Urban space link

Article about public urban space in China

Shaghai Street Furniture

Ideas
"Reduce reuse recycle"
The most ecological process (sustainable) would be to reuse furniture which is being thrown out.
It needs to be able to survive out of doors. One idea is to latex coat the furniture (ideally using natural latex).
Cement production accounts for a massive percentage of greenhouse gases (up to 40% even?) so should be avoided. Using hemp instead of sand and gravel is a more ecological approach (hemcrete see below).
It would be good to use local products/refuse, reusing and customising it for the purposes of the project, either for short term or long term use.
Below info from: http://www.binhaitimes.com/hemp.html
Hemp Concrete & Insulation
Hemp hurds are not only very absorbent, but are also uncommonly rich in silica. When mixed with lime, hemp hurds change from a vegetable product to a mineral. In this mineral state it is often referred to as hemp stone, and it weighs between 1/5 and 1/7 that of cement based concrete. Several hundred houses have been built in Europe using this material. Research is ongoing in the UK and Germany, where hemp hurds have been used for the construction of floors since the mid 1900s. Sometimes the hemp hurds are mixed with lime, water and either gypsum or river sand. When it is poured it hardens, and becomes mould and insect resistant. It can be used in drywall construction between formwork, as an interior and exterior insulation or be poured as a floor. The formwork can be removed within a couple of hours.
One advantage of hemp concrete is that it makes it unnecessary to have several layers of conventional building materials – it is outer and inner wall, and insulation all in one – it can replace bricks or cement-concrete, a vapour barrier, insulation, and plaster board or panelling. All that is needed as a finish is an exterior coat of whitewash to which pigments can be added if desired. The interior surface is an attractive cork-like texture that can be waxed or varnished (using a hemp based varnish).
One of the most popular hemp concrete products is Isochanvre, a French product. The manufacturers claim:
* excellent acoustic insulation
* breathes, prevents condensation
* self-draining and waterproof
* non-flammable (no toxic combustion products)
* resistant to rodents, termites, insects, fungi and bacteria (because of the silica content)
easy to use, flexible and crack-resistant
China is currently the prime producer of hemp textile. China has had an uninterrupted hemp trade for approximately 6000 years.

info on Chinese wood

Lots of useful information here.
http://www.sh-antique.com.cn/furniturematerial.htm

this looks interesting

http://www.icshanghai.com/tv/ics/2008-09/02/cms371880article.shtml

this looks really interesting, a 15 minute programme broadcast daily:

Cool Edition, a concept that aims to bring the Chinese closer to the world and the world closer to the Chinese. A program that has a finger on the pulse of global trends and entertainment industry.

Every day, an exciting 15 minutes“magazine-style”global trend report, co-produced by International Channel Shanghai and ITN, a leading British news producer, combines the best of both China and the UK to create, inspire, entertain and more importantly tailor content for local audiences in China.

Seems to be concerned with the idea of mirrored projects

grass is always greener type polemic

Charlotte's Better city, Better life Caoyang Project Presentation, November 2008

My name is Charlotte Cullinan. I am director of the Fine Art Ma Art and Space programme at Kingston University in England.

I am also a practicing artist and known for my collaborative attitude to art making alongside my art partner Jeanine Richards. This is my first presentation here in shanghai so I will proceed in phases.

Phase 1:  my background within the beter city better life Caoyang project:

My teaching practice and philosophy involves a deep concern regarding the reality of an artwork.

The very international nature of the course I run is of great interest to me as is the dissemination of an artwork.

Last Summer I worked closely on a project set between shanghai university and the ma art and space students back at Kingston. Whilst I stayed in Kingston my colleague Louis Nixon together with some students from Fine Art at Kingston came to Shanghai for a project.

The project culminated in an exhibition in collaboration with students here in Shanghai and a live web cam feed of drawings of the attendants at the viewing of the exhibition web camed by the students in kingston.

Following on from this highly productive project, Lu Jan visited us in October to present the’ Better City Better Life’ Caoyang Project, and the process for the development of an international exchange, student-led project began to evolve.

The Process development began with an outlined brief devised by myself and Louis Nixon together with Lu Jan, and is meant as a guideline only, through which the students can evolve the project.

Very much taking on board a deep rooted questioning of how an artwork can operate given the variables within in it,

this project comes from a basic philosophy that is concerned with making decisions that use a broad spectrum of responses that have to do with imagination as well as a number of other things that concern the presentation, production and use of an artwork.

This project is about the reality of an artwork -

An artwork that operates in the public domain rather than a bit of public art -

The project has a very specific set of controls and focuses on process and outcome as a doing word rather than an adjective.

As a matter of fact the question is maybe what is the work about. Perhaps it is about experiences that we can have where we shift from  normal expectations or limits.

Our proposal for the Caoyang project invites the students from Kingston ma art and space and students from shangai university college of fine art to work closely and in teams to create what we have loosely termed ‘ platforms’ on which to disseminate ideas and make temporary art works through event.

The focus is very much on a student led and activated project.

The intended artworks are not meant as a thing which one focuses on for a final experience.

Instead they are meant as an intermediary experience, the idea, of course, being that the rest of the world is always there anyway, and that the work is meant to be an equivalent object/event in the world rather than a SPECIAL object in the world.

So we are saying that we are making a kind of structure or system with the students - that suspends anything and everything within it that they have chosen with regard the Caoyang project – it’s structure, it’s people, it’s histories etc.

The type of models of content we have been discussing so far are:

 

1.           Museum of the local

2.            Cinema

4.           Radio station

5.            Music\performance platform

6.            Billboard and imprint

7.         

8.           life of the future

9.            School of Cultural Discourse

10.          Platform for histories

 

phase 2: a background to show students how a collaborative work might happen:

Here is a short film showing students from the art and space programme at kingston talking about their ideas behind a project envolving a live radio station and programme of events as part of a collaborative module.

This film shows a workshop where the students make a live radio programme. The model of teaching by introduction to a theme allows the students a great deal of freedom of thought at the same time as containing itself in a necessary exhibition\event style structure.

In the film the students describe how they view their personal outcomes and contributions to the wider project as well as discuss the nature and problematics of a functioning artwork and it’s ability to operate outside a gallery space.

At the end of the film there are some initial stage concept drawings for the Caoyang project Better City Better Life made by the students.

This, I hope gives you an idea of how a project of this nature can evolve and demonstrates a kind of successful working teaching model.

 phase 3: site visit, location and future participation:

Now I am here for this next stage in the process and working with a team here at Shanghai University College of Fine Arts. I am very pleased to be here indeed and to be working with a team of like-minded colleagues and students.

The team here comprises Ming Ming, as project manager, Zhao Jongwei as interpreter of ideas, Lu Jan as shanghai coordinator of students and myself as coordinator of students from Kingston, alongside students from both universities.

Wang Jue who assisted and directed this film and presentation and  whowill make the website in the next few days to forward the process toward final project\event between now and April. And before I leave a further team cohort will be established to work alongside the group of students awaiting my return in Kingston.

So, developing the original proposal together, we have chosen a site for the project to take place. This is the mini public\private square for the inhabitants in one of the housing estates in Caoyang.

By way of contribution we have chosen to mend the public furniture in the mini square to create a permanent aspect to the project alongside the temporary event based projects proposed.

These permanent newly replenished pieces of public furniture will be for the continued use of the residents.

The students from the two universities will design and build new\replacement tables and chairs using sustainable but luxurious durable materials which they will source and develop with local crafts people and with consultation and conversations with the inhabitants at Caoyang. We hope that local view points alongside local craftsmanship will enrich the project and production so that cultural traditions meet with modern ones, encompassing an in depth layering of the desires and memories of the inhabitants.

So we would say that the first ideas have evolved and we are now looking at street furniture as platform. The four new tables might represent in mini form previous content propositions.

This inter-disciplinary approach to art making in the public realm is an ideal.

I am very satisfied that these ideas can be carried out with the utmost expertise from the students with guidance from Liu Jan and myself.

The students on the art and space course come from different inter-discilplinary backgrounds that include furniture design and architecture.

We leave the project open ended at this point to give the students the chance to research and work through ideas between themselves [the two universities].

The students will be responsible with our guidance to devise, research, produce, manage and disseminate the project collectively. This type of learning through process and research led is a valuable teaching methodology which students can apply to more or less any self initiated project for themselves in the future.

The events happen during one weekend, so that there is a festive feel, to include food and celebration – together with the dedicated tables to include - open air mini-table cinema library, mini-table radio project, mini-table TV, mini- game table, festive lights and flowers, local musicians and traditional festive expressions.

So now is the time to hand the project, it’s ideas, process, imagination, outcomes to the students and teams.

 

 

Provisions of Shanghai Municipality on Protection of Traditional Arts and Crafts

Shanghai Municipal People’s Government on February 9, 2001

Article 1  (Purpose and Basis)

In order to protect the traditional arts and crafts and promote the flourishing and upgrading of arts and crafts of this Municipality, these Provisions are formulated in accordance with the “Regulations of Protection of Traditional Arts and Crafts” and relevant stipulations.

Article 2  (Scope of Application)

These Provisions apply to the protection, development, research, creation and production of traditional arts and crafts in the areas of this Municipality.

Article 3  (Definition)

Traditional arts and crafts mentioned in these Procedures refer to the variety and artistry of handicrafts with a history of more than a hundred years passed on from generation to generation, made mostly of natural raw materials with a complete technological process and a distinctive national style and local characteristics, and enjoying great fame both at home and abroad.

Exquisite products of arts and crafts mentioned in these Procedures refer to the works with perfect craftsmanship and innovated artistry among the traditional arts and crafts stipulated under the previous clause.

Masters of arts and crafts mentioned in these Procedures refer to the designers and makers of traditional arts and crafts who engage over the years in making traditional arts and crafts, have the professional title of senior technician or craftsman, or who master certain consummate skills.

Article 4  (Administrative Department) 

The Shanghai Municipal Economic Commission (hereinafter referred to as SMEC) is the competent authority of protection of traditional arts and crafts of this Municipality, responsible for the protection, development, and relevant co-ordination and guidance of traditional arts and crafts. All departments concerned of this Municipality shall, according to their respective duties, make joint efforts to do well in the protection and development of traditional arts and crafts.

Article 5  (Protection Plans)

The SMEC shall include traditional arts and crafts in the development plan of metropolitan industry, work out specific plans for protection of traditional arts and crafts, adopt effective measures, support and boost the healthy development of traditional arts and crafts.

     

Article 6  (Trade Association)

The Shanghai Trade Association of Arts and Crafts (STAAC) is the corporation aggregate of protection of traditional arts and crafts of this Municipality, carrying out the protection and development of traditional arts and crafts according to law.

     

Article 7  (System of Protection after Affirmation)

The city adopts a system of protection after affirmation on the variety and artistry of traditional arts and crafts, exquisite products and masters of arts and crafts.

The Municipality sets up a committee for appraising and examining traditional arts and crafts (hereinafter called the appraisal examination committee), that takes charge of appraising and examining the variety and artistry of traditional arts and crafts, exquisite products and masters of arts and crafts. The STAAC undertakes specific affairs of the appraisal and examination.

Affirmation work shall be carried out every four years.

Article 8  (Composition of the Appraisal and Examination Committee and a Panel of Experts)

Members of the judging committee shall be invited at proposal of the STAAC and upon approval by the SMEC.

The appraisal and examination committee shall be composed of Chinese masters of arts and crafts, experts and scholars. The number of the committee members shall be odd and be over

9, among them the Chinese masters of arts and crafts shall not be less than half the number.

The STACC shall establish a panel of appraisal and examination experts.

     

Article 9  (Application Materials for the Variety and Artistry of Traditional Arts and Crafts)

Those who apply for affirmation of the variety and artistry of traditional arts and crafts to be protected by the authorities of this Municipality shall submit the following written materials to the appraisal and examination committee:

1. An application form;

2. History of the formation of the variety and artistry;

3. Technological process and main raw materials;

4. Technical characteristics and artistic style; and

5. Domestic and overseas evaluation.

 

Article 10  (Application Materials for Exquisite Products of Arts and Crafts)

Those who apply for affirmation of the exquisite products of arts and crafts of this Municipality shall submit the following written materials to the appraisal and examination committee:

1. An application form;

2. Raw materials and technological features;

3. Works (photos and written descriptions); and

4. Relevant information about work experiences and qualification.

     

Article 11  (Application Materials for Master of Arts and Crafts)

Those who apply for affirmation of the master of Arts and crafts shall submit the following written materials to the appraisal and examination committee:

1. An application form;

2. Work experiences and relevant qualification certificate;

3. Representative works (photos and written descriptions) and technological features; and

4. Certificate of prize-winning at home and abroad.

     

Article 12  (Public Exhibition in Advance and Handling of Objections)

The STAAC shall show to the public in advance the variety and artistry of traditional arts and crafts, exquisite products and the masters’ name list of arts and crafts submitted to the appraisal and examination committee for appraisal.

All units and individual persons have the right to put forward objections within 30 days from the date of public exhibition. The appraisal and examination committee shall be responsible for handling the objections within 30 days after the deadline of public exhibition. If it is difficult to complete the handling in time, the relevant application materials shall not be included in the scope of the current appraisal. The examination and the appraisal and examination committee shall give explanations to the applicant.

     

Article 13  (Appraisal and Examination Time and Voting Form)

The appraisal and examination committee shall judge the application materials of variety and artistry of traditional arts and crafts, exquisite products and masters of arts and crafts respectively within 3 months from the deadline of public show or objection handling.

The appraisal and examination committee shall adopt the voting form of one ballot a person and passage by over two third votes.

     

Article 14  (Withdrawal)

Any appraisal and examination committee member that applies for affirmation of his own works as the exquisite products of arts and crafts of this Municipality or that applies for affirmation as the master of arts and crafts of this Municipality shall withdraw in appraising and examining and voting.

     

Article 15  (Affirmation and Naming)

The SMEC shall affirm, publish those appraised and examined by the appraisal and examination committee as the protected variety and artistry of traditional arts and crafts of this Municipality.

The SMEC shall affirm and publish, and issue the certificate and mark of Shanghai’s exquisite products of arts and crafts to those appraised and examined by the appraisal and examination committee as the exquisite products of arts and crafts of this Municipality.

The SMEC shall, upon approval by the municipal people’s government, confer the title of Master of Arts and Crafts of Shanghai Municipality to those appraised and examined by the appraisal and examination committee as the master of arts and crafts of this Municipality.

     

Article 16  (Re-examination of the Qualification of Masters of Arts and Crafts)

Masters of Arts and Crafts of Shanghai Municipality shall be re-examined every four years.

In any of the following cases, a person shall have his or her title of Master of Arts and Crafts of Shanghai Municipality deprived after the SMEC reports to the municipal people’s government for approval:

1. Plagiarize or forge works of other persons or seriously violate artistic ethics; or

2. Be prosecuted for criminal liability for committing a crime.

     

Article 17  (Special Funds)

The Municipality sets up special funds for protection of traditional arts and crafts.

The procedures for use of the special funds for protection of traditional arts and crafts shall be worked out separately by the SMEC and the Municipal Finance Bureau.

    

Article 18  (Protective Measures)

For the variety and artistry of traditional arts and crafts of this Municipality, the SMEC shall organize for relevant department to adopt the following protective measures:

1. Collect and straighten up, and establish files;

2. Solicit and collect excellent representative works;

3.Determine the security classification of craftsmanship and technique, and keep them secret according to law; and

4. Salvage or explore the variety and artistry that are on the verge of being lost by way of video making and recording.

    

Article 19  (Special Protective Measures)

For the making of variety and artistry of traditional arts and crafts that bring low economic returns but have high artistic value, and are on the verge of being lost, the SMEC and relevant units may allocate a special fund from the special funds, or raise auxiliary special protection funds to give special protection.

The Municipality encourages the public, enterprises, institutions and individual persons to donate protection funds for the variety and artistry of traditional arts and crafts that are in need of special protection, or adopt other forms to give special protection.

     

Article 20  (Protection Base)

The Municipality establishes a protection base of traditional arts and crafts that mainly carries out the following protection work:

1. Carrying out theoretic research of traditional arts and crafts;

2. Exploring and straighten up materials of lost traditional arts and crafts;

3. Cultivating talents of traditional arts and crafts;

4. Collecting excellent works of traditional arts and crafts;

5. Carrying out domestic and overseas exchanges of traditional arts and crafts.

     

Article 21  (Technique Passing on from Master to Apprentice)

Masters of Arts and Crafts who take apprentices may have certain teaching allowances given by their work units or the STACC.

     

Article 22  (Encouragement and Support Measures) 

The relevant departments and units of this Municipality shall support Masters of Arts and Crafts to make creations, and create conditions for them according to the following provisions:

1. Set up studios of Masters of Arts and Crafts;

2. Appropriately defer the retirement age of Masters of Arts and Crafts according to State’s relevant stipulations; and

3. Create other convenient conditions for Masters of Arts and Crafts to pass on their skills.

     

Article 23  (Museums of Traditional Arts and Crafts)

Units and individual persons are encouraged to set up exhibiting places and halls of collections of traditional arts and crafts to collect and exhibit rare products of Chinese arts and crafts, exquisite products of arts and crafts, and other excellent works.

Units and individual persons are encouraged to donate rare products of Chinese arts and crafts, exquisite products of arts and crafts, and other excellent works to the collecting and exhibiting places and halls of traditional arts and crafts of this Municipality. Those who make donation to the collecting and exhibiting places and halls of traditional arts and crafts, and comply with the stipulations, may be allowed to deduct the donated amount from the amount of income tax payable.

     

Article 24  (Selection Through Evaluation)

The variety and artistry of Chinese traditional arts and crafts, rare products of Chinese arts and crafts and masters of Chinese arts and crafts that apply for State affirmation shall be selected by the SMEC among the city-affirmed variety and artistry of traditional arts and crafts, exquisite products and masters of arts and crafts of the Municipality, and the SMEC shall be responsible for reporting to the higher authorities.

     

Article 25  (Security System)

The appraisal and examination committee members have the duty to keep secret the application materials stipulated under Articles 9, 10 and 11 of these Provisions.

Units that make products of traditional arts and crafts shall establish and perfect the protection and security system of techniques of traditional arts and crafts, and sign the security agreement with personnel concerned, according to law. Personnel engaged in making products of traditional arts and crafts shall abide by relevant provisions of laws and regulations, and shall not divulge technical secrets and other business secrets obtained in the process of making traditional arts and crafts.

     

Article 26  (Commendation or Reward)

Units and individual persons who meet the following requirements shall be commended or rewarded by the SMEC:

1. Making outstanding contributions to the protection, exploration and research of traditional arts and crafts;

2. Having the designed and made works of traditional arts and crafts appraised as rare works of Chinese arts and crafts or the excellent products of arts and crafts of this Municipality;

3. Donating protection funds for rare works of Chinese arts and crafts, the excellent products of arts and crafts of this Municipality and traditional arts and crafts;

4. Making outstanding achievements in cultivating talents of traditional arts and crafts;

5. Making great contributions to the promotion of inheritance, protection, development and boom of traditional arts and crafts.

     

Article 27  (Handling of Administrative Infractions)

The appraisal and examination committee members who commit dereliction of duties, abuse power, or engage in malpractice for selfish ends shall be disqualified, and given disciplinary sanctions by their work unit or higher authorities. If the wrongful act constitute a crime, the wrongdoers shall be prosecuted for criminal liability according to law.

Article 28  (Reconsideration and Lawsuit)

The party concerned who disagrees with the specific administrative act of the SMEC may apply for administrative reconsideration or lodge an administrative lawsuit according to law.

     

Article 29  (Implementation Date)

These Provisions shall become effective on April 1, 2001.

Round-back horseshoe chairs

better city better life

Initial visit site photographs and proposal sketches: