Fan Zeng Art Gallery (2014) by Original Design Studio located in Nantong, Jiangsu, China | The Hardt
Fan Zeng Art Gallery (2014) by Original Design Studio located in Nantong, Jiangsu, China. The Fan Zeng Art Gallery is built for the exhibition, communication, research and collection of calligraphy, paintings and poetry, created by the teacher Fan Zeng and Family in the city of Nantong. The concept of the Fan Zeng Art Gallery started from the “patio”, an element of the traditional space. In order to create an atmosphere of “modern creations under the old rules”, the designers separate the playground from the physical circumstance and then combine the behavior of visiting together with that of thinking. Photos by © Yao li-Su Shengliang.
The “relationship patios” are a theme of the art gallery. It is reflected for the first time in the presentation of three different patios: “patio de bien” on the ground floor, “patio de agua” and “patio de piedra” going from north to south and “fenced patio” on the third floor. With these ratios, a three-dimensional frame of patios is established, where these courtyards play an important role. At first, the idea of “three-dimensional patio” aims to reduce the volume of the building. Therefore, a large and integral volume is transferred in three smaller volumes. Thus, the scale of the courtyards focuses on the scale of the human body, and then it can be more sensible and understandable. Designers move away from the grid system and make partial relationships a new beginning. The three apparently unrelated courtyards are assembled for their own reasons, and unexpectedly become dynamic spaces with diverse connections to each other.
The “viewing patio” is another topic. The partial relationships are juxtaposed so that they can be presented in sequence, and therefore make it possible for people to visit and visualize. In the fragment of the scenes, relationships emerge one after the other. Although they are juxtaposed, there is still contact between them. They connect with each other in our mind, so that the whole can be visualized. The art gallery advocates the “diffuse border” in order to break the usual separation in the exhibition by a dispersed display mode. This helps to build a miraculous space with several possible paths. His narrative mode is never formed by the central exhibition, but is led by the route and experience. Change the original concept of obstruction and communication in an interesting way, It brings smoothly and smoothly an exploratory way for visitors, but it still refuses to be boring or shallow. This is the beauty of the so-called Eastern tortuosity.
“Patios of artistic conception” stand out, too. The Fan Zeng Art Gallery realizes the conception of “less is more”, the detailed control of existence, and the vision of abundance within a soft appearance. Instead of a strong general framework that carries the whole story with a clear norm, it produces a relatively flexible and spontaneous partial relationship of the three different courtyards. The theme of the “evolutionary relationship” means that the evolution of the relationship itself plays a more important role than the evolution of each unit. Thus, the design reconstructs the relationship of three patios, but it does not make any great change in either. Three courtyards in a simple prototype that are not far from the traditional way, but in reality, they express an extraordinary possibility of communication and intermediation among themselves. Today, we usually call the modern spirit under a traditional cover, the so-called modernity and tradition not only depend on formality but also require a thinking spirit.
The Fan Zeng Art Gallery is an ethereal camera that lets water and ink mix, making it possible to make light of the strong. It represents an attitude that pays tribute to the Chinese brush painting of having the universe within an inch, realizing all the complexity in each simple part, and showing the full charm with a pure spirit.
© Yao li-Su Shengliang
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Oliver Gustav Showroom in Copenhagen | The Hardt
Oliver Gustav is a creative consultant with a focus on aesthetic development, art, interior and exterior design. He creates spaces that convey a quiet and yet dramatic atmosphere, where the stark and modern are contrasted against rare antique finds and exquisite curiosities. Oliver Gustav loves the Nordic light and his entire color range is inspired by it. To preserve it even when the darkness comes, he has installed electric light sources that give 97 percent natural light.
The monochrome color palette and touch of detail for detail has become his signature, and his beautiful environments and selected items are featured on mood boards around the world. Different outstanding pieces and a beautiful mix of materials are the main ingredients for the showroom, linen sofa’s, antic wooden furniture pieces from China, great pieces by Rick Owens lighting by Apparatus, and different pieces by Dutch designer Jan Janssen. His latest work is the ‘Extrusion Coffeetable No1 in casted aluminum
Wichmann + Bendtsen Photography
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Chiharu Shiota is primarily known for large-scale installations such as The Key In The Hand (2015) with which she represented Japan at the 56th Venice Biennale. The starting points for the majority of Shiota’s installations are collections of used possessions; belongings, haunted by memories, that act as expressions of human acts. Complex networks of yarn are often interlaced around and between objects, linking their inherent narratives and creating a new visual plane, as if painting in mid-air.
Shiota initially studied painting at Seika University, Kyoto. During this time she undertook an exchange residency at Canberra School of Art, Australia. It was here that she began to explore the boundaries of painting, staging her first performance Becoming Painting (1994) in which she used her body as a canvas.
She moved to Germany in 1996 and continued her studies, firstly in Braunschweig and later Berlin, where she continues to live today. Her installations began receiving international attention in 2000, primarily through the group exhibition Continental Shift at the Ludwig Forum, Aachen and also the 2001 Yokohama Triennale.
In silence. Bienne, 2008 In Silence [CentrePasquArt, Biel – Bienne ]
His Chair [MART-Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Trento / Rovereto]
Trace of Life [Torstrasse 166-Das Haus der Vorstellung, Berlin]
Letters of Thanks, 2014, Castello, Spain. | Chiharu Shiota | Pinterest | Spain and Artist
“The Key in the Hand”, 2015, The 56th International Art Exhibition – la Biennale di Venezia, Venice/Italy, photo by Sunhi Mang
During Sleep [The National Museum of Art, Osaka]
Solo Exhibitions (selection)
- “Remind of …” Galeria Nieves Fernandez, Madrid / Spain
- “Form of Memory” Kenji Taki Gallery, Tokyo / Japan
- “The Butterfly Dream” Kyoto Art for Tomorrow 2018, The Museum of Kyoto / Japan
Situated in Sao Paulo, Brazil, Pavilion (2013) by Metro Arquitetos Associados | The Hardt
Situated in Sao Paulo, Brazil, Pavilion by Metro Arquitetos Associados. Composed of two concrete walls and a steel structure as a roof. Besides a central rounded skylight, a gap between the roof and the walls allows for natural lighting. Placed in a 23,860 ft² (2,200 m²) garden, in a residential neighborhood in São Paulo. The main construction is a pavilion for the exhibition and storage of an important private contemporary and modern Brazilian art collection. It is a simple volume, with 18 feet (5.5 m) wide by 92 feet (28 m) long, made by two concrete walls and a steel structure as a roof. Besides a central rounded skylight, a gap between the roof and the walls allows for natural lighting. The pavilion has two different floor-to-ceiling heights. The second structure is a concrete cube that houses a guest room on two levels. As a complementary structure, there is an irregular wooden grid covered by glass, supported by only three steel columns, that covers an area of 860 ft² (80 m²)
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Located in Berlin, Germany, The Feuerle Collection (2016) by John Pawson | The Hardt
Located in Berlin, Germany, The Feuerle Collection (2016) by John Pawson. The Feuerle Collection is a new museum in Berlin. Located in a former telecommunications bunker which was renovated by the British architect John Pawson, The Feuerle Collection juxtaposes international contemporary artists such as Cristina Iglesias, Anish Kapoor, and Zeng Fenzhi, among others with Imperial Chinese furniture and Southeast Asian art. The museum encourages a conversation between different time periods and cultures, offering an alternative perception of the antique, which creates a new perspective on the artworks and leads viewers through a synesthetic experience.
The Feuerle Collection has been officially opened to the public since 14 October 2016.
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Christian Boros and wife Karen Lohmann 5-story Berlin home, converted from World War 2 bunker to this unbelievably, surreal house | The Hardt
Christian Boros and wife Karen Lohmann 5-story Berlin home, converted from World War 2 bunker to this unbelievably, surreal house. This historically significant Second World War building was originally constructed for the German railway company by reinforced concrete and was used as a shelter to protect travelers who arrived at the Friedrichstrasse Railway station from air raid attacks. Architect Karl Bonatz was commissioned by Nazi Germany the architectural design of The Bunker; the building had a capacity which could shelter up to 3,000 passengers in five floors.
Completed under Hitler’s command in 1943, the bunker was built as an air-raid shelter for the passengers of the nearby train station. In case of attack, the bunker, with 180 cm (six feet) walls and a three meter (nine feet) deep ceiling, could house and protect 3,000 seated people distributed over five floors. The design by Karl Bonatz strictly followed the guidelines of Albert Speer, the Third Reich’s head architect and a member of Hitler’s inner circle. In the years following the fall of the Nazi regime, the bunker embraced varying functions – from a tropical fruit warehouse (known to locals as the “Banana Bunker”) to the locale for hard-core fetish and techno parties in the 1990’s – until it was forced to shut down by the police in 1995.
In 2003, Christian Boros, art collector, and owner of a successful advertising agency decided to purchase the bunker and convert it into his own gallery and home. Renovation commenced in 2004 by the Berlin-based firm Realarchitektur – Jens Casper, Petra Petersson, and Andrew Strickland – who were commissioned to design both the exhibition and living spaces. Using a method of subtraction from the original form, over 750 cubic meters of concrete were diamond-sawed from within and carefully removed by hand. Additions which had been made over the years were removed, the facades cleaned, but the inner exposed walls were kept as they were, with the traces of sweat, blood and neon dye left behind by the building’s diverse users over the decades.
The façades of the building were cleaned and were structurally refurbished while paying homage and being in accordance with heritage. Bullet holes from World War II bear witness to the historical significance of the building and were dealt with respect, thus leaving war traces physically present. In the heart of this hermetic concrete, cube remains the exhibition of contemporary works since the early 1990’s to recent. However, in order to create this space suitable for the Boros collection, architect Jens Casper drastically deconstructed the 33,000 ft² (3,000 m²) bunker, which was once devoid of natural light, transforming it into a complex 80-room arrangement.
The artwork which is currently on display has been installed in the rooms by the artists themselves and works with space. If you made it this far, my apologies for posting such a long story, but this home is absolutely deserving of one.
© Ailine Liefeld for Freunde von Freunden
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S Gallery & Residence by Shinichi Ogawa & Associates situated in Mie Prefecture, Japan | The Hardt
S Gallery & Residence by Shinichi Ogawa & Associates situated in Mie Prefecture, Japan. The 1,862 ft² (173 m²) house sits near the Suzuka mountain range. The “C-shape” of the structure is composed with a subtle reinforced concrete cantilever of 12.1-ft (3.7m) and contains two other smaller volumes of 59-ft (18m) long.. The first one is a totally transparent volume which serves as a gallery space. The steel frame structure of the wall and ceiling slab allows for a big room with no columns. The frameless glass makes this a special open space that is completely invaded by the exterior nature. Thus, the gallery becomes a true ‘stage’ for the client, while the exterior green landscape transforms into a perfect background setting
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