Stretching along the Bondi to Tamarama coastal walk, the 15th Sculpture by the Sea – one of Sydney’s largest free public arts events – recently drew to a close, and we were lucky enough to pay a visit. The event has grown significantly since it launched. An impressive 25,000 people turned out to the first event, though around half a million now attend each year. Sculpture by the Sea now has exhibitions in Sydney, Perth, and Aarhus, in Denmark.

This year, the Sydney event transformed a 2km coastal walk into a venue for over 100 pieces of installation artwork from artists based in Australia and all over the globe. Whilst we were there, we took some photos of our favourite artworks to share with you on the Zouk blog.

One of our favourites was the ‘Meeting 1’ by Chinese artist Wang Shugang. One of Shugang’s more restrained pieces of work (another of his sculptures features a circle of medieval style characters carrying what appear to be lightsabres), this piece has 8 identical bright red sculptures of men sitting down in a circle facing each other. An interesting ‘meeting’, but not the type we’re used to holding at the Zouk offices!

Another of our favourites made the most of the incredible views on offer along the coastal walk. By Australian artist Jane Gillings, ‘Provenance (a gilt frame)’ is essentially an enormous picture frame, except the picture itself is a view out over the ocean. Whilst the frame is full of intricate details, the magic of this piece is the panorama – unique to every person standing in front of Gillings’ piece. A wonderful reminder of the beauty of Sydney’s natural environment.

Of course, with over 100 sculptures at the event, this blog post could soon become a lengthy list of our favourites! We’ve included some more photographs that we took at the event, and additional information on each piece can be found on the Sculpture by the Sea website (link to: http://www.sculpturebythesea.com/), as can the opportunity to purchase some of the artworks present at the event. Of course, if you’re not so eager to splash the cash on a unique sculpture, you can always follow Jane Gillings’ approach, and simply find a way to make the most of your own view.

Despite sharing a serpentine form, the Nanjing Sifang Art Museum has little in common with South Korea’s Jeongok Prehistory Museum, which we recently featured on the Zouk blog. Whilst both buildings house cultural artifacts within their snake-like shape, the Nanjing Sifang Art Museum makes a more direct connection with surrounding culture. In fact, despite its modern form, the building materials used in the construction of the Museum are surprisingly traditional.

Designed by American architecture firm Steven Holl Architects, the building aims to ‘explore shifting viewpoints, layers of space, and expanses of mist and water’. Considering these goals, it is unsurprising to see the building climb higher than all of its surroundings – both the nearby built environment (of which there isn’t much) and the trees that populate the green mountainside around the site pale in comparison. The varied perspectives offered by its twisting form and impressive height are a subtle reference to the traditional Chinese method of painting, which rejected the single vanishing point concept employed by the Western world.

Whilst the building is modern and its surroundings natural, the Museum’s construction materials strike a compromise. Bricks from central Nanjing are reused to pave the internal courtyard – a traditional feature no modern Chinese development can seem to do without – and the bamboo which formerly grew on the site was used to form the building’s concrete. This unusual method of setting concrete leaves a deep black stain on the surface of the building, and once again acts as a subtle reference to Chinese painting – something the building’s architects seem to have an affection for.

This fusion of modern and traditional also creeps in to the building’s interior. Recycled stormwater serves much of the Museum’s water requirements, whilst geothermal energy heats and cools the interior space. And any guests exhausted by the Nanjing Sifang Art Museum’s winding form and countless steps required to reach its peak can settle down to an extensive selection of traditional teas in the Museum’s tea house.

Modern architectural form. Traditional inspiration. And a nice cup of tea. A combination that we at Zouk approve of.

If you’re visiting the Zouk blog, chances are you’ve already heard of Grand Designs – the TV show where people are filmed building their very own ‘Grand Design’. Originally from the UK, Australia now has its own version of the show. In fact, Australia now also has its own version of Grand Designs Live – the architecture and interiors exhibition where you can go to get inspiration for your own home (or future home, if you fancy embarking on your own build!)

Grand Designs live is running until October 23rd at the Sydney Convention and Exhibition Centre, and if you’re lucky you might just spot Kevin McCloud from the UK edition of the show, or Peter Maddison from the Aussie equivalent. And if you’re really lucky, you might just spot some of the Zouk team there!

We’re looking forward to seeing some innovative new ideas for interior design and architecture, of which there should be plenty, due to their being over 250 exhibitors at the event. The event caters to almost anyone, whether you are building your own grand design or are simply redecorating your living room. Exhibitors from the construction industry will be there to give advice to those with bigger plans, and interior design experts will be there for those of you who are thinking about something a bit smaller.

Ecological building methods have not been forgotten, in fact, there will be a designer Eco Village right in the middle of the exhibition, showing you how you can design and build your own beautiful, eco-friendly home.

If the thought of embarking on your own grand design terrifies you, don’t worry. There will be plenty of presentations (including one from Mr McCloud himself) where you can listen to other people’s successes and failures, rather than having to worry about the logistics of doing your own. And if that gets too much, the Grand Designs Restaurant is just around the corner…

With high walls, a single entrance point, and a lack of windows on ground level, Hakka houses were originally intended to protect those living within from the threats of 17th century China. However, in the 21st century, the Hakka house is being constructed with different goals in mind.

When commissioned to create a 220 apartment housing complex for those on a low income in Guangzhou, Chinese architects Urbanus reinterpreted the Hakka house to create an intimate atmosphere, rather than a defensive one. Whilst the form is traditional, the method of construction is a thoroughly modern affair, with Urbanus – unsurprisingly – declining to use rammed earth during construction.

Called ‘Tulou’, which literally means ‘little kingdom’, the project has been praised for its ‘graceful balancing act between historical and contemporary values’ by New York Times architecture critic Nicolai Ouroussoff. This balancing act is also evident in the accessibility of the complex. Considering the closed nature of the traditional Hakka house, there was a real risk of creating social housing which further isolated those who lived within it. However, by creating a large entrance point in the side of the complex, an openness to the outside world is acknowledged.

The design of the internal courtyard – which provides relatively private space for the building’s residents – is continued outside of the building. Seating is dotted throughout the surrounding area, offering space for those who do not live within the complex and further encouraging a mixed community.

The buildings which inspired Tulou were anything but balanced. They existed with one main aim – to protect. Yet with some small design changes, Urbanus have been able to create a modern building which supports its residents, yet displays an openness and acceptance of life outside the building. Quite a change from the design that inspired it.

When attempting to evoke images of environments and atmospheres from the prehistoric landscape, an illuminated stainless steel cylinder might not seem the most obvious architectural form to employ. However, French practice X-tu architects don’t see it that way, as demonstrated by their work on the Jeongok Prehistory Museum. Opened in April 2011, the building contains exhibition, education, research and activity spaces, with its linear shape acting as a guide for visitors. Referred to by one critic as ‘a time capsule’, the seemingly modern design initially seems at odds with its site. However, X-tu’s approach was heavily inspired by the site’s geography, with the curve of the building referencing the watery surroundings that once existed nearby. Snake skins and traditional Korean dragons are also credited by the building’s architects as inspiration.

The building bridges two small peaks, physically encapsulating the museum’s aim of being a threshold between modern times and the historic past. The form also takes on different identities, lit up by natural light during the day and illuminated by artificial lighting behind small punctures in the metallic facade during the night.

The high-gloss of the perforated façade reflects surrounding scenery and activity, presenting a different view to each visitor as they move around the heavily landscaped exterior. Pathways shift above and below the building, breaking down boundaries between the interior and exterior, aiming to get users as close as possible to museum’s unique façade.

Praised for creating ‘tension within the landscape’, the building that houses the Jeongok Prehistory Museum succeeds in creating a compelling environment, transforming traditional and site-specific concepts into a thoroughly modern space. A space so modern and compelling that it can only be criticsed for perhaps overshadowing the content of the museum itself.

Praised for representing the cultural evolution of China whilst accurately reflecting the traditions of the country’s past, the New City Construction Exhibition Center in the Qingpu District of Shanghai features several elements synonymous with Chinese history.

With the site coming in at almost 21,000 square metres, there is plenty of space for interesting design features. Numerous courtyards are present, both privately for those who work within the three storey government building and publicly for those visiting the site. Pools of water surround the construction creating an illusion that the building is afloat, reflecting the historical architectural style of the area. The site has also been landscaped with trees and numerous seating areas in order to encourage visitors to the site.

The detailing of the building also reflects the fusion of traditional and modern Chinese culture. The external facade is dark in colour, using timber and stone present in many of Shanghai’s older buildings. However, whilst the simple linear styling of the building has clear Chinese influences, it is an undoubtedly modern building. Behind much of the wooden facade are floor to ceiling glass walls, offering a transparency rarely seen in Chinese government architecture. Interior courtyards are also surrounded by glass, introducing light to the building and improving the visibility of outdoor areas.

The New City Construction Exhibition Center is a physical manifestation of a changing Chinese approach, and Jiakun architects and their clients have received well-deserved praise for ‘establishing a new standard for government architecture in China’. Young government officials are more comfortable encouraging public interaction – even if it is only within the grounds of their official buildings – and a new breed of Chinese architect is able to create modern buildings that clearly reference the country’s traditions without appearing contrived.

Originally conceived as part of Beijing 2050 – a future-thinking exhibition held during the 2006 Venice Architecture Biennal – ‘Hutong Bubble 32’ appeared on the streets of Beijing for real three years later, and was featured at the Good Design is Good Business China Awards in 2010.

China is experiencing considerable urbanisation, and Beijing’s development is coming at a cost. Traditional areas are being lost to high-rise architecture or becoming theme parks of China’s past – something MAD architects have attempted to address with the Hutong Bubble.

The bubble is attached to the side of a traditional Beijing courtyard house and contains a bathroom and stairs to the roof of the building. The shape of the object is unlike any surrounding architecture, and the shiny metal surface is similarly unique. However, this dramatic difference is integral to the conceptual base of the design.

Aiming to restore the functionality of Hutong neighbourhoods, the bubble introduces modern features to historic buildings, improving the quality of life for those living inside and making low rise areas more desirable to live in. MAD are hoping that Hutong Bubble 32’s bold design can increase demand for housing in Beijing’s traditional areas, saving them from the relentless development of the city.

The metallic surface is intended to both separate and connect the shape to the surrounding area. Whilst being far removed from the traditional design it is surrounded by, the reflective surface can’t help but mirror nearby buildings, establishing a visual link between differing objects.

MAD are hoping that progress won’t always call for large scale developments. Instead, adjustments to the built environment we currently exist in might be enough to cater for both evolving lifestyles and the needs of rapidly modernising Chinese cities. Hutong Bubble 32 is their prototype for this goal.

‘During the course of design and construction, you have to make the project everybody’s business’, said Wang Hui when discussing the design process involved in the creation of the Tangshan Urban Planning Museum and Park- and this transparent attitude has clearly crossed over into the fabric of the building and its surrounding landscape.
Originally a grain depot on the edge of the largely industrial city of Tangshen, Chinese architecture firm Urbanus converted six original buildings, retaining the weathered external features but introducing new roofing and tall, large windows. This latter design change was intended to bring more light into the building’s interior and improve visibility from outside – transparency at work in Urbanus’ plans.

Further connection with the public was encouraged via the landscape architecture of the space. The former enclosure surrounding the site was removed, and each building had a patio installed. A large, shallow pool was then constructed around the development in order to reflect the visually impressive project.

Cultural considerations were also taken into account when attempting to create as broad an appeal as possible for the development. In addition to the park and museum, shopping spaces and cafés are present within the complex, and the site is also host to an antiques fair.

Urbanus’ approach has been hailed as a viable alternative to common development patterns witnessed in China. Rapid urbanisation in China’s largest cities has resulted in patterns of growth that many consider to be poor
reflections of local tradition. In addition to this, smaller cities growing at a slower pace are following the lead of their larger neighbours despite theoretically being able to grow at a much more considered rate.

By basing their design around the needs of the local community, introducing functional improvements to a public space, and retaining certain original features, Urbanus have created a refined urban development worthy of the Best Public Project award at the Good Design is Good Business China Awards.

Held every two years, the Good Design is Good Business China Awards- organised by Architectural Record – awards some of the finest architectural examples in China based on their success in using design to contribute to the business goals of their clients. Called an ‘important force in raising the quality of design in the world’s most dynamic economy’, the 2010 awards nominated 17 projects across 6 different categories.

Listed below are three of our favourite projects which received nominations last year, and in the coming days we shall explore each one in more detail. Make sure you come back to the Zouk Blog to check them out:

1. Tangshan Urban Planning Museum and Park

By converting a former granary shed in Hebei Provence, Urbanus Architecture and Design have created a building applauded for its grace in a fast-moving architectural environment.

2. Hutong Bubble 32

When MAD Architects were tasked with the renovation of a traditional courtyard house, they decided to move away from the building’s historical design elements and instead install an enormous shiny bubble on the side of the building.

3. Shanghai Qingpu District Exhibition Centre of New Town Construction

Setting a new standard for Government architecture in China, Jiakun Architects looked to local tradition and innovation to influence their design. The resulting multi-use space has been cited as an architectural representation of an evolving Chinese culture.

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