Artist:
Zhan Wang
Title:
Blossom Pavilion
Year:
2017
Adress:
Red Town Sculpture Park
www.monitorunlimited.com:
Shanghai studio Atelier Deshaus has teamed up with artist Zhan Wang to create a flower-topped pavilion supported by irregularly shaped slabs of stainless steel.
Designed for Shanghai's Urban Space Art Season, Blossom Pavilion stands outside the entrance to the Shanghai Sculpture Space, which is part of the city's Red Town arts complex.
The starting point for the project was the stainless steel sculptures of Zhan Wang's Rockery Series, which the artist has been working on since 1995.
Atelier Deshaus reinterpreted these forms as structural elements, aiming to create a pavilion modelled on a rock garden. Six slender rock-shaped columns support a solid steel roof, which is topped by plants and flowers.
"We tried to cut the rockery sculpture into pieces to form the spatial order, " the architects told Dezeen.
"And with the adoption of the cast stainless steel, the pavilion demonstrates the quality of reflecting the surroundings into the interior space."
The reflective columns are arranged randomly, rather than at the most structurally efficient points, to reinforce the idea of a rockery.
Atelier Deshaus worked closely with the artist to give the pavilion's columns the same texturised effect as his sculptures.
Wang creates indentations in his metal sculptures by laying thin sheets of steel on natural surfaces such as stone or earth. He then carefully imprints the texture onto the steel by beating it with a padded hammer.
"The artist chose the stone-textured steel as the facade of the slices, " said the architects. "A space divided by a 'sliced rockery' is the main picture in mind."
The roof above the columns is made up of steel plates in varying thicknesses. On top, a manmade landscape is intended to mimic the natural topography of the surrounding garden.
Chambers within the steel grid create planting areas for flowers and plants, while ensuring natural drainage.
Atelier Deshaus is led by architects Liu Yichun and Chen Yifeng. Among the studio's most high-profile projects is the Long Museum West Bund – a contemporary art gallery in Shanghai built around an industrial structure.
www.archdaily.com:
Zhan Wang’s representive project is his rockery sculpture made by stainless steel. The most recent investigate, casted stainless steel, leave a deeply impression on me. Artist leaves a flat, thin and polished stainless steel piece on natural ground or other texture. Then carefully cast the texture on stainless steel by soft packaged hammer. In this way, an industrial material is left with nature information and artificial trace, which is also represented by the specific material behavior."
www.wikipedia.org:
Zhan Wang (born 1962 in Beijing) is a Chinese sculptor. "Zhan Wang's career as an iconoclast began with In a Twinkling (1993), an installation of superrealist figurative sculptures. The figures' style was not new, but the method of installation was: after creating a group of figures in poses of arrested movement, he propped them in unlikely positions outside a building, creating a surrealistic vision of a world gone awry," wrote Britta Erickson in Art Journal.
He is known for being a contemporary Chinese sculptor; however, he is also known in other art forms such as installations, photography and video. His pieces consist of conceptual ideas where he "embraces and subverts several other major traditions in modern art, both Chinese and Euro-American". Many of his works include the use of simplistic object that serve a purpose of telling a complex idea. Many of his ideas that are expressed through his works pertain to Chinese culture.
An arrangement of stainless steel cooking ware that has the appearance of Beijing's Landscape. Zhan Wang keeps the forms of the cookware so the viewer can tell that they are still everyday objects. However, through his arrangement he creates conceptual idea of the Urbanization of China and essentially the imagery of Beijing's landscape. As John Stomberg states:
"His materials are both objects of desire and physical manifestations of the systems (social, political, cultural, and economic) in which they operate: it is precisely the trade in commodities such as cooking tools that is fueling the booming Chinese economy, which is in turn driving the modernization of China's cities. In the work there are many of the same cookware, which represents the urban life of Beijing where many of the buildings are identical to one another."
The implications of Urban Landscape: Beijing make the viewer think about this rapid economical modernization that China is under. The amount of detail that Zhan Wang puts in this work is obvious. He even distinguishes between older parts of the cities by adding frost tips. To distinguish the Forbidden City, he uses low serving trays, dishes and groups of lunch boxes that give it a notable look.
Shanghai studio Atelier Deshaus has teamed up with artist Zhan Wang to create a flower-topped pavilion supported by irregularly shaped slabs of stainless steel.
Designed for Shanghai's Urban Space Art Season, Blossom Pavilion stands outside the entrance to the Shanghai Sculpture Space, which is part of the city's Red Town arts complex.
The starting point for the project was the stainless steel sculptures of Zhan Wang's Rockery Series, which the artist has been working on since 1995.
Atelier Deshaus reinterpreted these forms as structural elements, aiming to create a pavilion modelled on a rock garden. Six slender rock-shaped columns support a solid steel roof, which is topped by plants and flowers.
"We tried to cut the rockery sculpture into pieces to form the spatial order, " the architects told Dezeen.
"And with the adoption of the cast stainless steel, the pavilion demonstrates the quality of reflecting the surroundings into the interior space."
The reflective columns are arranged randomly, rather than at the most structurally efficient points, to reinforce the idea of a rockery.
Atelier Deshaus worked closely with the artist to give the pavilion's columns the same texturised effect as his sculptures.
Wang creates indentations in his metal sculptures by laying thin sheets of steel on natural surfaces such as stone or earth. He then carefully imprints the texture onto the steel by beating it with a padded hammer.
"The artist chose the stone-textured steel as the facade of the slices, " said the architects. "A space divided by a 'sliced rockery' is the main picture in mind."
The roof above the columns is made up of steel plates in varying thicknesses. On top, a manmade landscape is intended to mimic the natural topography of the surrounding garden.
Chambers within the steel grid create planting areas for flowers and plants, while ensuring natural drainage.
Atelier Deshaus is led by architects Liu Yichun and Chen Yifeng. Among the studio's most high-profile projects is the Long Museum West Bund – a contemporary art gallery in Shanghai built around an industrial structure.
www.archdaily.com:
Zhan Wang’s representive project is his rockery sculpture made by stainless steel. The most recent investigate, casted stainless steel, leave a deeply impression on me. Artist leaves a flat, thin and polished stainless steel piece on natural ground or other texture. Then carefully cast the texture on stainless steel by soft packaged hammer. In this way, an industrial material is left with nature information and artificial trace, which is also represented by the specific material behavior."
www.wikipedia.org:
Zhan Wang (born 1962 in Beijing) is a Chinese sculptor. "Zhan Wang's career as an iconoclast began with In a Twinkling (1993), an installation of superrealist figurative sculptures. The figures' style was not new, but the method of installation was: after creating a group of figures in poses of arrested movement, he propped them in unlikely positions outside a building, creating a surrealistic vision of a world gone awry," wrote Britta Erickson in Art Journal.
He is known for being a contemporary Chinese sculptor; however, he is also known in other art forms such as installations, photography and video. His pieces consist of conceptual ideas where he "embraces and subverts several other major traditions in modern art, both Chinese and Euro-American". Many of his works include the use of simplistic object that serve a purpose of telling a complex idea. Many of his ideas that are expressed through his works pertain to Chinese culture.
An arrangement of stainless steel cooking ware that has the appearance of Beijing's Landscape. Zhan Wang keeps the forms of the cookware so the viewer can tell that they are still everyday objects. However, through his arrangement he creates conceptual idea of the Urbanization of China and essentially the imagery of Beijing's landscape. As John Stomberg states:
"His materials are both objects of desire and physical manifestations of the systems (social, political, cultural, and economic) in which they operate: it is precisely the trade in commodities such as cooking tools that is fueling the booming Chinese economy, which is in turn driving the modernization of China's cities. In the work there are many of the same cookware, which represents the urban life of Beijing where many of the buildings are identical to one another."
The implications of Urban Landscape: Beijing make the viewer think about this rapid economical modernization that China is under. The amount of detail that Zhan Wang puts in this work is obvious. He even distinguishes between older parts of the cities by adding frost tips. To distinguish the Forbidden City, he uses low serving trays, dishes and groups of lunch boxes that give it a notable look.