit with a sinuous roof of controllable skylights, louvres and beams which orientate and excite the visitor and create uplifting spaces.

This is a mature piece of architecture, the distillation of years of experimentation, only a fraction of which ever got built. It is the quintessence of Zaha’s constant attempt to create a landscape as a series of cavernous spaces drawn with a free, roving line. The resulting piece, rather than prescribing routes, gives the visitor a sense of exploration. It is perhaps her best work to date.’

建筑师：扎哈哈迪德建筑师
客户：文化遗产活动部，MAXXI基金和基设运输部

承包商：Consortium MAXXI 2006, ITALIANACOSTRUZIONI 和 Società Appalti Costruzioni

结构工程师：SPC工作室，安东尼亨特设计集团联营公司及OK 设计室

机电工程师：Max Fordham and Partners and OK 设计室

合约价值：€1.5亿
日期职业：2009年11月
内部总面积：21,200平方米

Weekly Highlight: Chinese Female Artist @ MOMA - Lin Tian Miao 專題：紐約現代藝術館的中國女畫家林天苗

2010-10-04T08:00:00.055+08:00


Focus - Lin Tian Miao Print Exhibition, 2008 聚焦－林天苗版画作品展

Weekly Highlight: Chinese Female Artist @ MOMA - Lin Tian Miao 專題：紐約現代藝術館的中國女畫家林天苗

I visited HK Art Show this year, there are a lot of creative and interesting arts work, and this one art piece above caught my attention which composted by varies sizes of white balls with strings all around placing on a large white background canvas. The artist is Lin Tian Miao, one of the most well known and the most influential Chinese contemporary female artist in the world. Lin's arts in installation art, conceptual photography and other creations have shown a strong personal style and femininity. She specializes in personal life experience with the delicate material sensitive to the unique combination of sentiment, the work shown by pure relaxation and ease and impressive.

This art piece was shown in Lin's first solo print exhibition on April 2008 at Beijing, which continuethe style of her previous works, creative understanding of himself into printmaking, the subversion of the traditional print concepts.
Prints in this exhibition is Lin Miao-day prints the field with the world renowned Singapore Tyler Print Institute (Singapore Tyler Print Institute) in collaboration. There, she and prints from around the world-class experts and paper masters production of close exchanges and cooperation, which took two months to make the final completed two series of works: "Focus" (Focus), and "see video" (Seeing Shadow). Lin Miao had broken the conventional print processes, starting from the paper, the integration of a variety of plate bold way to break the copper plate, silk screen prints, such as different types of boundaries, the process is full of chance, alone can not be replicated in series of paintings. Two series of works are to enlarge the image as the background of fuzzy, by wire, wire, foam and other materials on the screen of different reconstruction, material and image formation of a subtle dialogue between their own sense of its being changed. "Focus" (Focus) is a magnified picture as the background characters, fuzzy amplification, loss of focus, material processing, and reproduce the process of focal length, said overlap between the cultural metaphor. "See video" (Seeing Shadow) select some have been demolished, or are destroyed, the background of traditional architecture, delicate, sensitive emotions into images and a rich fantasy material texture, culture away, space-time dynamic image change in the paper solidification surface.

Printmaking as a new attempt Lin Tianmiao art media, no doubt broaden her artistic language, rich expression of her, and her work also gives new possibilities for prints. New York Museum of Modern Art (MOMA) surprised at the forest-dau seedlings given the angry and personal prints, the collection of its four print works, and in the 'diversity - 1970 Since: Contemporary art direction" (Multiplex: 1970 Until Now, Direction fo the Modern Art) exhibtion.

Lin Tianmiao @ MOMA

New York Museum of Modern Art (MOMA) surprised at the forest-day seedlings given the angry and personal prints, the collection of its four print works, and in the "diversity -1970 Since: Contemporary art direction" (Multiplex: 1970 Until Now, Direction of the Modern Art) exhibition.

Before working as an artist, TianMiao is a textile designer, and she often use thread and string on her works on paper. With Focus IC, TianMiao projected a distorted photograph onto a sheet of wet paper, then she enbedded the thread and nose onto her nose and mouth area. Once the paper was dry, she actually printed the image.

Focus I C

2006. Lithograph and screenprint with thread additions, Sheet: 50 x 39 3/4" (127 x 101 cm). Publisher: unpublished. Printer: Singapore Tyler Print Institute. Editon: unique. Fund for the Twenty-First Century. © 2010 Lin Tianmiao

Lin TianMiao talked about her work Focus 1C:
"This is a photograph is from a young girl face.
From my experience if the image is clear, you might stand there for few minutes, then you left. If you loose the focus, maybe you will stand there for longer time to try to understand what's happen, what is that and why they lost the focus

This girl can be anyone, can be my daughter, your daughter. When I was very young, Mao's portrait was everywhere, and we have social security picture, your picture must showed where you from, where are you, what position you have. I want the audience to loose the focus, for audience to use imagination

I think this one is quite special, because why that peaceful girl, why that she has a lot of things in her mouth, this is the question: why

I use arts to explain my heart and explain my mind, this is my job."

Focus III B

2006. Lithograph and screenprint with embossing, composition (irreg.) and sheet: 50 x 39 3/4" (127 x 101 cm). Printer: Singapore Tyler Print Institute Singapore. Publisher: unpublished. Edition: unique. Fund for the Twenty-First Century. © 2010 Lin Tianmiao

Focus XV A

Seeing Shadows VIII A

2006. Lithograph and screenprint with thread additions on four sheets, sheet (.a, irreg.): 43 1/4 x 30 9/16" (109.8 x 77.6 cm); sheet (.b, irreg.): 43 11/16 x 29 1/2" (111 x 75 cm);sheet (.c, irreg.): 42 5/8 x 29 1/2" (108.3 x 75 cm); sheet (.d, irreg.): 43 1/4 x 29 3/4" (109.8 x 75.5 cm); overall (approx.): 43 1/8 x 119" (109.5 x 302.3 cm). Fund for the Twenty-First Century. © 2010 Lin Tianmiao

-----------------------------------------------------------------------------
Lin Tian Miao's Biography
Present
Lives in Beijing, China

1989 Graduated from Art Student League, New York, NY

1984 Graduated from Fine Art Department, Capital Normal University, China

1961 Born in Taiyuan Shanxi Province, China

SOLO EXHIBITIONS

2008
Focus. Mary Ryan Gallery, New York, NY
Lin Tianmiao. Long March Space, Beijing, China

2007
Focus: on Paper. Singapore Tyler Print Institute, Singapore

2004
Non Zero. Beijing Tokyo Art Projects, Beijing, China

2002
Focus. The Courtyard Gallery, Beijing, China

1997
Bound-Unbound 1995-1997. Central Academy of Fine Arts Gallery, Beijing, China

1995
Open Studio. Baofang Hutong 12#, Beijing, China

GROUP EXHIBITIONS

2009
Pulp Stories I. Singapore Tyler Print Institute, Singapore

2008
Mahjong: Contemporary Chinese Art from the Sigg Collection. Berkeley Museum of Art, University of California, Berkeley, CA
Multiplex: Directions in Art, 1970 to Now. The Museum of Modern Art, New York, NY

2007
Global Feminisms. Brooklyn Museum, Brooklyn, NY

2006
Asian Contemporary Art In Print in Celebration of Asia Society's 50th Anniversary 2006. Asia Society and Museum, New York, NY
Asian Contemporary Art In Print. The Gallery of Singapore Tyler Print Institute (STPI)
Martell Artist of the Year 2006. National Gallery of China, Beijing
Mahjong: Contemporary Chinese Art from the Sigg Collection. Kunsthalle Hamburg, Germany

2005
Rapt: Austral-Asia Zero Five. Sherman Galleries, Sydney, Australia
About Beauty. Haus der Kulturen der Welt, Berlin, Germany
ShangHai Cool—Creative Reproduction. Shanghai Duolun Museum of Modern Art, Shanghai, China
The New Works of Wang, Gong Xin & Lin Tianmiao. Courtyard Gallery Annex, Beijing, China
Mahjong: Contemporary Chinese Art from the Sigg Collection Kunstmuseum Bern, Switzerland
Xiangfeng! Chinese avant-garde sculpture. Museum Beelden aan Zee, The Hague, Netherlands
Fairy Tales Forever. ARoS Aarhus Art Museum, Denmark

2004
Between Past and Future. ICP and Museum of Asia Society, New York, NY; Museum of Modern Art, Chicago, IL
Concrete Horizons. Adam Art Gallery, Victoria University of Wellington, New Zealand
Officina Asia. Gallery d'Arte Moderna, Bologna, Italy

2003
Echigo-Tsunami Art Triennial. Tokyo, Japan
Arles Photograph Art Festival. Arles, France
New Zone Chinese Art. Zacheta National Art Gallery, Warsaw, Poland

2002
2nd Fukouka Asian Art Trienniale 2002. Fukouka Asian Art Museum, Fukouka City, Japan
Gwangju Biennial 2002. Gwangiu, Korea
Shanghai Biennial 2002. Shanghai Art Museum, Shanghai, China
Guangzhou Triennial 2002. Art Museum, Guangzhou, China
Paris-Pekin. Espace Cardin, Paris, France

2001
Shout on the Face. Earl Lu Gallery Lasalle – Sia College of the Arts, Singapore
The New-Media Art Festival: Non-Linear Narrative. The Gallery of National Academy of Art, Hangzhou, China
Threads of Vision: Toward a New Feminine Poetics. Cleveland Center for Contemporary Art, OH
Floating Chimeras. Edsvik Konst Och Kultur, Solletuna, Sweden
Translated Acts. Haus der Kuluren der Welt, Berlin, Germany and Queens Museum of Art, NY
Wang GongXin & Lin Tianmiao's New Works. Loft New Media Art Space, Beijing, China
The Digital Art Festival 2001. Loft New Media Art Space, Beijing, China

2000
At the New Century 1979-1999. Chengdu Museum of Contemporary Art, Chengdu,China
Inside/Out New Chinese Art. National Gallery of Australia, Parkes, Canberra, Australia
Home? Contemporary Art Project. Shanghai, China
Inside/Out New Chinese Art. Hong Kong Museum of Contemporary Art, Hong Kong, China
Bed/Chair. Xuxian Art Center, Taipei, Taiwan

1999
Revolutionary Capitals: Beijing in London. Institute of Contemporary Art, London, England
The Second Yearlong Contemporary Sculpture Exhibition. He Xiang Ning Art Museum, Shenzhen, China
Inside/Out New Chinese Art. Museum of Modern Art, San Francisco, CA
Magnetic Writing/ Marching Ideas, Works on Paper. It Park Gallery, Taipei, Taiwan
Cologne/Beijing/Beijing/Cologne: Exchange Exhibition. Gothaer Kunstforum, Cologne, Germany
Inside/Out New Chinese Art. Mexico Museum of Contemporary Art, Mexico City, Mexico
Food for Thought: An Insight in Chinese Contemporary Art. Mu Art Foundation, Netherlands

1998

Mark of Existence: Art Workshop in Process. Beijing, China
Woman – Century. National Gallery of China, Beijing, China
Life: Contemporary Chinese Art. Wan Fung Art Gallery, Beijing, China
Neo Lagoon: Contemporary Art of North East Asia. Niigata Prefecture Museum, Japan
Inside/Out: New Chinese Art. Asia Society, P.S.1 Contemporary Art Center, New York, NY

1997
Crack in the Continent. Watari Museum of Contemporary Art, Tokyo, Japan
Fifth International Istanbul Biennial. Istanbul, Turkey
Between Ego and Society. Artemisia Gallery, Chicago, IL
Another Long March. Chasse Kazerme, Breda, Netherlands
Against the Tide. Bronx Museum of the Arts, Bronx, NY
Demonstration of Video Art 1997. Gallery of Central Academy of Fine Arts, Beijing, China

1995
File No.1 – Conceptual Documents for Impossible Art. Soho Biennial, New York, NY
Women Approach to Contemporary Art. Beijing Art Museum, Beijing, China
Chinese Women's Artists Invitation Show. National Gallery of China, Beijing, China

1993
Group Show. Ground Gallery, Los Angeles, CA

1988
Group Show. City Gallery, Courtland, NY

1985
Beijing Youth Painting Exhibition. National Gallery of China, Beijing, China
Youth Artist Association Show. National Gallery of China, Beijing, China

1984
Beijing Youth Painting Exhibition. Liulichang, Beijing, China

MUSEUM AND PUBLIC COLLECTIONS

Brooklyn Museum of Art, New York, NY
Museum of Modern Art, New York, NY
Singapore Art Museum, Singapore

LITERATURE

Fibicher, B. and Frehner, M., Eds. Mahjong: Contemporary Chinese Art from the Sigg Collection. Germany: Hatje Cantz, 2005.

Grosenick, Uta and Caspar Schübbe. Ed. China Art Book. Cologne: Dumont Buchverlag, 2007.

Hanru, Hou. Somewhere Between Utopia and Chaos: Contemporary Chinese Art Today. Netherlands, 1997.

He Hao. Ed. Non Zero. China: Timezone 8, 2004.

Martinez, Rosa. Cream—Contemporary Art in Culture. London: Phaidon Press, 1998.

Qian, Zhijian. Gathering Wind. 1997 Exhibition of Chinese Contemporary Art. Tokyo: Watari Museum, 1997. p.175.

Smith, Karen. Towards the Millennium: From Land's End to the Peripheral Verge. Exhibition of Chinese Contemporary Art. Tokyo: Watari Museum, 1997.

Wang Gongxin and Lin Tianmiao. Here? Or There? China: Timezone 8, 2005.

Xianfeng! Chinese avant-garde sculpture. Netherlands: Museum Beelden aan Zee, 2005.

PRESS

2008
"Women, Where Art Thou.?" Deccan Herald, September 14, 2008.

Cotter, Holland. "China's Female Artists Quietly Emerge." "Beijing's Less Visible Artists." New York Times, July 30, 2008.

London, Barbara. "Accelerated Vision: Chinese Video's Leap Forward." Modern Painters, March, 2008.

1999
Chiu, Melissa. "Thread Concrete and Women's Installation art in China." Art Asia Pacific, 1999.

1998
Dal Lago, Francesca. "Against the Tide, Art." Asia Pacific, January, 1998.

1997
Martinez, Rosa. "Istanbul Biennial: Curatorial Interpretations." Flash Art, November-December, 1997.

Smith, Karen. "Lin Tianmiao at the Central Academy of Fine Art." Sculpture News, Winter, 1997.

1996
Hanru, Hou. "Metropolitan Individuals." Flash Art, November-December, 1996.

1995
Smith, Karen. "Lin Tianmiao." Asia – Pacific Sculpture, Spring, 1995.

"In Peking wird eine menge riskiert." Aktionen die Obrigkeit, August,1995

林天苗1961生于山西省太原市
1984毕业于首都师范大学美术系，北京
1989纽约艺术家联盟学院
现为自由艺术家
个展：
1997 缠3 - 再剪开
中央美院画廊，北京
群展：
2001 破坏的形象
克里夫兰当代艺术中心，俄亥俄洲，美国
漂浮的妄想
艾德厄克文化中心，斯德哥尔摩，瑞典
转换的形态
世界文化宫，柏林，德国；皇后美术馆，纽约，美国
数码艺术节2001
藏酷新媒体艺术空间，北京
2000 世纪之门
成都美术馆，成都，四川
家
月星家居广场，上海
1999 北京与伦敦
ICA当代艺术中心，伦敦，英国
第二届当代雕塑展
何香凝美术馆，深圳，广东
内与外 - 新中国艺术展
SFMOMA当代美术馆，旧金山，美国；墨西哥当代美术馆，墨西哥
精神食粮
Mu艺术基金会，荷兰
1997 龟裂的大陆 - 当代中国美术展
和多利当代美术馆，东京，日本
第五届伊斯坦布尔
伊斯坦布尔，土尔其
另一个长征 - 中国当代艺术展
不瑞达艺术中心，荷兰

Fabled Landscape - Yan Heng & Shen Dapeng Exhibition ＠ HK Tang Contemporary 04-24.10.2010

2010-10-03T08:00:00.001+08:00

Fabled Landscape - Yan Heng & Shen Dapeng Exhibition ＠ HK Tang Contemporary
寓言的风景——闫珩、申大鹏双个展 @ Hong Kong 当代唐人艺术中心
Date: 04-24.10.2010

http://www.tangcontemporary.com/default.html

展覽Exhibition 寓言的風景——閆珩、申大鵬雙個展策展人Curator 魏星藝術家Artist 閆珩，申大鵬城市City 香港開幕Opening 2010-10-4 17:30時間Duration 2010-10-04 至 2010-10-24地點Venue 當代唐人藝術中心組織Organizers 當代唐人藝術中心，北京仁藝術中心贊助Sponsor地址Address 香港上環荷李活道233號荷李活商業中心地庫聯繫Contact 852 2544 9918

UNstudio: 'youturn pavilion' at sao paulo art biennale 2010

2010-10-03T06:45:00.004+08:00

UNstudio: 'youturn pavilion' at sao paulo art biennale 2010

'youturn pavilion' by UNstudio at the 29th art biennale in sao paulo, brazil
all images courtesy UNstudio


renderings of pavilion

UNStudio’s Youturn Pavilion is one of six ‘terrieros’ created for the 29th Art Biennale in Sao Paulo, Brazil. Located at the heart of the biennale, the pavilion operates primarily as a venue; a nodal point within the biennale's context which provides a forum for communication by diverse means and on different scales. Programmatically the pavilion invites the public to meet, orientate and observe. It provokes interaction between both participants and visitors to the biennale, creating a place for display, discussion, and debate. The UNStudio Pavilion places itself between artwork, installation and architecture; operating as both a form and a functional structure performing as an activator of events.


Ben van Berkel

Ben van Berkel: “It is a wonderful quality in architecture today; that it can perform on so many levels and that there is cultural acceptance again for this richness of meanings and readings. Architecture can have its cultural expression in a similar way to how art is perceived or interpreted. The metaphorical interpretation of spaces can be similar to the reading of piece of art, so the mechanics and the approach can be similar, but the outcomes are of course different.

diagram of the pavilion's design and form

renderings of pavilion

UNStudio pavilion forms the ‘I am the street’ terriero, one of six conceptual groupings of integrated curatorial spaces at the biennale. The design of the pavilion plays with the crossing points between movement and display. As a venue, the biennale is a place of circulatory routes, where visitors find themselves traveling through spaces of expression, interpretation, and contemplation. These dynamic movements are formalised and transcribed into a design model, which in turn creates a dynamic space through the convergence of path and destination.

View from the breaking line to internal

The Youturn Pavilion furthermore performs as a space for solitude as well as a space of interaction. The installation contrasts these dynamisms, with the ridged and straightforward shape of the exterior triangle to the simple complexity of the circle within the interior. This simple convergence creates a complexity that reflects the blending of the biennale's display of artist’s work with their means of expression. The centripetal movement and form of the structure wraps and encircles the users from the surrounding biennale, while simultaneously creating a central void; the focal point where all lines, surfaces and viewpoints converge.

Entrance

Events which occur within the space can range from intimate discussions to large group presentations. The Youturn Pavilion is adaptable and can be used for multiple scales of interaction, presenting a dynamic response to the needs of the biennale, the artists and the multitude of visitors who circulate on a daily basis.

dialogue machine

Ben van Berkel: “We wanted to create an environment in which more can take place than simply experiencing the object itself. The object can then also become a dialogue machine.”

The objective of the Youturn Pavilion is direct; through the continuous flows of the biennale, it creates opportunities of interface for moments both staged and un-staged, ranging from discussions, debates and artists presentations, to a place for escape and contemplation. The pavilion is a centre point in the biennale, where one can be at the heart of creative expression and simultaneously take a moment to reflect, debate, or display.

Following the Sao Paulo Biennale, UNStudio hopes to donate the Youturn Pavilion for use on another location in the future.

ridged exterior

Source from
UNstduio/ designboom/ evolo/ archdaily

Exhibition: Beyond The Broken Skin @ Soemo Fine Arts, Beijing 09.18 - 10.18, 2010 展览：裂肤之痛 @ 北京苏蒙画廊

2010-10-02T12:11:00.002+08:00

Exhibition: Beyond The Broken Skin

展览：裂肤之痛

Enthusiasts of Meetings , Huang Yin 2010, 180 by 100 cm, Oil on Canvas

Anti-Vice No.6, Zhang Haiying 2008 . 160 by 200 cm . Oil on Canvas

参展艺术家：刘芯涛刘保明黄引张海鹰

Artists: Liu Xintao, Liu Baoming, Huang Yin, Zhang Haiying

Soemo Fine Arts 苏蒙画廊

No.66, Xiaopunanjie, Songzhuang, Tongzhou District, Beijing, China

北京通州宋庄小堡南街66号

Opening Reception / 开幕酒会

September 18 4:00-6:00PM / 9月18日下午4点至6点

Exhibition Period / 展览日期

09.18 - 10.18, 2010

T:+86 10 8085 6031 / +86(0)13911520438

El: Lucyhanchina@yahoo.com.cn

W: www.soemo-fine-arts.com

Beyond The Broken Skin

Soemo Fine Arts is happy to present four different artist of exceptional expression in the new exhibition "Beyond the Broken Skin". All four offer a rare glimpse behind the surface - skin - of extreme reality, experienced daily by the modern Chinese urban citizen.

Liu Baoming is concerned with Self-alienation. He sees this as the product of a "self" set in a consumerist society and a materialistic system. He decided to express this in the form of the appearance of the "Self" as a broken visual experience. The series "Extreme Illusion" is a visual account, which opposes the sense of reality.

Extreme Illusion-A Lady, Liu Baomin 2006, 190 by 150 cm, Oil on Canvas

Zhang Haiying's "Anti-Vice Campaign" series tells a complex story of destitution, desperation, abuse and entrapment, the side effects of modern economics, urban migration and technological progress - the human cost of the present commodity civilazation. By re-contextualizing the way prostitution is represented and perceived, Zhang's paintings strive to convey the human condition, with all its indignities and weaknesses, as a duplicitous victimization of both the oppressed and oppressors.

Liu Xintao's "Despondent Night" is characterized by its homo-chrome colors and irregular frames. The homo-chrome color represents the dark night and the irregular frames might be a suggestion of despondence. Although the theme of "Despondent Night" is the materialization of human beings and the loss of their subjectivity, the artist naturally harmonizes this contradiction.

Huang Yin's works depict the historical era of Mao. The most interesting aspect of her images of the Mao Culture is actually the disappearance of Mao's own image. The artist recalls this history not through Mao but some specific scenes that represented that era - red banners, slogans, large-scale production campaigns, large-scale iron & steel making drive, model operas and so on. Huang Yin's image narration through the private eye carries special significance due to its personalized features.

29th São Paulo Art Biennial ＠ Brazil 25.9 - 12-12-2010 第二十九屆巴西聖保羅雙年展

2010-09-27T08:00:00.005+08:00

29th São Paulo Art Biennial ＠ Brazil 25.9 - 12-12-2010 第二十九屆巴西聖保羅雙年展
http://www.fbsp.org.br/index-en.html

The São Paulo Biennial was founded in 1951 upon the initiative of industrialist Francisco (Ciccillo) Matarazzo Sobrinho (1898-1977). It is the second oldest art biennial in the world after Venice (in existence since 1895), which serves as its role model.

Its initial aim was to make contemporary art (primarily from Western Europe and the USA) known in Brazil, push the country's access to the current art scene in other metropolis, and establish Sao Paulo itself as an international art center. Naturally, the biennial always serves to bring Brazilian art closer to foreign guests.


Oscar Niemeyer (1907- )

Since the 4th edition in 1957, the São Paulo Biennial has been held at the Pavilhão Ciccillo Matarazzo in the Parque do Ibirapuera. The pavilion was designed by a team lead by Oscar Niemeyer and Hélio Uchôa, and provides an exhibition space of 30,000 sqm.

Parque do Ibirapuera

As with its Venetian role model, São Paulo hosts national presentations as well as international exhibitions held under the direction of rotating
chief curators. In addition to the art biennial, an International Biennial for Architecture and Design has been held since 1973.

聖保羅雙年展是由意大利實業家馬塔拉佐（Francisco Ciccillo Matarazzo Sobrinho）（1898年至1977年）於 1951年所創立，並與威尼斯雙年展(意大利文：La Biennale di Venezia)、德國卡塞爾文獻展(Kassel Documenta)、稱為世界三大藝術展，在三大展覽中資歷排行第二。這是國際上僅次於威尼斯歷史最長久的藝術雙年展（自1895年以來存在的）。

最初計劃此雙年展的目的是為使巴西認識主要來自西歐和美國的當代藝術，把國際大城市的現代創作藝術引領到該國，亦為建立巴西聖保羅成為國際藝術中心。經歷了這段長時間，年展使巴西的藝術帶到國際。

由1957年第四屆開始，聖保羅雙年展已鎮定於Parque do Ibirapuera的Pavilhão Ciccillo Matarazzo舉行。展館的設計是由Oscar Niemeyer 和 Helio Uchôa帶領的團隊，並提供了30,000平方米的展覽空間。

正如威尼斯雙年展一樣，聖保羅每屆也邀請不同的著名藝術界人士作為這個年展主要策劃人。除了藝術雙年展，自1973年也舉行國際建築與設計雙年展。

2010 Get It Louder: Sharism @ Beijing on 19.9-10.10; @ Shanghai 22.10-7.11

2010-09-24T20:08:00.001+08:00

Article quoted from http://www.art-ba-ba.com/

2010 Get It Louder: Sharism @ Beijing on 19.9-10.10; @ Shanghai 22.10-7.11

2010 大声展:分享主义 @ 北京上海

http://www.getitlouder.com/

2010 Get It Louder: Sharism

19 September – 10 October, Beijing
22 October – 7 November, Shanghai

Chief Curator: Ou Ning
Curators: Eric Abrahamsen, Aric Chen, Fu Xiaodong, Jiancui, Ying Liang, Xu Yazhu

Beijing Venue: Sanlitun SOHO
Shanghai Venue: 800 Show Creative Industry Park

Launched in 2005, Get It Louder is China's most influential and closely-watched exhibition of emerging, young talent across creative disciplines. Following the 2005 and 2007 editions, this year's multi-venue event will bring together more than 100 of the most promising Chinese and international participants from fields spanning art and design to music, film and, for the first time, literature. 2010 Get It Louder opens in Beijing on September 19 (through October 10), before traveling to Shanghai (October 22-November 7).

Under the direction of event founder Ou Ning, chief curator of last year's Shenzhen & Hong Kong Bi-city Biennale of Urbanism / Architecture, 2010 Get It Louder will explore the theme of SHARISM. In the context of the Web 2.0 and social media, cloud intelligence, Twitter and other phenomena, SHARISM examines the increasingly convoluted relationship between public and private realms. More broadly, it touches upon issues of collaboration, individual agency and collective action, while serving as a site for negotiating communal space, both virtual and real.

2010 Get It Louder will feature participants from China (including Hong Kong and Taiwan), Europe and the United States, alongside an array of special projects. A highlight is the Get It Louder pavilion, a freestanding structure designed by the New York firm SO-IL, that will host events including artist talks, workshops, film screenings and performances. Other featured projects include a Black Box space for creating "on-the-spot literature;" a performance of the International Necronautical Society Declaration on Inauthenticity by Simon Critchley and renowned novelist Tom McCarthy; an exhibition of specially-commissioned collaborations between leading, young Chinese fashion designers and photographers, organized by the indie magazine Too; an art-fashion crossover installation by celebrated British graphic designer Neville Brody and Chinese fashion designer Masha Ma; a three-day literary conference, called Exposure Anxiety, in Beijing; and a one-day Sharism Forum, in Shanghai, with panel discussions and lectures exploring the exhibition's main theme.

Led by Ou, this year's Get It Louder is curated by a six-member team: Fu Xiaodong (art; Beijing); Aric Chen (design; New York/Beijing); Jiancui (music; Beijing); Ying Liang (film; Shanghai/Zigong); Eric Abrahamsen (literature; Seattle/Beijing); and Xu Yazhu (Taiwan section; Taipei/Beijing). The exhibition designers are Xu Yijing and Neill Gaddes of SANS (Auckland, New Zealand), while the visual identity is by Imagine Wong (Shenzhen).

Get It Louder is presented by China's influential Modern Media Group and its contemporary culture magazine, The Outlook. It is organized by the Beijing-based Shao Foundation, a nonprofit organization dedicated to cultural production in China.

Participants:

AI Weiwei & Zuoxiao Zuzhou
Christopher ADAMS
Bbrother
BCXSY
Mats BJÖRK
Neville BRODY
CAI Yuanhe
CAO Shuying
CHEN Sihe
CHEN Zhou
Edmund CHUNG
CUI Xiuwen & WAVE Community
D.S.G Collection
DAI Fan & ZHOU Peng
DI An
Double Fly Group
FANG Jianping
FANG Lu
FEI Dao
Alejandro FERNANDEZ
Forget Art
Garage Design
GAO Yuan
Gonkar GYATSO
Tal Isaac HADAD
Matt HOPE
HAN Chao
HE An
Kit HUNG
HU Lifu
HU Xiaoxiao
HU Yong
HUANG Ran
Zhanna ISSABAYEVA
JIANG Pengyi
Charlie KOOLHAAS
Hari KUNZRU
Roy KESEY
Shawkat Amin KORKI
Laoban Soundsystem
LEI Benben
LEI Ray & LEI Jiaqi
LI Fuchun
LI Jinghu
LI Ning
LI Shasha
Mike LINKSVAYER
LIANG Shuo
LIU Waitong
Hong John LIN
LIN Ke
LIEW Sengtat
LIU Chuang
LIU Zhili
LIU Cixin
LIU Feng
LIU Jiayin
LIU Chuoquan
LIU Yan
LU Zhengyuan
LVXIAO
Design MVW
Masha MA
Isaac MAO
Lucas MAASSEN
MIAO Wei
Museum of Unknown
Carsten NICOLAI
Jon PHILLIPS
PAN Haitian
Evan PRODROMOU
Jack QIU
Michal RATAJ
Rich Willing Brilliant
REN Xiaowen
David SASAKI
Shift
SO-IL
Studio Proxy
SUN Xun
Wolfgang SPRAUL
TANG Maohong
Three minutes Group
Philip TINARI
TSUI Kuangyu
TSUBOKAWA Takushi
Tina UEBEL
Alice WANG
WANG Molin
WANG Xin
WANG Yuyang
WANG Yue
WANG Zhihong
WANG Chungkun
WU Jian'an
WU Yinning
Xiong Huang Group
XUE Jianqiang
YAN Lei & Brain Failure
YANG Fangtao
YANG Jin
YANG Rui
YANG Tao
YAO Chunghan
Weili YEH
Jesus YEH
Gino YU
Zafka ZHANG
ZHANG Lehua
ZHANG Liaoyuan
ZHANG Shouwang
ZHANG Tianhui
ZHANG Zanbo
ZHAO Dayong
ZHAO Yao
ZHAO Zhao

Contact us:

Shao Foundation
Room 1106, Tower 1,China View No, A 2, Gongti East Road
Chaoyang District, Beijing, PRC 100027
Tel: 86-10-65610550
Fax: 86-10-65610550 ext 666
Email: info@shaofoundation.org.cn

Carrie Art and Design Journal

雷生春堂 - 香港一級歷史建築，建於1931 Lui Seng Chun ﹣ Hong Kong Grade I historic building, built 1931

‘(un) Made in China’ Exhibition - April 20 – June 20, 2012

Chapel of the Holy Cross - Richard Hein (1957 AIA Award of Honor)

Sunset Chapel - Acapulco, Mexico

Half the Sky: Women in the New Art of China 23-09 to 12-11-2011 半边天：中国女性新艺术

If the world were a village of 100 people - Toby Ng

School Bridge @ Fujian Pinghe 福建平和 - Li Xiao Dong 李小东 (winner of Aga Khan Award for Architecture 2010)

Images of Women IX Exhibition @ Schoeni Art Gallery Hong Kong March 17 - April 4 2010

Contemporary Japanese Calligraphy from Nanto @ HKU Arts Gallery 日本現代南礪書法 2011-2-23 to 3-20

Hong Kong: Creative Ecologies 2011-2-5 to 5-11

"Power Plant" @ HK Art Festival 2011 (2011-2-18 to 3-13) 戶外聲光雕塑展覽活動《聲光園》@ 香港藝術節2011

2010 art space in factory 798 Beijing 798艺术区2010艺术空间 by Thanlab Office

The Water House Shanghai 上海水舍 by Neri & Hu opened in May 2010

Wang Shugang Show @ Beijing Opposite House 2011 Jan - March 王书刚雕塑装置作品展_ 瑜舍酒店

DeTour 2010 @ Hong Kong - Nov 26 to Dec 12, 2010

Business of Design Week (BODW) - Hong Kong 29 Nov - 4 Dec, 2010

Nice Online Artist Network ~ Saatchi Online

The 8th Gwangiu Biennale 2010: 10000 Lives , Korea 2010.9.3-11.7 第八屆南韩光州双年展: 万人谱

Zaha Hadid won RIBA Stirling Prize: MAXXI Museum @ Rome 英國建築師皇家學會史特靈獎2010得主：扎哈。哈迪德

Weekly Highlight: Chinese Female Artist @ MOMA - Lin Tian Miao 專題： 紐約現代藝術館的中國女畫家林天苗

Focus I C

Focus III B

2006. Lithograph and screenprint with embossing, composition (irreg.) and sheet: 50 x 39 3/4" (127 x 101 cm). Printer: Singapore Tyler Print Institute Singapore. Publisher: unpublished. Edition: unique. Fund for the Twenty-First Century. © 2010 Lin Tianmiao

Focus XV A

Seeing Shadows VIII A

Fabled Landscape - Yan Heng & Shen Dapeng Exhibition ＠ HK Tang Contemporary 04-24.10.2010

UNstudio: 'youturn pavilion' at sao paulo art biennale 2010

Exhibition: Beyond The Broken Skin @ Soemo Fine Arts, Beijing 09.18 - 10.18, 2010 展览：裂肤之痛 @ 北京苏蒙画廊

Enthusiasts of Meetings , Huang Yin 2010, 180 by 100 cm, Oil on Canvas

Anti-Vice No.6, Zhang Haiying 2008 . 160 by 200 cm . Oil on Canvas

Extreme Illusion-A Lady, Liu Baomin 2006, 190 by 150 cm, Oil on Canvas

29th São Paulo Art Biennial ＠ Brazil 25.9 - 12-12-2010 第二十九屆巴西聖保羅雙年展

2010 Get It Louder: Sharism @ Beijing on 19.9-10.10; @ Shanghai 22.10-7.11

Weekly Highlight: Chinese Female Artist @ MOMA - Lin Tian Miao 專題：紐約現代藝術館的中國女畫家林天苗