Three grown-ups join forces to settle by the river
When an architect, artist and composer collaborate on one large-scale work for an exhibition, there has to be something different.
And that doesn’t even mean that Liu Yichun, Qiu Anxiong, and Jin Wang are all big names in their fields.
Organized by Art Pioneer Studio and L + MALL at the Lujiazui Center, the work “How It Flows On” combines the redevelopment of the space by architect Liu, the animation of the silhouette of the artist Qiu and the polyphonic music by composer Jin, connecting APSMUSEUM and Riverside Passage through the immersive and interactive installation for the public.
Organized by Li Xiangning, dean of the College of Architecture and Urbanism at Tongji University, the exhibition attempts to achieve large-scale trans-spatial, trans-temporal and transdisciplinary work.
Although the APSMUSEUM is in a bustling shopping mall and the Riverside Passage is along the Yangpu River, an on-site transmission would simultaneously reflect the exact river scene seen from Riverside Passage on an LED screen at the APSMUSEUM.
The installation also includes images of humans and drifting objects.
“In 2020, after the lockdown of physical space, the role of virtual space in our daily urban life has become ubiquitous,” said Robin Wong, Founder and Director of APSMUSEUM.
“In this sensory encounter woven by multiple spaces, visitors can experience the flow of time at APSMUSEUM, Riverside Passage and other places by contemplating the inconstancy of everything in the space that brings together the new and the the old, the virtual and the real.
She says APSMUSEUM will connect with different cities in China and abroad for “How It Flows On”, and the famous “A Lonely Library” at Anaya Art Center in Qinhuangdao, north Hebei Province. from China, is also on this year’s list. Visitors to APSMUSEUM were then able to attend a live screening of “A Lonely Library”.
It’s a bit of a surprise that Liu, one of the hottest architects in China today who rose to fame thanks to the Long Museum on the Western Bund, sneaks in time for his full schedule for this installation.
“This is not the first time that I have collaborated with contemporary artists, and I have worked with Zhan Wang and Ding Yi before,” Liu said with a smile, “Industrial ruins and contemporary art are the main ones. elements that attract me here. ”
Artist Qiu is known to bring surrealist experiences through his animations, leading viewers to wander in his “contemporary mythical” world. These figures and objects of the animation flow freely in the void, then disperse and disappear over time.
Composer Jin also has a connection with the contemporary art circle. Previously, he used his music to connect people and objects that may seem unrelated.
Dates: Until July 15 (closed Mondays), 10 am-10pm
Main location: APSMUSEUM, No.301, L + Mall, 889 Pudong Rd S.
Sub-location: Riverside Passage, Yangshupu Gas Factory Wharf
Talented architect sees a place for flaneurs of the world
Born in 1969 in Haiyang, Shandong Province, Liu Yichun is widely recognized as one of the best Chinese architects.
A graduate of Tongji University, handsome Liu was a “campus prince” in the eyes of his peers. He not only excelled in his university studies, but also embarked on a smooth career path right after graduation. When most of his classmates were buried in drawing basic designs, he quickly became the chief architect of Tongji Architectural Design.
As a founding partner and principal architect of Atelier Deshaus, he has designed and transformed distinctive works that bear rich and deep histories, including the Long Museum West Bund, the Taizhou Contemporary Art Museum, the Modern Art Museum (Shanghai) and the 80,000 ton silos on Minsheng Wharf.
Liu has participated in a variety of major international architecture and art exhibitions in more than 15 countries and regions.
He has also lectured at numerous universities and institutions such as the Harvard Graduate School of Design, the University of Hong Kong and the Institut d’Architecture de France.
Its representative design project, the Long Museum West Bund, received the AR Award for Emerging Architecture by Architectural Review and the 2019 Best in Show Architecture Honorary Award by AIA China.
He collaborates with artist Qiu Anxiong and composer Jin Wang, both leaders in their field, on a newly opened exhibition, “How It Flows On”, at APSMUSEUM in cooperation with Riverside Passage which runs until 15 July.
Q: As a child, have you ever dreamed of being an architect?
A: No. In fact, I didn’t know anything about architecture at the time. I was good at both Chinese and math in middle school. But my father, a Chinese teacher, suggested that I study science because he thought it would be easier to find a job in science.
Architecture is something between liberal arts and science. Unfortunately, I hadn’t learned a basic painting technique before, so it was quite difficult in my first year.
Q: What were the three basic requirements of a good architect that you thought about when you were young? Now several decades later, a change?
A: Good painting skills, keen observation skills and a complete ability to balance technique, philosophy and art.
… Today just take good painting skills with you.
Q: Tell us about your renovation of the “Riverside Passage”, a public artwork along the Yangpu River?
A: Riverside Passage was previously a site used as a coal handling dock. There is a slope 90 meters long and 4 meters high to prevent the coal from falling into the space between the high quay and the flood wall. Along the passage, dust and dirt accumulated, and seeds of plants out of nowhere began to sprout and turned into tall trees.
The Riverside Passage uses the long, solid concrete structure as the basis for future construction. It would be a base and a podium which have fundamental meaning for a ramp through the space between the flood wall and the quay.
The one-sided pitched roof effectively defines the space inside and outside the passage. Between the quay and the bank, there is a garden with a feeling of desertion as well as a ground corridor with eaves.
The long-lost coal handling dock is now polished and used as a playground for roller skating. The ground, the flood wall and the intermediate structure form a new entity, where people can stay or pass. A place for an everyday flaneur (vagabond).
Q: “Vault-Umbrellas” is an original structure you designed for the Long Museum West Bund. How did you get the idea?
A: The prototype of a modern art museum comes from the Imperial Palace where paintings were displayed from room to room.
However, I was thinking of another display mode instead of these separate pieces, to let the walls work. When the design began, there was a preserved coal hopper unloading bridge and a two-story underground car park, which was built two years ago as part of a building with the above-ground portion still being completed. .
Various combinations of “umbrella-vaults” from different directions create multiple meanings for the above-ground space. The mechanical system is integrated into the hollow space inside the “umbrella-vault” structure. Together they cover a square site and interior space.
The interior walls and ceilings are both poured concrete. Their ambiguous geometric delineation creates a unique spatial experience offering both a sense of protection and a sense of freedom.
Q: Why are you so drawn to “ruins”?
A: Over the past few years, my projects have become more and more concerned with ruins. For me, a ruin gives a feeling of freedom and this is where the energy of nature is hidden. It is also a root metaphor that transcends cultures. When a building returns to nature, a neutral structure emerges. It makes me realize that such a structure-scape is still latent inside the architecture and that’s why we might find a way to continue our work with the ruins.
In my recent work, one approach is to enliven an existing ruin without destroying its natural qualities, and another approach is to deliberately create a feeling of ruin in new buildings.
Q: Is the Long Museum West Bund a milestone in your career? How long have you worked on this project?
A: I spent almost two and a half years on the Long Museum West Bund. Of course, he received high accolades from the architectural community and the public. But I refuse to consider it the pinnacle of my career, and now I am striving to create my next milestone.
Q: When did you first learn about contemporary Chinese art?
A: Pretty early. My partners and I built a triplex house in Kunshan, Jiangsu Province, in 2002. The style and structure of the house was quite unique at that time. Artists Xu Zhen and Yang Zhenzhong asked us to randomly record inside the house with a video camera, and later they created a short video based on our recording. The video was screened at the 2002 Shanghai Biennale under the theme “Urban Creation”.
In the following years, I collaborated with sculptor Zhan Wang and painter Ding Yi, all pleasant experiences for me.
Q: If you have a day off, what will you do?
A: I prefer to go whenever I can in the mountains.
After breakfast, I go back to sleep. Then lunch and walk in the mountains, again take a nap in the afternoon. After dinner, look at the stars in the sky.
You can see how exhausted I am now! Frankly, not only was the heavy workload, but the continuous communication and compromise with customers far exceeded expectations.
Q: Who is your favorite architect?
A: There is a group of architects that I have admired at different times.
But now to me, they no longer seem insurmountable. However Louis Kahn (1901-1974), a figure between modernism and contemporary architecture, which I did not think much about before, had a strong impact on me when I saw one of his buildings in 1999 in Los Angeles, United States. The building has a very simple and ordinary view, but it is so touching when you step inside.