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We like to change the rules. We like to be challenged. We look at what the market has to offer, and we ask if we can fix it. Standing out from the rest is the best marketing tool. All of our clients want to stand out. And that gives us freedom. In our minds, we have no competition. The world of hospitality design is a world we like to be in.

I am often annoyed with badly designed hotels. I stay in a lot of hotels, and find most five star hotels boring. There were no lifestyle hotels 20 years ago, and I wanted to design a type of hotel that I love going to. That ended up being Citizen M, fun one star hotel with five star sheets that opened near Amsterdam Airport Schiphol in There is chaos with Citizen M that balanced with calmness. For Citizen M, we convinced the Dutch owner to let us do the architecture.

We found a way to work together, like a family. We had big fights with them, but we stay connected. There was a lot of mutual trust, as we had the same goals. There are now 15 Citizen Ms around the world, with the latest opening in Taipei and then Shanghai. Our firm tends to focus mostly on designing public spaces. I was intrigued by the idea of curated chaos. We wanted to capture the chaos of Mongkok life below on the streets. I am in love with Asian cities. Life happens on the street in Mongkok; you bump into people or meet them at the metro station.

Things happen in these in between spaces. We had to convince New World to facilitate these people meeting places and invest money into where people bump into each other. We helped with the entire clubhouse project, including styling, branding and landscaping for the roof garden. There are almost no corridors in this clubhouse. We hid services in monolithic blocks on the roof and surrounded the blocks with a landscaped garden. It is about leaving the neighbourhood vertically, and enjoying calm silence above it all.

The boundaries blur. Well, I like to change the world, and I am able to do so through our projects.

The Chinese University of Hong Kong Press - The China Review

We are changing the extended stay category of accommodations with Zoku—Japanese for tribe. It is designed for people to stay from three weeks to three months. We opened the first Zoku in Amsterdam a couple of years ago, and are unveiling in the US this year. After reinventing how people live, maybe it is time to reinvent how people work—through a new office concept.

Chinese University of Hong Kong, Shenzhen Campus Tour

I am against technical solutions to problems; I like to hide technology and emphasise social interactions. I hope that people start talking again. Millennials are dying for social contact.

Submitted Proposals (2016-2017)

I hope that more people get to know their neighbours. I hope to create a beautiful world rather than a world full of war. Pressroom restaurant in Ink Amsterdam. Photography by Ewout Huibers for concrete Sky Stairs at Aurora clubhouse, Skypark, is the perfect setting for outdoor film screenings.

Photography courtesy of New World Development She was recently in Singapore to oversee the Serpentiform being brought to life; an idea that she and her team of eight put together since I feel fear. It took me years of getting used to it, but perhaps it is a way for me to understand and relate myself an important icon of the brand. With the Serpentiform, it is a not just a celebration of the past.

As a heritage curator, I feel my role is very exciting because it is such a projection of the future instead of dwelling in the past. We have gathered over 60 creations but not one is identical to the other.

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It is about an unchartered discovery that we find through different pockets of time, history, culture and heritage. It was a very pragmatic start. But at a certain point years ago, we asked ourselves what else can we add on to this symbolic icon that Bulgari has been exploiting so much on? From that, we decided to try and conduct an exhibition based on the inspiring materials that were gathered.

But we are a brand, not a museum. We wanted to offer a sort of entertaining platform with learning content; merging the content a very serious and extensive search behind each art work and combining it with a dramatic scenography, projection and interactive tools. Of course the Serpentiform is one because of its scale. It was meant to show how the Roman roots of the company have impacted the style of the brand and we were able to get a few masterpieces from major Roman museums, which Bulgari designers from the past and present took inspiration from.

We really wanted people to understand our inspiration, the art and the study behind the creation of a jewelry.

The ARCH Project

For me, it is important to convey this message but in a pragmatic and tangible way. We felt it was important to only talk about the Bulgari jewels.

alacthreadser.tk It is just unbelievable how parallel they are in terms of the legends and history. They were both In recent years, the digital media has trained us to be more exposed to different the original human beings on earth and both stories involved a snake. I believe we need to enrich the content with something that adds to bible, the snake is the one who creates temptation and condemnation. We also work on fragrances to invite visitors to be immersed in the full Bulgari experience. I question very much about it because I see a lot of modern art, contemporary art and established ones being quite attractive.

We are at a turning point; fragmentation is a risk but it is A lot of work and a strong team!

KUAH-PEARCE Khun Eng - Department of Sociology

And on a personal note, I grew up dreaming of owning a Bulgari jewel a very delicate phase for arts and artists. We want to contribute back to the art scene especially for the I also had the privilege to work closely with Mr. Paolo Bulgari 16 years back. So it was easy to absorb their passion as well. I wanted to mix the different types of art because this is typically linked to the identity of Bulgari. In a time of uncertainty for many professionals, it may be argued that architectural education itself is facing a seismic shift.

Architects are no longer servicing an honourable trade based on brick and mortar: the erosion of geographical boundaries; lack of buildable land in big cities; bane of urban sprawl and soulless suburbia; and radical changes in how people live and work have altered what architects do from day to day. Yet as in other professions, schools are where keen intellect and fresh creativity are nurtured before those young minds are released into an increasingly 1 diversified profession.

It is seen as noble to construct and make the environment. Today, architecture no longer has the cultural capacity of the 60s and 70s. The profession is on the surface of uncertain waters now. It is an exciting time to be an architecture educator. How can we reform the practises of the future? The issues of today mean that architects should not be afraid to pull the table cloth—even if things break. It allows students who are interested in a business approach or Domestic Strategies and Global Implications.

Edited by Ding Lu and William A. By Virginia Harper Ho. Writings on Gender in Chinese History. The eight members of the artistic team included a scriptwriter, a photographer, and several sculp- tors, among them a third generation folk sculptor. The artistic team then invited the local Sichuan opera troupe to come and serve as their models, directing the actors to perform tableaux vivants. The expanded artistic team of Sichuan Art Academy students and gradu- ates elaborated on the original script, deciding that the desired response to the Downloaded from mcx.

Summarizing the creative process in a special issue of Art, the artists spelled out a layered and complex emotional progres- sion for both the statues and their audience: Though the medium of sculpture seems the opposite of theater, museumi- fied and frozen in time rather than living and moving, the artists endeavored to enliven the statues.

The production of the Rent Collection Courtyard was permeated by the performativity of the sculptors, their mod- els, and the final sculpted figures see Figures 4 and 5. Lighting and sound also helped to animate the Rent Collection Courtyard both onsite and in the documentary. The documentary used chiaroscuro lighting and other cinematographic devices to bring the sculpted figures to life: Sculptures from the Rent Collection Courtyard.

Photos courtesy of Wang Guanyi.

Immortalized in the documentary and recorded in local gazetteers as literature, the narration was an indispensable part of every visit to the Landlord Manor, whether played on loop over the loudspeaker or spoken by a docent. Sculptors working on the Rent Collection Courtyard in The audience, its waves of emotions already scripted, were also part of the interactive performance. Among the first visitors to the Rent Collection Courtyard was a group of old peasant women who, unprompted, beat the statues with their walking sticks.

Even after the Cultural Revolution had concluded, as Wu Hongyuan remembers, visitors to the Landlord Manor Museum con- tinued to spit on the Liu Wencai figure; at night before going home the museum workers had to wipe off the layers of spittle.