Local architectural firm Vector Architects has completed a stunning new spa in Aranya, China, with a design that blends modern architecture with nature. Known as the Wulingshan Eye Stone Spring, this spa is located in the scenic Yanshi Village, nestled in the Wuling Mountains. The site is characterized by its dramatic cliffs and dense forest, and the spa’s design draws inspiration from these natural features.

Architectural Innovation and Design Philosophy

The Wulingshan Eye Stone Spring spa spans 560 square meters and was built within a challenging site—sloped and small, yet perfectly positioned to offer spectacular views of the surrounding landscape. Vector Architects adopted a vertically layered design to maximize space, incorporating a tall, slender tower for the main spa facilities. A separate service building is connected to the tower by a corridor bridge on each level, ensuring smooth flow and access.

The structure itself is elevated on tall columns, a strategic move to prevent flood risks while also providing spa guests with unobstructed views of the lush foliage. The exterior features concrete walls treated with a bush-hammering technique, resulting in a coarse texture that mirrors the rugged cliffs nearby. A dark-toned transparent coating was applied to create a grounded and subdued aesthetic that complements the natural surroundings.

Incorporating Light and Functionality for a Unique Experience

The design prioritizes natural light, which is limited due to the dense canopy of 30-meter-high poplar trees. To work with this, the architects carefully positioned the spa’s spaces. The lowest level houses the dressing rooms, reception, and shower facilities, benefiting from the subdued lighting that ensures privacy. On the second floor, a relaxation lounge features floor-to-ceiling glass windows that allow guests to immerse themselves in panoramic views of the tree canopies, with large windows that open to let in fresh air during good weather.

The third floor of the spa is dedicated to the bath pools, where eight chimney-style lightwells provide natural light while also offering serene views of the valley cliffs and treetops through strip windows on the west facade.

A Precision-Engineered Space Inspired by Mechanisms

Founder of Vector Architects, Dong Gong, explained, “Due to the very limited site area, the building had to create a rich spatial experience within a confined space. It is similar to a complex mechanical device, such as a precision watch, where many ingenious designs and details are hidden.”

Gong also shared insights into the architectural challenge of designing in a location with limited resources. He mentioned, “Unlike conventional architectural scales, this building functions more like an apparatus, with a meticulously structured interior and precisely coordinated systems.”

Sustainability and Material Choice

While the project’s concrete structure may raise concerns about sustainability due to its high carbon footprint, Gong pointed out that concrete remains the most cost-effective building material in China. “It is difficult to persuade clients to spend more on construction, and materials such as timber often require substantial maintenance after completion,” Gong added. He emphasized that architects must select materials that resonate with the spiritual essence of a location, and in this case, concrete was the most appropriate choice.

The Wulingshan Eye Stone Spring spa is part of a series of architectural endeavors by Vector Architects in the Aranya holiday resort, including a concrete concert hall and a chapel built on the shore, continuing to push the boundaries of design and functionality.

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The protest, which attracted approximately 800 demonstrators, followed a report in Le Monde revealing that the Musée Guimet, along with the Musée du quai Branly, had altered the naming of Tibetan artifacts. The exhibits were reportedly relabeled as originating from the “Xizang Autonomous Region,” a term associated with China. Additionally, the Musée Guimet’s Tibetan galleries were renamed under the broader term “Himalayan world.”

Several Tibetan advocacy organizations in France wrote formal letters to both museums, requesting a dialogue to address these changes.

While the Musée du quai Branly has agreed to meet with the activists, the Musée Guimet has not yet responded to their request.

Earlier this month, Sikyong Penpa Tsering, president of the Central Tibetan Administration in exile, voiced strong opposition to the terminology changes in a letter addressed to key French officials, including the minister of culture and the museum directors. Tsering argued that these changes reflect China’s influence and disregard Tibet’s historical autonomy.

“The terminology shifts are pandering to the wishes of the People’s Republic of China (PRC) government,” Tsering wrote, accusing the museums of aiding a campaign to distort Tibet’s historical independence. He added, “It is particularly disheartening that the said cultural institutions in France—a nation that cherishes liberty, equality, and fraternity—are acting in complicity with the PRC government in its design to erase the identity of Tibet.”

Activists claim that by altering the labeling of artifacts, the museums are contributing to Chinese efforts to undermine Tibetan cultural heritage. The protesters demanded the immediate restoration of the term “Tibet” in both museums’ exhibitions, emphasizing the importance of recognizing the distinct identity and history of the region.

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In 1989, Mr. Walz and his wife, Gwen Whipple, who is also a teacher, spent a year in China teaching English and American history.

Mr. Walz described the experience as “one of the best things I’ve ever done.” Before entering politics, the 60-year-old governor of Minnesota was a history teacher and football coach.

Fresh out of college, Walz’s decision to teach in China brought him to the country during a tumultuous time. The same year as the Tiananmen Square massacre. On June 4, 1989, Chinese military forces violently suppressed pro-democracy demonstrators in Beijing. Resulting in an unknown number of deaths, with estimates reaching into the thousands.

On Chinese social media, users discuss 1989 obliquely to avoid censorship. One user commented, “If you know, you know.” Others noted that foreigners in China at that time tend to be “the most anti-China.”

Some users emphasized that 1989 was a vastly different era for China, preceding its rise as a global manufacturing hub and economic powerhouse.

“This candidate was in China at a very different time. The atmosphere was very different,” one comment read. Despite this, there is hope that Walz’s background could foster better US-China relations amid ongoing trade and geopolitical tensions. A Weibo user remarked that Walz’s “unique background gives him a real perspective on China” and could “promote cultural exchanges between China and the United States at a time when… relations are extremely difficult.”

Walz taught at Foshan No. 1 High School through a Harvard University volunteer program. Upon his return to the US, he praised the Chinese people’s potential, saying, “They are such kind, generous, capable people.”

Walz and Whipple married on June 4, 1994, the fifth anniversary of the Tiananmen Square events. Whipple noted in an interview that her husband wanted a memorable date. The couple later founded a business organizing educational trips to China for American students.

There has been little official reaction from Republicans regarding Walz’s time in China. However, some Trump allies, such as Richard Grenell, a former acting director of National Intelligence, have critiqued the nomination, claiming that “Communist China is very happy with @GovTimWalz as Kamala’s VP pick” and labeling Walz as “pro-China.”

The Chinese government has yet to comment on Walz’s nomination.

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Tickets for World Art Dubai are available on Platinumlist: https://shorturl.at/ekqI8

Dubai, UAE, 26 April 2024: World Art Dubai (WAD), the largest contemporary art fair in the region, is poised to celebrate its 10th edition. This year WAD will unveil 12 international pavilions dedicated to showcasing the vibrant artistic diversity from different countries and regions. From 2^nd to 5^th May 2024, art enthusiasts will have the opportunity to explore artworks from different pavilions. Namely, the UAE, America, Asia, China, Europe, GCC, India, Iran, Japan, Russia, and the UK, highlighting the universal language of art that transcends borders.

The fair, held at Dubai World Trade Centre in partnership with Dubai Culture, will feature over 4,000 artworks from over 65 countries. It will be presenting a dynamic snapshot of Dubai’s unique blend of local and international influences. The fair will be reinforcing the city’s position as an arts powerhouse for the Global South, elevating the global positioning of WAD

As a matter of fact, the international pavilions also stand as cultural gateways. Each offers a unique window into the country or region’s artistic heritage and contemporary creativity. From the traditional to the avant-garde, these pavilions curate a rich tapestry of artistic expressions. They underscore the universal language of art that unites us all. Each pavilion is a testament to the global nature of World Art Dubai and its commitment to fostering cultural exchange and appreciation. Moreover, it is adding positive economic impact to a city where 9% of the GDP comes from tourism.

World Art Dubai’s landmark 10^th edition will showcase a diverse array of pavilions and artists from around the world.

UAE and GCC Pavilion Highlights

The UAE and GCC Pavilions will spotlight both the talent of residents who call Dubai home and talented citizens. Undoubtedly, this demonstrates how the two populations exist and interact through their creative drives. These artists include Daria Avdeeva, Javeria Khan, and Francine Kaspar. They present their vibrant artworks, harmoniously blending classical techniques with contemporary interpretations, reflecting the UAE’s multicultural identity. Additionally, Hend Rashed, a Dubai-based abstract artist, will present her dynamic creations. Distinctly, with a repertoire spanning seven years at prestigious exhibitions worldwide, including in Singapore, Oman, and Italy, Rashed’s artistry has garnered recognition. She has earned nominations for the UAE Residence Artist Award by World Art Dubai for three consecutive years.

Bahraini artist Leena Al Ayoobi, Iraqi artist Nabil Ali, and Lebanese artist Lydia Moawad will showcase their unique artistic visions. They blend cultural influences and personal experiences to create compelling artworks. Specifically, their pieces demonstrate the wide variety of styles and cultural influences in Middle Eastern art.

Representing Diverse Global Regions

The pavilions of World Art Dubai feature artistic fusion among cultures, continents, and art schools that converge in Dubai from diverse global regions. The Europe Pavilion is curated by Tablinum Cultural Management. It presents innovative contemporary art, with artists like Tatiana Kramarenko, Follow Med, and Petr Shebarshin exploring themes of chaos, spirituality, and life’s profundity. China’s presence, facilitated by Artaflo Collective from Hong Kong, reflects the belief in art as a universal language. India’s offering showcases the dynamic art scene. This includes Sanuj Birla’s pop art, Raihan R Vadra’s immersive installations, and Niyati Parekh’s art and interior design.

Japan Promotion’s ‘Japan Tide’ project presents a curated blend of traditional and contemporary Japanese arts. The Russia Pavilion, featuring Igor Kirillov and IMMI Art, offers immersive experiences in romantic hyperrealism. Iran’s pavilion, represented by Ronas Gallery and Negara Group, highlights the vibrant contemporary art scene. In addition, insights from America, Asia, and the UK are incorporated, including contributions from the Museum of Modern Renaissance, Art Muse Gallery, and Lenny Lopes, respectively. These offerings provide fresh perspectives and innovative approaches to art.

Asma Al Sharif, Assistant Vice President at Exhibitions, Dubai World Trade Centre remarked about the fair. She said, “World Art Dubai’s 10th edition underscores our commitment to making art accessible and celebrating the diversity of the global art scene. The 12 international pavilions serve as portals, inviting visitors to immerse themselves in a vibrant mosaic of artistic expressions and explore a rich tapestry from around the world.”

Spotlight on Legacy and Innovative Artists

Notably, legacy exhibitors include Japan Promotion and Art Plus Photographers Production who have been loyal exhibitors at the fair for the past eight years. This signifies their longstanding commitment to World Art Dubai. Alongside them, new artists like Rinko Lim and Liz Ramos-Prado bring fresh perspectives to the Dubai art scene.

Rinko Lim uniquely blends art, design, and energy therapy. She harnesses her experiences from the United States to delve into themes of self-discovery and spiritual wellness. Meanwhile, Liz Ramos-Prado seamlessly merges graphic design with fine art, bridging the gap between commercial and personal artistic expressions. With a decade-long career in the UAE’s media and design landscape, Ramos-Prado’s work delves into the intricacies of human emotion.

With Hotel Indigo Dubai Downtown, the first certified boutique hotel in the UAE, proudly serving as the fair’s Art Hotel Partner. Additionally, Al Hathboor Group have joined WAD as Artistic Sponsor. There is an anticipated turnout of over 15,000 visitors at World Art Dubai 2024. The fair promises an immersive cultural journey, celebrating the transformative impact of art and its ability to forge global connections. Secure your tickets for World Art Dubai now on Platinumlist: https://shorturl.at/ekqI8.

For more information, visit www.worldartdubai.com

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A highlight of the exhibition is its homage to the monumental project “A Comprehensive Collection of Ancient Chinese Paintings,” which meticulously catalogues images of paintings spanning over 2,000 years. Divided into two sections, the showcase provides a comprehensive view of Chinese artistry, past, and present.

The archival section presents 100 high-fidelity prints of revered Chinese paintings housed in museums worldwide, accompanied by documents detailing their journey from creation to acquisition. This segment serves as a bridge between cultures, offering insights into the historical and artistic significance of these treasures beyond China’s borders.

Complementing the archival display are contemporary works by acclaimed artists, each drawing inspiration from themes prevalent in ancient Chinese paintings. From architecture and landscapes to figures and gardens, these modern interpretations seek to make Chinese art more accessible to Western audiences by employing familiar artistic languages.

Curator Wang Xiaosong emphasizes the exhibition’s mission to showcase the beauty and cultural essence of Chinese ink paintings, bridging cultural gaps through art. Through installations like Zhu Jinshi’s “Rice Paper Pagoda,” which juxtaposes traditional symbols with global perspectives, viewers are invited to contemplate the universality of artistic motifs across cultures.

Che Jianquan’s video installation “Pavilion” offers a visual journey through time and space, juxtaposing images of a pavilion on Lushan Mountain with pavilions from around the world. This multimedia approach highlights the interconnectedness of cultural symbols and invites viewers to explore the nuances of cultural expression.

Qiu Zhenzhong’s “Status Series” sculptures pay homage to calligraphy, the foundation of Chinese ink painting, by replicating brush strokes in concrete lines. This integration of traditional techniques with contemporary materials underscores the enduring relevance of Chinese artistic traditions in the modern world.

Adding a dynamic dimension to the exhibition is Wang Zhenghong’s performance art, where the artist interacts with visitors while adorned with 10,000 bird-shaped accessories. This whimsical yet profound gesture embodies the spirit of ancient Chinese paintings, which often feature birds as symbols of freedom and inspiration.

Incorporating poetry, nature, and cultural symbols, the exhibition offers a holistic representation of Chinese artistic heritage, inviting audiences to engage with its timeless beauty and cultural significance. As China continues to assert its cultural presence on the global stage, exhibitions like “Atlas: Harmony in Diversity” serve as poignant reminders of the enduring legacy of Chinese artistry.

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In the letter, dated May 21 and published by state news agency Xinhua, President Xi acknowledged NAMOC’s accomplishments over the past decades, recognizing its achievements in collection building, exhibitions, public education, and international exchanges. He commended the museum’s successes, which have occurred against the backdrop of China’s thriving art scene.

President Xi outlined his vision for the museum’s future, expressing his hope that NAMOC would persist in upholding a politically correct direction, placing people first, and practicing the core values of socialism. He urged the museum to strive to become a world-class art institution, elevating the cultural standards of the nation and the people. President Xi Jinping emphasized the importance of NAMOC’s role in promoting China’s cultural confidence and the glory of socialist culture.

The publication of President Xi’s letter coincided with recent actions taken against China’s cultural sector. These include the banning of comedians, cancellations of concerts by foreign music acts, and an attack on the artwork of renowned Chinese contemporary artist Yue Minjun for allegedly insulting the military.

Established in 1963 under the leadership of Mao Zedong, the National Art Museum of China is one of the country’s largest art museums. Its extensive collection of over 130,000 items encompasses historic Chinese works, including those by renowned poet and calligrapher Su Shi, as well as pieces by modern masters such as Qi Baishi, Wu Guanzhong, and Chu Teh-chun. Western art, including works by Picasso and Dalí, is also part of NAMOC’s diverse collection.

The museum, in addition to fulfilling its mission as a public-facing institution promoting artistic excellence, emphasizes its role under the guidance of Xi Jinping Thought. This ideology champions socialism with Chinese characteristics for the new era and emphasizes the rejuvenation of the Chinese nation.

President Xi’s letter serves as a reaffirmation of the Chinese government’s focus on maintaining political correctness and aligning cultural institutions with the core values of socialism. It underscores the significance of NAMOC in shaping the nation’s artistic landscape and its contributions to the prosperity and cultural confidence of China.

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The Chinese stone carvings are believed to have been unlawfully removed from a Chinese tomb in the early 1990s. They were then loaned to the Metropolitan Museum of Art in 1998 by collector and philanthropist Shelby White, who currently serves on the museum’s board of trustees. The artifacts had remained in storage at the museum for the past 25 years, never being publicly displayed. The circumstances of how White came to possess the pieces are unclear.

During a repatriation ceremony held at the Chinese Consulate, Consul General Huang Ping highlighted the significance of cultural property as a link between the past and the present, connecting different countries and cultures. He expressed the importance of combating crimes against cultural property as a sacred mission.

The intricate stone carvings, weighing over 1,000 pounds and spanning several feet in length, depict scenes from the Zoroastrian religion. The carvings feature various symbols, including demons, dogs, and masked caretakers of the sacred flame.

District Attorney Alvin Bragg expressed his regret that these remarkable antiquities had been stolen and kept hidden from public view for nearly three decades. He emphasized that their value, estimated at over $3 million, extends beyond a price tag, as their beauty and historical significance cannot be measured.

These two carvings are just a fraction of the larger investigation into Shelby White’s collection. The Manhattan District Attorney’s Office, led by assistant district attorney Matthew Bogdanos, seized a total of 89 antiquities from 10 different countries as part of the ongoing criminal investigation. The combined value of these objects is estimated to be nearly $69 million.

The investigation, which has been ongoing for years, led to a search warrant being issued for White’s New York residence in June 2021. Authorities seized five artifacts during that search and discovered an additional 18 objects during a subsequent search in April 2022.

In February of this year, the investigation concluded, and Matthew Bogdanos filed a statement with the New York State Supreme Court. The statement confirmed that White had fully cooperated with the investigation, and there was no evidence to warrant charging her with any criminal activity related to the purchase and possession of the antiquities.

When asked for comment, Bogdanos simply stated that they had conducted a criminal investigation, seized stolen antiquities, including the Chinese carvings, and repatriated them to their lawful owner, China.

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The report’s findings described the 2022 picture for dealers, auction houses, and others in the trade as one of “muted growth,” even though the overall sales figure for this year was higher than the market’s pre-pandemic level. The survey found that the US remained the largest national market, occupying 45 percent of the total value share, up 2 percent from last year. In second and third place were the UK and China, accounting for 18 and 17 percent of sales, respectively. This year saw the UK replace China as the second-largest market hub, which fell by 3 percent in market share from 2021. The US saw sales increase by 8 percent, to around $30.2 billion, in 2022, while sales in the UK increased by 5 percent, reaching $11.9 billion. For the market in China, numbers were down significantly as prolonged lockdown policies stalled business, with sales declining by 14 percent to $11.2 billion in 2021.

McAndrew described some of the report’s findings as a “mixed bag” of financial performances across various parts of the business. However, the vendors taking part in seven-figure art sales are benefiting from increased concentrations in billionaire wealth. There is a part of the business where the number of sales of works priced over $1 million has been doing much better than everything below that. McAndrew described that finding as an “extreme” part of a longer-term trend that’s seen bigger commercial players dominating smaller peers.

Gallery sales reached $37.2 billion in 2022, marking a 7 percent increase from 2021. Surveys of the dealer community found that larger galleries (ones that have an annual $10 million turnover) saw a 19 percent increase in their average sale figures in the last year. Meanwhile, smaller galleries struggled, with rising operating and logistical costs for dealers and collectors putting increased pressure on deal-making, where discounts were a growing request. Gallerists with annual sales of $250,000 or less saw a 3% drop in sales in 2022. For mid-to-small-sized dealers, the bulk of sales made to new buyers also fell in 2022, the report found.

Meanwhile, public auction sales reached $30.6 billion, down 2 percent from 2021, but still 11% higher than the pre-pandemic 2019 level. Private sales at auction houses generated $3.8 billion, down from the $4.1 billion reported in 2021. Despite the drop, the market continues to be top-heavy, with the high-end of the trade faring well even when economic forces present hurdles. At auction houses, the number of sales of artworks with price tags over $10 million rose by 12%, while artworks at lower-value tiers saw those volumes drop between 2022 and 2021.

NFTs saw the market’s starkest decline in the last year. Since the boom in 2021, many collectors appear to be shifting focus away from art-related NFT sales. NFT sales via online platforms accounted for sales of close to $1.5 billion

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A government official said of the plan, “The Jinghe New City Culture and Art Center will promote the highest standards of construction throughout the city. The project demonstrates Jingue New City’s desire to provide architecture and urbanism of the greatest quality by creating a variety of new public places to serve the community.”

The public spaces will include networks of raised pedestrian walkways that lift visitors above the eight lanes of car traffic that intersect the property, according to new renderings of the facility.

The center weaves through the city to link its commercial and residential districts with the parks and river to the south, while also bringing the city’s residents into the heart of the building and providing direct access to the planned metro station, according to a statement made by Zaha Hadid Architects at the time the concept was unveiled.

A high-tech headquarters for BEEAH Group will be opened in Sharjah, United Arab Emirates, in 2022, marking the completion of one of Zaha Hadid Architects’ last projects before she passed away. According to reports, the company is also creating a metaverse metropolis for Liberland under the direct supervision of the principal, Patrik Schumacher.

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• The National Centre for the Performing Arts is located in the heart of Beijing. The main construction is the unique shell shape, 46.68 meters high, and the only one of its shape in Asia.
• The exterior of the theater is a titanium accented glass dome that is completely surrounded by a man-made lake, it consists of 18398 pieces of titanium plates and 1226 pieces of super white glass.
• It is covered with 18,000 titanium plates and integrated with more than 1,000 sheets of ultra-white glass. The titanium shell is divided into two by a curved glass curtain, gradually widening from the top to the bottom, where it measures 100 m in width.
• Due to its form, the building is called “The Giant Egg”. The whole project started in December 2001. After more than five years of construction, it was finally completed in September 2007.

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