The Ming Chair was a piece of furniture once reserved exclusively for people of power, but in present day China – and the rest of the world, in fact – the Ming chair has been transformed into an item for anyone. These five contemporary interpretations offer a different view of the Ming Chair, some with more practicality than others!

Plastic Classic

Designed by Taiwanese Industrial Designer Pilu Wu, the Plastic Classic chair combines the traditional chair back of the Ming Chair and an ordinary plastic stool. The product is coated in resin and is intended to represent the fusion of history and modern culture in Taiwan.

Project no.1 of 2004 chair

Not the catchiest name, but also not the most practical chair! It’s no surprise that this chair is not designed to be sat on. Chinese artist Shao F an instead took apart the pieces of a Ming Chair and attached them within an acrylic frame. The Ming Chair was once inaccessible to many as a result of its status, and in Shao Fan’s piece it remains inaccessible once again, for an entirely different reason.

Steel Chair

Another interpretation by Shao Fan, this time taking a bit more of a practical approach. The brushed steel provides a modern touch, though the shape of the chair itself clearly references the traditional Ming Chair. And you can sit on this one!

Gao Yiqiang’s Ming Chair

Yiqiang’s variation of the Ming Chair is also made from steel, and has some obvious similarities to Fan’s Steel Chair. Yet Beijing-based designer Yiqiang also uses glass, for the seat and chair back. Though there are clear references to the Ming Chair, Yiqiang also takes inspiration from Europe, with the shape and materials of choice reminiscent of classic Bauhaus design features.

King Chair

Do you enjoy the classic design of the Ming Chair but also the simple shape of a modern chair? With this design there’s no need to choose between the two. Shao Fan’s again showcase his deconstructive process in this piece, joining furniture of contrasting styles and methods. This variation slices a Ming Chair through the middle, inserting a simple black chair in between. and as usual, Shao’s creation bridge between fine art and furniture and this King furniture is no exception.

1. Transparent house

If privacy is important to you, Japanese architect Sou Fujimoto is probably not the guy you want to commission to build you a house. The clue is in the name with this one. It’s a house, but it’s almost entirely transparent.

2. Narrow Horinouchi house

Believe it or not, there’s a bedroom, kitchen, living room, and dining room on the top floor of this building. They’re probably not very big, but you’ve got a river view to make up for that. And there’s even a ‘sheltered parking space’ beneath the first floor overhang. If you can call that sheltered.

3. The Cat House

If you’ve got kids, you’ll need a house that can cater for them. If you work from home, you’ll probably need an office. But what about your cat? Whilst most people would be happy for their cat to just deal with it, apparently not everyone feels that way, with this Tokyo home designed around the movements of the client’s cat.

4. Slide house

Stairs are a bit 20th century, right? This Tokyo home has three floors, with a slide running through all of them. If you’re the sort of person who needs to get downstairs quickly, you might actually want to live in this one.

5. House on house on house

Sou Fujimoto is at it again, with a development we have featured on the Zouk blog before. If you’re after a traditional-shaped house with walls that people can’t see through and an ordinary pitched roof, then you could get that here. Except these houses are piled one on top of the other, creating a tower of ‘normal’ houses.

Melbourne might not be the biggest city in Australia, but it certainly has some of the most interesting architecture. About an hours drive south-west of the city centre lies Mornington Peninsula, home to what we at Zouk think is some of the most boundary-pushing residential architecture in Australia. Here’s three of our favourites.

Letterbox House by McBride Charles Ryan

Considered to be a creative interpretation of classic suburban Aussie architecture, McBride Charles Ryan have designed a house that’s more reminiscent of Uluru than Mornington, whose deep red wooden exterior rises from the ground to contain a family home with semi-concealed verandas. The interior is of course defined by the dynamic shape of the building itself, with liberal use of reds and golds further exaggerating its unusual form.

St Andrews Beach House by Sean Godsell Architects

The walls of this building might be more vertical than the Letterbox house, but it’s certainly not a traditional addition to Mornington Peninsula. Once again, the evolution of suburban Australian architecture is evident in this building, with the oxidised steel ‘skin’ surrounding the building blurring the lines between indoors and outdoors. Verandas are sheltered by the industrial flooring which makers up the exterior skin, and indoor areas can become more connected with the outdoors due to the hinged opening of the building’s protective layer.

Bottle House by McBride Charles Ryan

McBride Charles Ryan clearly aren’t struggling to get work in this region, and the Bottle House is another interesting addition to the area’s architecture. As with the Letterbox House, this building rejects the 90 degree angle, instead creating an exterior which seems to fall and fold in a manner reminiscent of origami. The internal courtyards created by the building’s form also suggest an Asian influence, with the architects view that it creates a ‘sense of being both near and far from all residents’ further reinforcing the courtyard house vibe of this Aussie holiday home.

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.