Urban Landscape Sculpture I

Urban Landscape

SculptureⅠ

Landscape Sculpture

Street Landscape Sculpture Decorative Landscape Sculpture Water Feature Sculpture Garden Landscape Sculpture Public Landscape Sculpture

城 市 景 观 雕 塑

1

Urban Landscape Ⅰ

上架建议

共公艺术

Sculpture 城市景观雕塑 1

高迪国际 HI-DESIGN PUBLISHING 编 定价：348.00元

Urban LandscapeⅠ

Sculpture 城市景观雕塑 1 高迪国际 HI-DESIGN PUBLISHING 编 王丽娟 林玲 蒋莉 王宇潇 译

preface

Art in the public realm creates place. An artist involved in this kind of work must be part architect, part designer, part urban planner, part graphic designer, and part marketing consultant to get projects conceived, approved, funded, and built. Projects come in all scales and all levels of intensity, freedom, and involvement, and each has its own timetable, personalities, and intentions. Regardless of the logistics that can often dominate public and private commissions, we are, ultimately, artists. We are tasked with interpreting the world around us, the site where we are working, and our own portfolio of work and ideas. We are also tasked – in fact, artists are uniquely responsible among a public realm’s contributors – to bring emotion, experience, and/or phenomena to a site. Art in the public realm marks and defines a site with form, memory, color, narrative, interpretation. Our work becomes engrained within the site, the community…an integral part of its identity.

When working in a public site, outside of the white walls of the gallery or the museum, artists must necessarily engage change. Elements such as the moving sun, the seasons, variable paces and directions of approach, and weathering become components of our work, whether we like it or not.

In my own work, I seek out this element of change…that the movement of the sun can create an entirely different experience from dawn until dusk…that a piece viewed from the south is different when viewed from the west. This change reveals the full gradient of meaning and experience embedded in a work…often extending beyond one’s own hope or intent for the piece. Just as there is that special moment when a work is taken out of one’s studio and placed within the purity of the gallery, there is nothing quite like the moment that the sun first hits a sculpture. The work is fully brought to life, and that ever-shifting dialogue with the environment and its site instantly begins. 序言一 公共艺术可以为一个地方打上烙印。为了构思出项目、获得审批、筹措资金并完成建造，从事该种 工作的艺术家必须要扮演多种角色：建筑师、设计师、城市规划者、平面设计师以及营销顾问。根据规 模的不同和艺术表现的紧凑度、自由度、参与度不同，各项目都有自己的建造进度、特点以及设计意图。 后勤对于公共和私人的委托项目都起着至关重要的作用，除此之外，我们最终还是艺术家。我们的工作 是诠释我们周围的世界，理解我们的工作地点，阐述我们的作品和设计理念。我们的工作还有赋予某个 地方以情感、经历和 / 或现象，事实上，只有公共艺术领域的艺术家才担负着这种使命。公共领域的艺 术通过外观、记忆、色彩、记叙、诠释这些形式来标志或突出一个地方的特点。我们的作品要深深地根 植于当地和当地人的心中，它要成为地区名片的一个重要组成部分。 当工作地点设在画廊或博物馆白墙之外的公共场所时，艺术家们必须要考虑到变化的因素。太阳的 升落、季节的更替、节奏的缓急、靠近的角度、气候的变化，不管喜欢与否，这些因素都是我们创作要 考虑的部分。 我在自己的作品中探索出了这种变化因素。从旭日东升到夕阳西下，太阳带来的是迥然各异的体验。 从南面欣赏事物的视角也不同于西面。这种变化揭示出了蕴藏在艺术作品中充分、渐变的含义和经历， 通常超出了个体对于作品的希望与渴求。当作品离开工作室并展示在画廊纯粹的环境里时，这个特殊的 时刻就好比第一束阳光照射在一件雕塑上，作品完全苏醒过来，它也即刻开始了与环境、地点之间不断 变化的对话。

菲利普·K·史密斯，III 艺术家

Phillip K.Smith, III

Artist

I really am a pushover for all sculpture, works made by professionals and part-timers alike. I look for

Public art has become a vital part of the everyday fabric of society. A global awareness of the art form has increased the range of opportunities for artists. Contained within this book you will find a diverse range of talented individuals who share a sense of purpose.

with a stymieing array of well designed objects or compete for viewers’ attention with the luxury and

Look through these pages and you'll see no evidence of the challenges faced in creating the artworks, only feats of dexterity and hand skills, of excellence in techniques old and new. Superb draughtsmanship, cutting-edge technologies.

Imagination, problem solving, teamwork. Abstract or figurative, monumental or intimate, contemporary or traditional, they are united by a common vision and a shared belief.

impediments to viewing and, in turn, develop interplay with the site that encourages public

The artists all know that good public sculpture creates a sense of place, that their works enhance the cultural landscape and evoke a sense of civic pride. They know that great artworks are measured not by what they cost, but by what they are worth. That the real test of their talent is not in the pristine white box of the gallery, but in the open domain of the public.

use are other considerations. But whether it is a gallery that provides a neutral forum or a busy

the intent and try to figure how the sculptor solved the problems of bringing an idea to fruition. Since my own sculpture includes working both on street corners and in public gardens, I am particularly interested in how well a work of art fares outside a neutral gallery space where it must compete beauty of trees, flowers, and natural vistas.

In a rigorous environment with many distractions, I believe a sculptor must strategize to reduce engagement. I am impressed when I encounter a sculpture out in public which seems to resonate subliminally with its surroundings and has a scale which seems appropriate to its setting. I look to see if the work is situated to take advantage of traffic patterns and quirks of human behavior. Viewer safety, the effect of weather conditions and how well the sculpture has stood the test of public streetscape that must be accommodated, the artwork itself has to contain the energy to connect viscerally with those who view it.

Beyond the huge personal pleasure I gain from working with the simplest materials in a complex world, I believe that a well-conceived sculpture can enliven the imagination and stir those who pass

What you'll see in this book are exemplars of partnerships with other professionals, myriad consultants and teams of experts. Cranes, trucks, electricians, lighting designers, engineers, architects, surveyors, even lawyers and accountants. All led by the artists in their studios in various corners of the globe, all working on their projects independently but united in a shared mission to enhance the environment through their talent and vision.

nearby. For viewers the pleasure is elemental and beyond politics and financial forces. Sometimes as a sculpture nears completion I hear someone say, "I don't like art, but I like this" and in this statement I imagine that "sculpture" has wormed its way a little closer to everyday life.

I wish the very best to the sculptors who have created the work featured in this book, and if your readers don’t already tinker, I hope each of them will grab a bit of the material world and make something – a fanciful object or something they need. The activity of making sculpture has helped me to personalize my world and has provided a gleaming portal to an enhanced life.

序言二

序言三

1986 年我从艺术学校毕业时，很少有客户委托制作重要的公共艺术品。此后，在文化渴望、信心、 教育和才华交织成的大网的作用下，发生了一件很奇妙的事——过去三十年内，委托制作公共艺术品的 数量剧增，人们的艺术鉴赏力也得到了大幅提升。 公共艺术已成为社会日常建筑的重要部分。对于雕塑这种艺术形式的全球意识的增强为艺术家们提 供了更多的机会。本书中，您会发现各种各样才华横溢的人，他们都有着共同的梦想。 翻阅本书，您看不到丝毫艺术创作时面临挑战的痕迹，只有灵巧的手工技能和精湛的新旧技艺，如 顶级的制图术和尖端的技术。不管作品是抽象的还是具象的，是巨型的还是小型的，也不管它是当代的 还是传统的，为了共同的憧憬和信仰，艺术家们将想象力、问题解决能力以及团队精神凝聚到了一起。 艺术家们都知道，好的公共雕塑可以成为该地的标识，也知道自己的作品可以增添文化景观的魅力 并唤起市民的自豪感。他们知道衡量伟大艺术作品的不是价格，而是其内涵；衡量艺术家才能的地方不 是在白色画廊这种纯粹的环境里，而是在开放的公共领域内。 本书中，您会看见许多其他专业人员、众多顾问以及专家团队间相互合作的典范。雕塑的创作需要 起重机和卡车、电工、照明设计师、工程师、建筑师、测量师甚至是律师和会计师的共同合作。所有人 的工作都由在全球各地的工作室里的艺术家引领着，所有的人都在自己的项目上各司其职，一起合作完 成共同的委托项目，用自己的才能和视角去美化环境。

我真的很容易对雕塑着迷，不管它们是出自专业人士之手，还是非专业人士之手。我在寻找设计意图，也在探索雕 塑家是如何将设计概念付之于现实作品中的。因为在街角和公共花园里都有我的作品，所以我对出现在画廊这种纯粹环 境以外的作品尤为感兴趣。这里的作品要与其他设计精美的作品竞争，或者要与周围美丽的花草树木和自然美景竞争， 以吸引参观者的注意。 周围的环境中有诸多干扰因素，不可能完全适合作品。我相信，一名雕塑家必须要有策略地减少视线内的障碍，要 促进作品和环境的协调并鼓励公众参与其中。让我印象深刻的露天公共雕塑是这样的一种雕塑：潜意识中，它和周围的 事物形成了共鸣，而且规模也符合其所在的环境。我在思考，雕塑的取址是否要考虑到交通模式以及人们的行为习惯。 此外，欣赏者的安全问题，气候条件的影响，以及雕塑如何能很好地经受住时间的考验，也是要列入考虑的其他因素。 然而，是不是画廊才是探讨艺术的纯粹环境？是不是车水马龙的街景一定要作出调整来与作品保持一致？其实作品本身 就有一种与欣赏者内心产生共鸣的力量。 从缤纷的世界里选用最简单的材料进行创作，使我获得了莫大的快乐，除了这种快乐，我相信一个设计精良的雕塑 可以激活人们的想象并感染路人。对于观赏者来说，这是一份自然的快乐，它远离了政治和经济的影响。有时在一个雕 塑快要完成时，我听见有人这样说，“我不喜欢艺术，但我却喜欢这件雕塑。”我想，从他的话语中我们可以看出，雕 塑已经一点一点地接近人们的日常生活了。 本书介绍了许多艺术作品，在此我愿为创造这些作品的雕塑家们献上我最诚挚的祝福。如果你们从前并非善于动手 之人，我希望你们每个人都会找点儿材料去制作一件作品，不管它是一件概念作品， 还是一件生活所需品。雕塑创作帮我的世界打上了自己的标签，也为美好的生活指明 了一条康庄大道。

© Graham Wylie

Andy Scott

安迪·斯科特

preface

preface

When I graduated from art school in 1986, major public art commissions were a rare occurrence. Since then a wonderful thing has happened, the result of an interconnected web of cultural aspiration, confidence, education and talent. There has been a dramatic increase of public art commissioning and appreciation over the last three decades.

帕特里克·多尔蒂

Patrick Dougherty

I really am a pushover for all sculpture, works made by professionals and part-timers alike. I look for

Public art has become a vital part of the everyday fabric of society. A global awareness of the art form has increased the range of opportunities for artists. Contained within this book you will find a diverse range of talented individuals who share a sense of purpose.

with a stymieing array of well designed objects or compete for viewers’ attention with the luxury and

Look through these pages and you'll see no evidence of the challenges faced in creating the artworks, only feats of dexterity and hand skills, of excellence in techniques old and new. Superb draughtsmanship, cutting-edge technologies.

Imagination, problem solving, teamwork. Abstract or figurative, monumental or intimate, contemporary or traditional, they are united by a common vision and a shared belief.

impediments to viewing and, in turn, develop interplay with the site that encourages public

The artists all know that good public sculpture creates a sense of place, that their works enhance the cultural landscape and evoke a sense of civic pride. They know that great artworks are measured not by what they cost, but by what they are worth. That the real test of their talent is not in the pristine white box of the gallery, but in the open domain of the public.

use are other considerations. But whether it is a gallery that provides a neutral forum or a busy

the intent and try to figure how the sculptor solved the problems of bringing an idea to fruition. Since my own sculpture includes working both on street corners and in public gardens, I am particularly interested in how well a work of art fares outside a neutral gallery space where it must compete beauty of trees, flowers, and natural vistas.

In a rigorous environment with many distractions, I believe a sculptor must strategize to reduce engagement. I am impressed when I encounter a sculpture out in public which seems to resonate subliminally with its surroundings and has a scale which seems appropriate to its setting. I look to see if the work is situated to take advantage of traffic patterns and quirks of human behavior. Viewer safety, the effect of weather conditions and how well the sculpture has stood the test of public streetscape that must be accommodated, the artwork itself has to contain the energy to connect viscerally with those who view it.

Beyond the huge personal pleasure I gain from working with the simplest materials in a complex world, I believe that a well-conceived sculpture can enliven the imagination and stir those who pass

What you'll see in this book are exemplars of partnerships with other professionals, myriad consultants and teams of experts. Cranes, trucks, electricians, lighting designers, engineers, architects, surveyors, even lawyers and accountants. All led by the artists in their studios in various corners of the globe, all working on their projects independently but united in a shared mission to enhance the environment through their talent and vision.

nearby. For viewers the pleasure is elemental and beyond politics and financial forces. Sometimes as a sculpture nears completion I hear someone say, "I don't like art, but I like this" and in this statement I imagine that "sculpture" has wormed its way a little closer to everyday life.

I wish the very best to the sculptors who have created the work featured in this book, and if your readers don’t already tinker, I hope each of them will grab a bit of the material world and make something – a fanciful object or something they need. The activity of making sculpture has helped me to personalize my world and has provided a gleaming portal to an enhanced life.

序言二

序言三

1986 年我从艺术学校毕业时，很少有客户委托制作重要的公共艺术品。此后，在文化渴望、信心、 教育和才华交织成的大网的作用下，发生了一件很奇妙的事——过去三十年内，委托制作公共艺术品的 数量剧增，人们的艺术鉴赏力也得到了大幅提升。 公共艺术已成为社会日常建筑的重要部分。对于雕塑这种艺术形式的全球意识的增强为艺术家们提 供了更多的机会。本书中，您会发现各种各样才华横溢的人，他们都有着共同的梦想。 翻阅本书，您看不到丝毫艺术创作时面临挑战的痕迹，只有灵巧的手工技能和精湛的新旧技艺，如 顶级的制图术和尖端的技术。不管作品是抽象的还是具象的，是巨型的还是小型的，也不管它是当代的 还是传统的，为了共同的憧憬和信仰，艺术家们将想象力、问题解决能力以及团队精神凝聚到了一起。 艺术家们都知道，好的公共雕塑可以成为该地的标识，也知道自己的作品可以增添文化景观的魅力 并唤起市民的自豪感。他们知道衡量伟大艺术作品的不是价格，而是其内涵；衡量艺术家才能的地方不 是在白色画廊这种纯粹的环境里，而是在开放的公共领域内。 本书中，您会看见许多其他专业人员、众多顾问以及专家团队间相互合作的典范。雕塑的创作需要 起重机和卡车、电工、照明设计师、工程师、建筑师、测量师甚至是律师和会计师的共同合作。所有人 的工作都由在全球各地的工作室里的艺术家引领着，所有的人都在自己的项目上各司其职，一起合作完 成共同的委托项目，用自己的才能和视角去美化环境。

我真的很容易对雕塑着迷，不管它们是出自专业人士之手，还是非专业人士之手。我在寻找设计意图，也在探索雕 塑家是如何将设计概念付之于现实作品中的。因为在街角和公共花园里都有我的作品，所以我对出现在画廊这种纯粹环 境以外的作品尤为感兴趣。这里的作品要与其他设计精美的作品竞争，或者要与周围美丽的花草树木和自然美景竞争， 以吸引参观者的注意。 周围的环境中有诸多干扰因素，不可能完全适合作品。我相信，一名雕塑家必须要有策略地减少视线内的障碍，要 促进作品和环境的协调并鼓励公众参与其中。让我印象深刻的露天公共雕塑是这样的一种雕塑：潜意识中，它和周围的 事物形成了共鸣，而且规模也符合其所在的环境。我在思考，雕塑的取址是否要考虑到交通模式以及人们的行为习惯。 此外，欣赏者的安全问题，气候条件的影响，以及雕塑如何能很好地经受住时间的考验，也是要列入考虑的其他因素。 然而，是不是画廊才是探讨艺术的纯粹环境？是不是车水马龙的街景一定要作出调整来与作品保持一致？其实作品本身 就有一种与欣赏者内心产生共鸣的力量。 从缤纷的世界里选用最简单的材料进行创作，使我获得了莫大的快乐，除了这种快乐，我相信一个设计精良的雕塑 可以激活人们的想象并感染路人。对于观赏者来说，这是一份自然的快乐，它远离了政治和经济的影响。有时在一个雕 塑快要完成时，我听见有人这样说，“我不喜欢艺术，但我却喜欢这件雕塑。”我想，从他的话语中我们可以看出，雕 塑已经一点一点地接近人们的日常生活了。 本书介绍了许多艺术作品，在此我愿为创造这些作品的雕塑家们献上我最诚挚的祝福。如果你们从前并非善于动手 之人，我希望你们每个人都会找点儿材料去制作一件作品，不管它是一件概念作品， 还是一件生活所需品。雕塑创作帮我的世界打上了自己的标签，也为美好的生活指明 了一条康庄大道。

© Graham Wylie

Andy Scott

安迪·斯科特

preface

preface

When I graduated from art school in 1986, major public art commissions were a rare occurrence. Since then a wonderful thing has happened, the result of an interconnected web of cultural aspiration, confidence, education and talent. There has been a dramatic increase of public art commissioning and appreciation over the last three decades.

帕特里克·多尔蒂

Patrick Dougherty

contentS 目录

Street Landscape Sculpture

Water Feature Sculpture

街头景观雕塑

水景雕塑

010

Droplet

012

108

Tide Flow – Time Flow 潮涨时光落

Origami Horses 折纸雕塑骏马

110

Gracing Swan 优雅的天鹅

014

Liberty Avenue Musicians 自由大道的音乐家

112

Enchanting… 醉人的仙境

015

Renaissance Man

120

Mapletree Business City 枫树之城

016

In and Out: Running Figure 圈里圈外：移动的人

124

Metal-Morphosis 变形合金

018

Vortex 漩涡

126

Eye of the Needle 针眼

020

Time To… 追溯

128

Sagging Breast 女救世主

022

Seagrass

130

Threshold 音符门

024

Bower 羽亭

134

Arpeggio 琶音

026

Inhale/Exhale

027

O Pensador

028

Portrait of the Word "Why" “为什么”

029

The Sentinels 哨兵

030

Sun-catcher Sculpture 阳光捕手

032

Timber Bollards 木质系船柱

园林景观雕塑

034

The Guardian 守护者

138

Jardins Jardin 花园

036

"Reflections of Bedford" 贝德福德映像

144

Nelson Mandela’s Portrait Sculpture 尼尔森·曼德拉肖像雕塑

038

BT ArtBox 英国电信公司的艺术电话亭

148

Focused 专注

039

The Bridge 友谊之桥

150

Bubble Gate Pavilions 气泡门和咖啡屋

040

London Booster

154

Passage 起航

042

Quantum Man 量子人

156

Out of the Woodwork 出走

160

Arria 阿里亚

164

Stride 勇士

166

Response 回应

168

Current Version 现在版

170

Tabula Tabula

172

InUtero 因纽特罗

174

Mother and Child 亲情

175

Sun of Haarle

176

Diana Bronzes 戴安娜系列铜像

178

Lion 7 雄狮 7

180

Crystal 水晶雕塑

182

One of Us on a Tricycle 一个骑三轮脚踏车的同胞

水滴

复活的男人

海草

点/ 面 沉思者

做俯卧撑的汽车人

Decorative Landscape Sculpture 装饰性景观雕塑

009 047 107 137 185 344

006 | Contents |

Street Landscape Sculpture

街头景观雕塑

Decorative Landscape Sculpture

装饰性景观雕塑

Water Feature Sculpture

水景雕塑

Garden Landscape Sculpture

园林景观雕塑

Public Landscape Sculpture

公共景观雕塑

INDEX

索引

048

Rising 升腾

050

Butterfly Ring 蝴蝶圆环

052

Spun Yellow Red & White 天旋地幻 ：红、白、黄

054

Crossing (Vertical) (Horizontal) 纵横

056

Journey Music 旅途音乐

060

Future Flower 未来之花

066

Flame Flower

070

Lattice Cube Sequence 格立方系列

074

Leaf Dance 轻舞飞扬

078

Krychloids 克里克洛伊德一家

080

Tiger & Turtle – Magic Mountain 虎与龟——神奇的山脉

084

Vortex Ⅱ 漩涡Ⅱ

086

Framework 框架

090

Berkeley Big People 伯克利巨人

092

Germination 萌芽

102

Harck 哈尔克

103

Signal 信号

火之花

Garden Landscape Sculpture

哈勒的太阳

| Contents|

007

contentS 目录

Street Landscape Sculpture

Water Feature Sculpture

街头景观雕塑

水景雕塑

010

Droplet

012

108

Tide Flow – Time Flow 潮涨时光落

Origami Horses 折纸雕塑骏马

110

Gracing Swan 优雅的天鹅

014

Liberty Avenue Musicians 自由大道的音乐家

112

Enchanting… 醉人的仙境

015

Renaissance Man

120

Mapletree Business City 枫树之城

016

In and Out: Running Figure 圈里圈外：移动的人

124

Metal-Morphosis 变形合金

018

Vortex 漩涡

126

Eye of the Needle 针眼

020

Time To… 追溯

128

Sagging Breast 女救世主

022

Seagrass

130

Threshold 音符门

024

Bower 羽亭

134

Arpeggio 琶音

026

Inhale/Exhale

027

O Pensador

028

Portrait of the Word "Why" “为什么”

029

The Sentinels 哨兵

030

Sun-catcher Sculpture 阳光捕手

032

Timber Bollards 木质系船柱

园林景观雕塑

034

The Guardian 守护者

138

Jardins Jardin 花园

036

"Reflections of Bedford" 贝德福德映像

144

Nelson Mandela’s Portrait Sculpture 尼尔森·曼德拉肖像雕塑

038

BT ArtBox 英国电信公司的艺术电话亭

148

Focused 专注

039

The Bridge 友谊之桥

150

Bubble Gate Pavilions 气泡门和咖啡屋

040

London Booster

154

Passage 起航

042

Quantum Man 量子人

156

Out of the Woodwork 出走

160

Arria 阿里亚

164

Stride 勇士

166

Response 回应

168

Current Version 现在版

170

Tabula Tabula

172

InUtero 因纽特罗

174

Mother and Child 亲情

175

Sun of Haarle

176

Diana Bronzes 戴安娜系列铜像

178

Lion 7 雄狮 7

180

Crystal 水晶雕塑

182

One of Us on a Tricycle 一个骑三轮脚踏车的同胞

水滴

复活的男人

海草

点/ 面 沉思者

做俯卧撑的汽车人

Decorative Landscape Sculpture 装饰性景观雕塑

009 047 107 137 185 344

006 | Contents |

Street Landscape Sculpture

街头景观雕塑

Decorative Landscape Sculpture

装饰性景观雕塑

Water Feature Sculpture

水景雕塑

Garden Landscape Sculpture

园林景观雕塑

Public Landscape Sculpture

公共景观雕塑

INDEX

索引

048

Rising 升腾

050

Butterfly Ring 蝴蝶圆环

052

Spun Yellow Red & White 天旋地幻 ：红、白、黄

054

Crossing (Vertical) (Horizontal) 纵横

056

Journey Music 旅途音乐

060

Future Flower 未来之花

066

Flame Flower

070

Lattice Cube Sequence 格立方系列

074

Leaf Dance 轻舞飞扬

078

Krychloids 克里克洛伊德一家

080

Tiger & Turtle – Magic Mountain 虎与龟——神奇的山脉

084

Vortex Ⅱ 漩涡Ⅱ

086

Framework 框架

090

Berkeley Big People 伯克利巨人

092

Germination 萌芽

102

Harck 哈尔克

103

Signal 信号

火之花

Garden Landscape Sculpture

哈勒的太阳

| Contents|

007

Public Landscape Sculpture 公共景观雕塑 186

Float 浮伞

286

Paradise Genetically Altered 微观世界中的天堂

192

Tread 胎纹

288

Portrait Heads 头像雕塑

194

Ascendus 升腾

290

Red Tail Hawk 红尾鹰

200

Drop

294

Rise 崛起

206

Where the Earth and the Sky Meet 天地交汇

296

Seed-Pod Solar Powered Light Sculpture 种荚太阳能灯雕塑

208

Transformed Flower 蜕变·花

298

Pride 骄傲

210

Kelpies Kelpies

300

Shine 荣耀

212

Glass of Water 水杯

302

Human Helix 螺旋链上的人

216

Lotus Sculpture 莲花雕塑

303

Stockton Rising 崛起的斯托克顿市

222

"Total Policing" 全能警卫

304

Laid Back – Sculpture for "De Mast” 供“De Mast”区休闲的雕塑

224

Island of Love 爱之岛

306

The Cob Horse

226

Interni Legacy, Quattro Punti Per Una Torre 米兰大学 Quattro Punti Per Una Torre 雕塑

307

The Lomondgate Stag 牡鹿

228

Rain Bow Gate 彩虹门

308

Hehe Xiexie 和和谐谐

233

RAWSOME! 炫乐

310

Quadrant Scatter White Quadrant Scatter White

236

Integrated Art Play Space 综合艺术活动空间

312

Cloud Gate 云门

238

Angel of the West 西方天使

313

Infinity Column 无穷的变化

240

Vessel 城市之杯

314

Fallen Heroes Memorial 阵亡英雄纪念碑

244

Animal Within 人体内的动物

316

Brilliance 光彩

246

Alfa Romeo Sculpture 阿尔法·罗密欧雕塑

318

Cyclorama 幻画

252

Belfast 贝尔法斯特

320

Stor Gul Kanin 大黄兔

254

Golem Poznan 机器人波兹南

322

Utah Bit & Mine 钻头与矿井

256

Perception and Reality 1 感知与现实 1

324

Porsche 911 Sculpture 保时捷 911 雕塑

258

Waves 海浪

326

Jaguar E-Type Sculpture

261

Discobolus 掷铁饼者

328

Iowa State Worker's Monument 爱荷华州工人纪念碑

262

Gymnast Monument Sculpture 体操运动员纪念雕塑

330

Penelope 佩内洛普雕像

266

Han 少年“汉”

334

Wolf Plaza 狼雕广场

268

Powerless Structures, Fig. 101 无力的雕塑第 101 号

336

Dancing Figures 舞蹈人物雕塑

271

Land Rover Sculpture 路虎雕塑

337

Nomade 流浪者

274

Mesh Woman 网丝女人

338

Bronze Sculpture 铜雕塑

276

Audi Centenary Sculpture 奥迪百年雕塑

339

Ratto D'Europa 牛背上的欧罗巴

280

Athena 雅典娜

340

Time Chasers 时间的追逐者

282

Global Peace Energy 世界和平能量

342

New Jersey Devils Hockey Sculpture 新泽西魔鬼队雕塑

283

Equus Clutha 骏马克鲁萨

344

Index 索引

284

One Voice 同一个声音

008 | Contents |

水滴

矮脚马

捷豹 E 系车雕塑

街头景观雕塑

strEet landscape Sculpture

Public Landscape Sculpture 公共景观雕塑 186

Float 浮伞

286

Paradise Genetically Altered 微观世界中的天堂

192

Tread 胎纹

288

Portrait Heads 头像雕塑

194

Ascendus 升腾

290

Red Tail Hawk 红尾鹰

200

Drop

294

Rise 崛起

206

Where the Earth and the Sky Meet 天地交汇

296

Seed-Pod Solar Powered Light Sculpture 种荚太阳能灯雕塑

208

Transformed Flower 蜕变·花

298

Pride 骄傲

210

Kelpies Kelpies

300

Shine 荣耀

212

Glass of Water 水杯

302

Human Helix 螺旋链上的人

216

Lotus Sculpture 莲花雕塑

303

Stockton Rising 崛起的斯托克顿市

222

"Total Policing" 全能警卫

304

Laid Back – Sculpture for "De Mast” 供“De Mast”区休闲的雕塑

224

Island of Love 爱之岛

306

The Cob Horse

226

Interni Legacy, Quattro Punti Per Una Torre 米兰大学 Quattro Punti Per Una Torre 雕塑

307

The Lomondgate Stag 牡鹿

228

Rain Bow Gate 彩虹门

308

Hehe Xiexie 和和谐谐

233

RAWSOME! 炫乐

310

Quadrant Scatter White Quadrant Scatter White

236

Integrated Art Play Space 综合艺术活动空间

312

Cloud Gate 云门

238

Angel of the West 西方天使

313

Infinity Column 无穷的变化

240

Vessel 城市之杯

314

Fallen Heroes Memorial 阵亡英雄纪念碑

244

Animal Within 人体内的动物

316

Brilliance 光彩

246

Alfa Romeo Sculpture 阿尔法·罗密欧雕塑

318

Cyclorama 幻画

252

Belfast 贝尔法斯特

320

Stor Gul Kanin 大黄兔

254

Golem Poznan 机器人波兹南

322

Utah Bit & Mine 钻头与矿井

256

Perception and Reality 1 感知与现实 1

324

Porsche 911 Sculpture 保时捷 911 雕塑

258

Waves 海浪

326

Jaguar E-Type Sculpture

261

Discobolus 掷铁饼者

328

Iowa State Worker's Monument 爱荷华州工人纪念碑

262

Gymnast Monument Sculpture 体操运动员纪念雕塑

330

Penelope 佩内洛普雕像

266

Han 少年“汉”

334

Wolf Plaza 狼雕广场

268

Powerless Structures, Fig. 101 无力的雕塑第 101 号

336

Dancing Figures 舞蹈人物雕塑

271

Land Rover Sculpture 路虎雕塑

337

Nomade 流浪者

274

Mesh Woman 网丝女人

338

Bronze Sculpture 铜雕塑

276

Audi Centenary Sculpture 奥迪百年雕塑

339

Ratto D'Europa 牛背上的欧罗巴

280

Athena 雅典娜

340

Time Chasers 时间的追逐者

282

Global Peace Energy 世界和平能量

342

New Jersey Devils Hockey Sculpture 新泽西魔鬼队雕塑

283

Equus Clutha 骏马克鲁萨

344

Index 索引

284

One Voice 同一个声音

008 | Contents |

水滴

矮脚马

捷豹 E 系车雕塑

街头景观雕塑

strEet landscape Sculpture

Droplet 水滴 Artist Stuart Green

Client artsACT Specification 6m high Materials Electro-polished 316 grade pierced stainless steel Location Canberra, Australia Photographer Martin Ollman, Stuart Green studio

Droplet was commissioned by artsACT for a busy street corner in the town centre of Woden. The Artwork acts as both a day time and a night time beacon and landmark for the site which is inhabited by thousands of office workers and city users. The jewel-like droplet form sits at an angle to reinforce its precarious and weighty presence.

The sculptures surface is made up of a series of stainless steel pleats that are each pierced to create a highly decorative, reflective and mesmeric surface pattern. Powerful internal LED lights illuminate the work from within and at night, give the sculpture a sense of transparency and weightlessness, that contrasts with its daytime mass.

artsACT 委托 Stuart Green 为渥登市中 心的繁华街头设计了一款艺术雕塑，取名《水 滴》。雕塑白天充当地标，夜晚化身一座指 路明灯，无时无刻不在服务着居住在此的数 以千计的上班族和市民。宝石般闪亮的《水滴》 立在那里，微微倾斜的角度给人一种摇摇欲 坠的重力感。雕塑表面由不锈钢构成，设计 成一系列规则的褶皱形状，每一块褶皱上面 都用打孔的方式绘出外观图案，使整个雕塑 透出一种极致的美感，折射的光晕令人迷醉。 内部 LED 灯光装置在夜晚将雕塑点亮，赋予 雕塑一种通透失重的美感，那是一种与白天 截然不同的状态。

010 | Public Landscape Sculpture |

| Public Landscape Sculpture | 011

Droplet 水滴 Artist Stuart Green

Client artsACT Specification 6m high Materials Electro-polished 316 grade pierced stainless steel Location Canberra, Australia Photographer Martin Ollman, Stuart Green studio

Droplet was commissioned by artsACT for a busy street corner in the town centre of Woden. The Artwork acts as both a day time and a night time beacon and landmark for the site which is inhabited by thousands of office workers and city users. The jewel-like droplet form sits at an angle to reinforce its precarious and weighty presence.

The sculptures surface is made up of a series of stainless steel pleats that are each pierced to create a highly decorative, reflective and mesmeric surface pattern. Powerful internal LED lights illuminate the work from within and at night, give the sculpture a sense of transparency and weightlessness, that contrasts with its daytime mass.

artsACT 委托 Stuart Green 为渥登市中 心的繁华街头设计了一款艺术雕塑，取名《水 滴》。雕塑白天充当地标，夜晚化身一座指 路明灯，无时无刻不在服务着居住在此的数 以千计的上班族和市民。宝石般闪亮的《水滴》 立在那里，微微倾斜的角度给人一种摇摇欲 坠的重力感。雕塑表面由不锈钢构成，设计 成一系列规则的褶皱形状，每一块褶皱上面 都用打孔的方式绘出外观图案，使整个雕塑 透出一种极致的美感，折射的光晕令人迷醉。 内部 LED 灯光装置在夜晚将雕塑点亮，赋予 雕塑一种通透失重的美感，那是一种与白天 截然不同的状态。

010 | Public Landscape Sculpture |

| Public Landscape Sculpture | 011

Origami Horses 折纸雕塑骏马 Artist Susan Milne and Greg Stonehouse

Client Coles Group Property Developments Ltd Location West Ryde Plaza, Ryde, NSW, Australia

这些折纸雕塑看起来简单自然，外形稚 嫩，但却动感十足，体现着动态的时尚元素。 雕塑富有动感元素的灵感来源于神奇的手工 折纸工艺带给人们的想象力。从二维空间的 角度去看这些马，它们昂首直立，傲然十足， 从简单的片片纸板变成了一匹匹朝气蓬勃、 打着响鼻、活蹦乱跳的骏马。坐落在河流北 岸的西莱德地区的人们曾用马作为交通工具， 并且和马成为朋友，和马一起度过闲暇时光。 这种折纸的工艺理念让小学的孩子们充 分参与到设计中来，从而为这一区域增添了 色彩和神韵，变得多姿多彩。 “周六周日，我们没有骑马。他的马叫 凯蒂（Kitty），是一匹漂亮的母马，每到拐 弯处时，它就会全力以赴地奔跑 , 看看它能 以多快的速度超过旁边并行的马车。在那之 后，我去为威廉工作。他从博伊尔（Boyle） 接管了休斯（Hughes） 大街的所有地方， 他的生意遍及康科德（Concord）。所以我 们常常坐船穿过这一地区，在康科德跑来跑 去。”

The horses are naive, yet dynamic stylised elements which are part of a universal imagination constructing magical creatures from paper. From two dimensions these horses rear in triumph, transformed from sheets into living, snorting beasts. West Ryde on the northern bank of the river utilised the horse as transport, companionship and leisure.

The origami concept enabled the facets of the horses to be developed by Primary School children to bring colour and texture into the space. “ Six. Saturday - Sunday we didn’t do a round. Kitty his horse, she was a beautiful horse, a mare, and when she got to a bend she’d go flat out to see how fast she could broadside the cart. But after that I went and worked for Williams who took over from Boyle up in Hughes Avenue. His run was all over Concord. So we used to go across the punt and do all the run over in Concord.”

An excerpt from Owen Bennett’s oral history as told to Ryde Library as part of their Community Life Series.

以上是欧文·贝内特为莱德图书馆口述 历史的一段节选，是社区生活系列节目的一 部分。

012 | Public Landscape Sculpture |

| Public Landscape Sculpture | 013

Origami Horses 折纸雕塑骏马 Artist Susan Milne and Greg Stonehouse

Client Coles Group Property Developments Ltd Location West Ryde Plaza, Ryde, NSW, Australia

这些折纸雕塑看起来简单自然，外形稚 嫩，但却动感十足，体现着动态的时尚元素。 雕塑富有动感元素的灵感来源于神奇的手工 折纸工艺带给人们的想象力。从二维空间的 角度去看这些马，它们昂首直立，傲然十足， 从简单的片片纸板变成了一匹匹朝气蓬勃、 打着响鼻、活蹦乱跳的骏马。坐落在河流北 岸的西莱德地区的人们曾用马作为交通工具， 并且和马成为朋友，和马一起度过闲暇时光。 这种折纸的工艺理念让小学的孩子们充 分参与到设计中来，从而为这一区域增添了 色彩和神韵，变得多姿多彩。 “周六周日，我们没有骑马。他的马叫 凯蒂（Kitty），是一匹漂亮的母马，每到拐 弯处时，它就会全力以赴地奔跑 , 看看它能 以多快的速度超过旁边并行的马车。在那之 后，我去为威廉工作。他从博伊尔（Boyle） 接管了休斯（Hughes） 大街的所有地方， 他的生意遍及康科德（Concord）。所以我 们常常坐船穿过这一地区，在康科德跑来跑 去。”

The horses are naive, yet dynamic stylised elements which are part of a universal imagination constructing magical creatures from paper. From two dimensions these horses rear in triumph, transformed from sheets into living, snorting beasts. West Ryde on the northern bank of the river utilised the horse as transport, companionship and leisure.

The origami concept enabled the facets of the horses to be developed by Primary School children to bring colour and texture into the space. “ Six. Saturday - Sunday we didn’t do a round. Kitty his horse, she was a beautiful horse, a mare, and when she got to a bend she’d go flat out to see how fast she could broadside the cart. But after that I went and worked for Williams who took over from Boyle up in Hughes Avenue. His run was all over Concord. So we used to go across the punt and do all the run over in Concord.”

An excerpt from Owen Bennett’s oral history as told to Ryde Library as part of their Community Life Series.

以上是欧文·贝内特为莱德图书馆口述 历史的一段节选，是社区生活系列节目的一 部分。

012 | Public Landscape Sculpture |

| Public Landscape Sculpture | 013

the central axis of the city - Ahuza Street.

This axis is the commercial and social center of the city, accommodating most of the city's shops, cultural centers and the City Hall.

During the renovation roadside pavements along the shops were restored; bike paths were added, as well as new urban furniture and landscaping.

As part of the process, protective separators

NO.632 QS92S1541

10!

central Israel) launched a renovation project in

HftGftLERIfl HfllRONIT 97297610566 Karnsd

In 2009, the Municipality of Ra'anana (a city in

9:51

Artist Uri Dushy

Location Ra'anana,Israel

27.RUG.2007 flue 2°°7 8:41

圈里圈外：移动的人

Dimensions platforms 200cm x 200cm, sculptures H 300cm x W 150cm x D 150cm

27

In and Out: Running Figure

were built along the bike paths, with the sidewalk on one side and the bike paths on the other.

On these separators the landscape architects created three platforms on which sculptures were designed to be placed. The Municipality published a tender and chose my work out of the 12 finalists.

In approaching the initial creation of sketches,

2009 年，赖阿南纳市（以色列中央区的一座城市）针对该市的核心街道阿札街 （Ahza Street）开展了一个翻新改造项目。 阿札街是赖阿南纳市的商业和社交中心，市政厅、各文化中心以及大部分店铺 都坐落于此。 翻新改造时，赖阿南纳市对店铺周围的人行道进行了修复，并分别增加和新建 了自行车道和城市设施及园林景观。 作为项目的一部分，沿着自行车道建起了数个护栏，它们将人行道和自行车道 隔了开来。 景观建筑师们在这些护栏上建了三个平台，其作用是放置雕塑。赖阿南纳市政 府对这些雕塑进行了公开招标，最终我的作品从 12 件决赛作品中脱颖而出。

在初步的设计草图成型之初，设计主要考虑的是该地区的交通流量，设计意图 就是要充分考虑整条主干道上客流的活动。 为该项目设计的三个雕塑均分为人物部分和 “材料”部分，两部分的材质相同， 这样的设计让人感觉人物正从“材料”里走出来，融进城市的交通中去。雕塑正是 以这样的方式，通过移动的人物形态淡化了材料的存在感。其中两件雕塑刻画的是 来往的行人，另一件雕塑刻画的则是飞驰在街道上的自行车车手。 此外，这三件雕塑的一个共同点在于圆形的设计元素，它有助于突出雕塑中人 物的移动状态，并表达出“无尽循环”这一主题。 雕塑暖色调的选择使其更加协调地融入周围的园林和景观中去。

consideration was given to the flow of traffic in the area, with the Intent of making a reference to the activities taking place along that main thoroughfare.

The three sculptures created for this project deal with figures in motion, and with vanishing presence in terms of material. The sculptures show the figures and their derived material, as if the figures are "coming out" of the material of which they were created, into the urban traffic. Two sculptures relate to the passing pedestrians, and the third to the bicycle riders along the paths.

In addition, the round shape which is common to the three works creates a repetitive theme for the topics sculpted, and is associated with the movement of the sculptures.

The colors used for the sculptures are of a warm color palette, which integrate with the gardening and landscape in which they are situated.

016 | Public Landscape Sculpture |

| Public Landscape Sculpture | 017

the central axis of the city - Ahuza Street.

This axis is the commercial and social center of the city, accommodating most of the city's shops, cultural centers and the City Hall.

During the renovation roadside pavements along the shops were restored; bike paths were added, as well as new urban furniture and landscaping.

As part of the process, protective separators

NO.632 QS92S1541

10!

central Israel) launched a renovation project in

HftGftLERIfl HfllRONIT 97297610566 Karnsd

In 2009, the Municipality of Ra'anana (a city in

9:51

Artist Uri Dushy

Location Ra'anana,Israel

27.RUG.2007 flue 2°°7 8:41

圈里圈外：移动的人

Dimensions platforms 200cm x 200cm, sculptures H 300cm x W 150cm x D 150cm

27

In and Out: Running Figure

were built along the bike paths, with the sidewalk on one side and the bike paths on the other.

On these separators the landscape architects created three platforms on which sculptures were designed to be placed. The Municipality published a tender and chose my work out of the 12 finalists.

In approaching the initial creation of sketches,

2009 年，赖阿南纳市（以色列中央区的一座城市）针对该市的核心街道阿札街 （Ahza Street）开展了一个翻新改造项目。 阿札街是赖阿南纳市的商业和社交中心，市政厅、各文化中心以及大部分店铺 都坐落于此。 翻新改造时，赖阿南纳市对店铺周围的人行道进行了修复，并分别增加和新建 了自行车道和城市设施及园林景观。 作为项目的一部分，沿着自行车道建起了数个护栏，它们将人行道和自行车道 隔了开来。 景观建筑师们在这些护栏上建了三个平台，其作用是放置雕塑。赖阿南纳市政 府对这些雕塑进行了公开招标，最终我的作品从 12 件决赛作品中脱颖而出。

在初步的设计草图成型之初，设计主要考虑的是该地区的交通流量，设计意图 就是要充分考虑整条主干道上客流的活动。 为该项目设计的三个雕塑均分为人物部分和 “材料”部分，两部分的材质相同， 这样的设计让人感觉人物正从“材料”里走出来，融进城市的交通中去。雕塑正是 以这样的方式，通过移动的人物形态淡化了材料的存在感。其中两件雕塑刻画的是 来往的行人，另一件雕塑刻画的则是飞驰在街道上的自行车车手。 此外，这三件雕塑的一个共同点在于圆形的设计元素，它有助于突出雕塑中人 物的移动状态，并表达出“无尽循环”这一主题。 雕塑暖色调的选择使其更加协调地融入周围的园林和景观中去。

consideration was given to the flow of traffic in the area, with the Intent of making a reference to the activities taking place along that main thoroughfare.

The three sculptures created for this project deal with figures in motion, and with vanishing presence in terms of material. The sculptures show the figures and their derived material, as if the figures are "coming out" of the material of which they were created, into the urban traffic. Two sculptures relate to the passing pedestrians, and the third to the bicycle riders along the paths.

In addition, the round shape which is common to the three works creates a repetitive theme for the topics sculpted, and is associated with the movement of the sculptures.

The colors used for the sculptures are of a warm color palette, which integrate with the gardening and landscape in which they are situated.

016 | Public Landscape Sculpture |

| Public Landscape Sculpture | 017

Vortex 漩涡 Artist Saint Clair Cemin

《漩涡》象征着天地间运行的一股能量。周围的环境映射在雕塑的螺旋表面上。艺术家想象着作品的反光镜面 能够容纳世间万物，并用一个有力的姿势将影像送入苍穹。《漩涡》表面并不规则，它以螺旋般旋转向上的态势向 天际延展，速度由快而慢，直至定格。 自然中最常态的运动往往呈现出螺旋的形态（更准确地说，是螺旋面），人们可以在骨骼、树木、植物等一般 的自然形态中找到螺旋的影子，这在海贝壳中体现得尤为明显。在自然中，两点之间的最短距离不是直线距离。由 于地球的自转和围绕太阳的公转，地球表面任何静止的物体都在空间中呈螺旋状运动。整个宇宙中，从银河系到编 译人类遗传信息的 DNA 双螺旋分子，都由螺旋结构组成。《漩涡》刻画的是运动状态下的生命形态。

Vortex is a column of energy that travels from earth to heaven and from heaven to earth. It mirrors the surroundings in its twisted surface. The artist imagines a piece that would receive on its reflective surface all the images of things, people...all the environment, and would send this image to the sky

material Stainless steel

in one powerful gesture. The spiral or Vortex is not regular, it is organic, taking up speed and spinning slower to finally project itself upwards in a long spin.

Dimensions 12m x 3.1m x 3.1m

The most natural movement in nature is the spiral (or more correctly, the helicoidal) and people can

Photographer Elisabeth Bernstein

In nature, the shortest distance between two points is not the straight line. And anything stationary

see it in the natural forms of bones, of trees and plants in general, and most obviously in sea shells. on earth's surface, due to the combined rotation of the planet with its translation around the sun, is traveling trough space in a long helicoidal path. The entire universe, from galaxies to the double helix of the DNA molecule that encodes human's genetic information is made of helicoidal forms. Vortex is an image of life in movement.

018 | Street Landscape Sculpture |

| Street Landscape Sculpture |

019

Vortex 漩涡 Artist Saint Clair Cemin

《漩涡》象征着天地间运行的一股能量。周围的环境映射在雕塑的螺旋表面上。艺术家想象着作品的反光镜面 能够容纳世间万物，并用一个有力的姿势将影像送入苍穹。《漩涡》表面并不规则，它以螺旋般旋转向上的态势向 天际延展，速度由快而慢，直至定格。 自然中最常态的运动往往呈现出螺旋的形态（更准确地说，是螺旋面），人们可以在骨骼、树木、植物等一般 的自然形态中找到螺旋的影子，这在海贝壳中体现得尤为明显。在自然中，两点之间的最短距离不是直线距离。由 于地球的自转和围绕太阳的公转，地球表面任何静止的物体都在空间中呈螺旋状运动。整个宇宙中，从银河系到编 译人类遗传信息的 DNA 双螺旋分子，都由螺旋结构组成。《漩涡》刻画的是运动状态下的生命形态。

Vortex is a column of energy that travels from earth to heaven and from heaven to earth. It mirrors the surroundings in its twisted surface. The artist imagines a piece that would receive on its reflective surface all the images of things, people...all the environment, and would send this image to the sky

material Stainless steel

in one powerful gesture. The spiral or Vortex is not regular, it is organic, taking up speed and spinning slower to finally project itself upwards in a long spin.

Dimensions 12m x 3.1m x 3.1m

The most natural movement in nature is the spiral (or more correctly, the helicoidal) and people can

Photographer Elisabeth Bernstein

In nature, the shortest distance between two points is not the straight line. And anything stationary

see it in the natural forms of bones, of trees and plants in general, and most obviously in sea shells. on earth's surface, due to the combined rotation of the planet with its translation around the sun, is traveling trough space in a long helicoidal path. The entire universe, from galaxies to the double helix of the DNA molecule that encodes human's genetic information is made of helicoidal forms. Vortex is an image of life in movement.

018 | Street Landscape Sculpture |

| Street Landscape Sculpture |

019

Seagrass 海草 Artist Barbara Grygutis Design Company Barbara Grygutis Sculpture LLC ©Barbara Grygutis, 2010 client City of Long Beach, California.

Fabricator CAID Industries, Tucson, Arizona, USA material Fabricated Aluminum, Light dimension 9.15m H x 3.05m W x 1.83m D Location Ocean Boulevard, Long Beach, California, USA Photographer Thomas McConville Drawings courtesy of Barbara Grygutis Sculpture LLC

The sculptural composition is designed as a single repetitive motif inspired by the visual rhythm of sea grasses underwater as they ebb and flow in the current. This iconic, 9.15m H sculptural composition with integral lighting brings to light the beauty of ocean life and its larger significance to metropolitan Long Beach, California, which is known as the “aquatic capital of the United States.” This public art installation is a unique landmark on the Ocean Boulevard corridor, a beautiful gateway which calls to Long Beach’s historical ties and proximity to the ocean. The undulating curves of “Seagrass” stretch towards the sky as though rippling and swaying in a larger-than-life seabed.

涨潮时，海草顺着水流来到岸边，落潮时，又随水流漂回，来来回回，受此启发，这件《海草》组 合雕塑诞生了。这座 9.15 米高的标志性组合雕塑拥有完美的灯光效果，让人们仿佛置身于神奇的海底世界， 对加利福尼亚的长滩市而言，《海草》具有更为重要的意义，因为这座大都市被誉为“美国的海上首都”。 这座公共艺术装置是海洋大道上唯一的地标，就像一座美丽的大门，将人们迎进长滩与海洋关系的无限 遐想中。《海草》呈现出波浪般的曲线，向天际无限伸展，远远望去，就像在广阔无垠的海床上泛起的 点点涟漪与波纹。

022 | Street Landscape Sculpture |

| Street Landscape Sculpture |

023

Seagrass 海草 Artist Barbara Grygutis Design Company Barbara Grygutis Sculpture LLC ©Barbara Grygutis, 2010 client City of Long Beach, California.

Fabricator CAID Industries, Tucson, Arizona, USA material Fabricated Aluminum, Light dimension 9.15m H x 3.05m W x 1.83m D Location Ocean Boulevard, Long Beach, California, USA Photographer Thomas McConville Drawings courtesy of Barbara Grygutis Sculpture LLC

The sculptural composition is designed as a single repetitive motif inspired by the visual rhythm of sea grasses underwater as they ebb and flow in the current. This iconic, 9.15m H sculptural composition with integral lighting brings to light the beauty of ocean life and its larger significance to metropolitan Long Beach, California, which is known as the “aquatic capital of the United States.” This public art installation is a unique landmark on the Ocean Boulevard corridor, a beautiful gateway which calls to Long Beach’s historical ties and proximity to the ocean. The undulating curves of “Seagrass” stretch towards the sky as though rippling and swaying in a larger-than-life seabed.

涨潮时，海草顺着水流来到岸边，落潮时，又随水流漂回，来来回回，受此启发，这件《海草》组 合雕塑诞生了。这座 9.15 米高的标志性组合雕塑拥有完美的灯光效果，让人们仿佛置身于神奇的海底世界， 对加利福尼亚的长滩市而言，《海草》具有更为重要的意义，因为这座大都市被誉为“美国的海上首都”。 这座公共艺术装置是海洋大道上唯一的地标，就像一座美丽的大门，将人们迎进长滩与海洋关系的无限 遐想中。《海草》呈现出波浪般的曲线，向天际无限伸展，远远望去，就像在广阔无垠的海床上泛起的 点点涟漪与波纹。

022 | Street Landscape Sculpture |

| Street Landscape Sculpture |

023

The blue objects in the ground plane within the Bower were developed by extensive community consultation with the local residents.

Bower

The sculpture explores the courtship drama of the bowerbird who attracts the female with the objects and a dance performance.

The everyday drama of residents walking through the feathers is enacted here.

羽亭 Artist Susan Milne and Greg Stonehouse

Client City of Sydney Location Regent & Redern Street, Redfern, Australia

地面上的蓝色物件是在广泛地征询了当地 居民的意见后才设计安置于此的。 该雕塑再现了花亭鸟（澳洲鸟）的求偶场 景，这种鸟通过一些物件和一段舞蹈表演来吸 引雌性。 居民们穿梭在“羽毛”间的情景每天都会 上演。

024 | Street Landscape Sculpture |

| Street Landscape Sculpture |

025

The blue objects in the ground plane within the Bower were developed by extensive community consultation with the local residents.

Bower

The sculpture explores the courtship drama of the bowerbird who attracts the female with the objects and a dance performance.

The everyday drama of residents walking through the feathers is enacted here.

羽亭 Artist Susan Milne and Greg Stonehouse

Client City of Sydney Location Regent & Redern Street, Redfern, Australia

地面上的蓝色物件是在广泛地征询了当地 居民的意见后才设计安置于此的。 该雕塑再现了花亭鸟（澳洲鸟）的求偶场 景，这种鸟通过一些物件和一段舞蹈表演来吸 引雌性。 居民们穿梭在“羽毛”间的情景每天都会 上演。

024 | Street Landscape Sculpture |

| Street Landscape Sculpture |

025

Inhale/ Exhale 点/面 Artist Phillip K. Smith, III

Material Fiberglass, Steel, Concrete, LED Lighting dimensions 1.22m dia. x 16.78m high Location La Verne, California, USA 这件积木式雕塑设计的 基本理念是基于等边三角形 的变形。最上面和最下面的 三角形是一致的，中间的三 角形则旋转了 180°。因此， 雕塑外形的变化就是从一个 三角形面到一个三角形点， 再到一个三角形面的往复过 程。闪闪发光的玻璃纤维外 表反射出周围的环境和色彩， 所以雕塑的外表可随太阳或者欣赏者的移动而不断发生变化。 《点 / 面》已成为拉文大学又一个新校园中心的标志，也为学 生的梦想和希望树立了一个标志。

This modular sculpture is based upon the formal transformation between three identical equilateral triangles. The top and bottom triangles are aligned, while the center triangle has been rotated 180 degrees. As a result, the sculpture’s form defines the transformation

The Thinker for a new century. Lost in deep thought, the

from the face of a triangle to the tip of a triangle and

meditating figure is comprised of interlocking spirals of

back to the face. The high gloss fiberglass surface

hammered and polished copper, reflecting the essential forms

reflects the surrounding environment and colors,

of the world which surrounds him.

creating an ever changing skin as sun and the viewer move around the sculpture. “Inhale/Exhale” marks the new center of campus at the University of La Verne‘s

这是新世纪的《沉思者》。这位沉思者徜徉在思想的海洋中，周 身由打磨抛光的铜制成连锁螺旋状，反映了其周围世界的基本形态。

Campus Center project, while establishing an icon for the hopes and dreams of the student body.

material Hammered copper dimensions 1.4m x 0.95m x 1.5m Photographer Cari Vuong

026 | Street Landscape Sculpture |

O Pensador 沉思者 Designer Saint Clair Cemin

| Street Landscape Sculpture |

027

Inhale/ Exhale 点/面 Artist Phillip K. Smith, III

Material Fiberglass, Steel, Concrete, LED Lighting dimensions 1.22m dia. x 16.78m high Location La Verne, California, USA 这件积木式雕塑设计的 基本理念是基于等边三角形 的变形。最上面和最下面的 三角形是一致的，中间的三 角形则旋转了 180°。因此， 雕塑外形的变化就是从一个 三角形面到一个三角形点， 再到一个三角形面的往复过 程。闪闪发光的玻璃纤维外 表反射出周围的环境和色彩， 所以雕塑的外表可随太阳或者欣赏者的移动而不断发生变化。 《点 / 面》已成为拉文大学又一个新校园中心的标志，也为学 生的梦想和希望树立了一个标志。

This modular sculpture is based upon the formal transformation between three identical equilateral triangles. The top and bottom triangles are aligned, while the center triangle has been rotated 180 degrees. As a result, the sculpture’s form defines the transformation

The Thinker for a new century. Lost in deep thought, the

from the face of a triangle to the tip of a triangle and

meditating figure is comprised of interlocking spirals of

back to the face. The high gloss fiberglass surface

hammered and polished copper, reflecting the essential forms

reflects the surrounding environment and colors,

of the world which surrounds him.

creating an ever changing skin as sun and the viewer move around the sculpture. “Inhale/Exhale” marks the new center of campus at the University of La Verne‘s

这是新世纪的《沉思者》。这位沉思者徜徉在思想的海洋中，周 身由打磨抛光的铜制成连锁螺旋状，反映了其周围世界的基本形态。

Campus Center project, while establishing an icon for the hopes and dreams of the student body.

material Hammered copper dimensions 1.4m x 0.95m x 1.5m Photographer Cari Vuong

026 | Street Landscape Sculpture |

O Pensador 沉思者 Designer Saint Clair Cemin

| Street Landscape Sculpture |

027

The Sentinels 哨兵 Artist Rob Mulholland

Location Alloa Town Center,UK

With the re-generation of Alloa Town center Rob wanted to create focal points in the town with four Sentinel figures.

The sculptures are made from marine grade polished stainless steel, which has a highly mirrored surface.

Each figure, standing at over 2.7 meters and over a ton in weight, creates its own shape and form. The polished mirrored profiles constantly alter in appearance as the light and weather changes throughout the day.

The mirrored surfaces are slightly distorted. This was intentional, as Rob wanted to create a more interesting reflection and to invite the viewer to look into this altered image of their surroundings in a new way. They are interactive and allow the public to create their own interpretation and meaning.

In essence, the figures stand passively, absorbing and reflecting the people and day to day life of the town, capturing and momentarily recording the constant flow of daily life.

Portrait of the Word "Why"

The sculptures celebrate modernity. They look forward to the changes and re-generation of the town.

“为什么” Designer Saint Clair Cemin material Satin polished stainless steel

Dimensions 2.4m H x 0.8m W

Location UK

Is the “why?” of “Why did you buy only red wine and not white?” the same “why” of “Why everything rather than nothing?” Probably not!

If portraits of words could be made, this would be the portrait of the word “why”, one of the most mysterious words of the English language. “为什么只买红酒而不买白酒？”中的“为什么”和“为 什么每样都要？”中的“为什么”一样吗？也许不一样！ 如果要为词汇做个塑像，那么便是“为什么”这个英语 语言中最为神秘的词汇之一了。

028 | Street Landscape Sculpture |

随着阿洛厄镇中心的复兴，劳勃希望创作出一些地标性雕塑，四个“哨兵”就此诞生了。 雕塑由抗腐蚀抛光不锈钢制成，具有高反光性的表面。 每一个哨兵身高都超过 2.7 米，体重 1 吨有余，外形与构造各异。根据全天光线和天气的不同，抛光镜面也 在随时发生着变化。 反光镜面有些轻微变形。这是劳勃有意为之的，他希望投射在镜面上的图像更加有趣，让观赏者能够通过这 些变幻万千的图像，以一个全新的角度看待周围的环境。这是一个互动的过程，让公众自主阐释其对外部环境的 理解。 就本质而言，这些哨兵是顺从的，他们将城镇居民的日常生活尽收眼底，捕捉与记载着生活中的点点滴滴。 雕塑象征着现代化，哨兵们渴盼着阿洛厄镇的改变与重生。 | Street Landscape Sculpture |

029

The Sentinels 哨兵 Artist Rob Mulholland

Location Alloa Town Center,UK

With the re-generation of Alloa Town center Rob wanted to create focal points in the town with four Sentinel figures.

The sculptures are made from marine grade polished stainless steel, which has a highly mirrored surface.

Each figure, standing at over 2.7 meters and over a ton in weight, creates its own shape and form. The polished mirrored profiles constantly alter in appearance as the light and weather changes throughout the day.

The mirrored surfaces are slightly distorted. This was intentional, as Rob wanted to create a more interesting reflection and to invite the viewer to look into this altered image of their surroundings in a new way. They are interactive and allow the public to create their own interpretation and meaning.

In essence, the figures stand passively, absorbing and reflecting the people and day to day life of the town, capturing and momentarily recording the constant flow of daily life.

Portrait of the Word "Why"

The sculptures celebrate modernity. They look forward to the changes and re-generation of the town.

“为什么” Designer Saint Clair Cemin material Satin polished stainless steel

Dimensions 2.4m H x 0.8m W

Location UK

Is the “why?” of “Why did you buy only red wine and not white?” the same “why” of “Why everything rather than nothing?” Probably not!

If portraits of words could be made, this would be the portrait of the word “why”, one of the most mysterious words of the English language. “为什么只买红酒而不买白酒？”中的“为什么”和“为 什么每样都要？”中的“为什么”一样吗？也许不一样！ 如果要为词汇做个塑像，那么便是“为什么”这个英语 语言中最为神秘的词汇之一了。

028 | Street Landscape Sculpture |

随着阿洛厄镇中心的复兴，劳勃希望创作出一些地标性雕塑，四个“哨兵”就此诞生了。 雕塑由抗腐蚀抛光不锈钢制成，具有高反光性的表面。 每一个哨兵身高都超过 2.7 米，体重 1 吨有余，外形与构造各异。根据全天光线和天气的不同，抛光镜面也 在随时发生着变化。 反光镜面有些轻微变形。这是劳勃有意为之的，他希望投射在镜面上的图像更加有趣，让观赏者能够通过这 些变幻万千的图像，以一个全新的角度看待周围的环境。这是一个互动的过程，让公众自主阐释其对外部环境的 理解。 就本质而言，这些哨兵是顺从的，他们将城镇居民的日常生活尽收眼底，捕捉与记载着生活中的点点滴滴。 雕塑象征着现代化，哨兵们渴盼着阿洛厄镇的改变与重生。 | Street Landscape Sculpture |

029

Design Company Morrison Studio material Solar panel, Recycled aluminum

Sun-catcher Sculpture 阳光捕手 Artist Deedee Morrison

030 | Street Landscape Sculpture |

Location Florida, USA

《阳光捕手》位于弗罗里达州克利尔沃特市，高 4.6 米，由再生铝和太阳能电池 板制成。雕塑家和装置艺术家迪迪·莫里森说：“这对克利夫兰街区的公共艺术项目 的可持续性而言是个难得的机遇。”迪迪·莫里森对植物、光线和其他一些自然之物 情有独钟，这个雕塑则融合了她对自然界的兴趣和对高科技的狂热。 迪迪·莫里森使用重金属和激光切割的方法创造出太阳能灯雕塑，开创出自己独 一无二的风格，反映了她对自然世界的理解与认知。毫无疑问，大自然帮助我们解决 了很多现存的问题，无论是自然环境中的，还是人造环境中的。迪迪·莫里森尝试着 运用世界原有的设计原理，外加借鉴大自然中的模式与规律，以艺术作品的形式展现 可持续性发展的理念。 《阳光捕手》的颜色与太阳相似，以黄色为主，隐隐跃动着金辉。印刻着太阳图 腾的顶部面板安装了太阳能板——白天采集太阳能，夜间发出动人的光芒，这也是雕 塑的独特之处。太阳能在夜间以光的形式释放出来，维持了能量的平衡。《阳光捕手》 是对能量的视觉展示，通过一块太阳能板和太阳发生关联，每天都是如此。

Recycled aluminum and solar panels were used to fabricate this powerful

Morrison attempts to imitate the design principles that exist in the world to

4.6-meter-tall Sun-catcher sculpture for the City of Clearwater, Florida. "This

create sustainable solutions with art, by mimicing the patterns and strategies

is the wonderful opportunity for a sustainable public art project along the

found in nature.

islands in the Cleveland Street District." says Deedee Morrison. As a sculptor and installation artist, Morrison has a particular affinity for plants, other natural forms, and light. The sculptor has coupled her interest in the natural world with a fascination for technical and scientific advances.

The color scheme of the Sun-catcher sculpture mirrors the vibrant yellow hues of the sun. A solar panel is installed on the top panel of the sun totem

– capturing the energy of the sun during the day and emitting its dramatic stored light at night, giving the sculpture an added dimension. This energy

A unique style has evolved that reflect the artist’s understanding of the natural

is released at night in the form of light – maintaining an energy balance that

world, by using heavy industrial metals and laser jet cutting methods to create

cannot be borrowed against. Sun-catcher is a visual display of the power and

solar powered light sculptures. By necessity, nature has solved many of

energy that’s available every day from a single solar panel’s relationship with

the problems we are currently facing in our physical and built environments.

the sun. | Street Landscape Sculpture |

031

Design Company Morrison Studio material Solar panel, Recycled aluminum

Sun-catcher Sculpture 阳光捕手 Artist Deedee Morrison

030 | Street Landscape Sculpture |

Location Florida, USA

《阳光捕手》位于弗罗里达州克利尔沃特市，高 4.6 米，由再生铝和太阳能电池 板制成。雕塑家和装置艺术家迪迪·莫里森说：“这对克利夫兰街区的公共艺术项目 的可持续性而言是个难得的机遇。”迪迪·莫里森对植物、光线和其他一些自然之物 情有独钟，这个雕塑则融合了她对自然界的兴趣和对高科技的狂热。 迪迪·莫里森使用重金属和激光切割的方法创造出太阳能灯雕塑，开创出自己独 一无二的风格，反映了她对自然世界的理解与认知。毫无疑问，大自然帮助我们解决 了很多现存的问题，无论是自然环境中的，还是人造环境中的。迪迪·莫里森尝试着 运用世界原有的设计原理，外加借鉴大自然中的模式与规律，以艺术作品的形式展现 可持续性发展的理念。 《阳光捕手》的颜色与太阳相似，以黄色为主，隐隐跃动着金辉。印刻着太阳图 腾的顶部面板安装了太阳能板——白天采集太阳能，夜间发出动人的光芒，这也是雕 塑的独特之处。太阳能在夜间以光的形式释放出来，维持了能量的平衡。《阳光捕手》 是对能量的视觉展示，通过一块太阳能板和太阳发生关联，每天都是如此。

Recycled aluminum and solar panels were used to fabricate this powerful

Morrison attempts to imitate the design principles that exist in the world to

4.6-meter-tall Sun-catcher sculpture for the City of Clearwater, Florida. "This

create sustainable solutions with art, by mimicing the patterns and strategies

is the wonderful opportunity for a sustainable public art project along the

found in nature.

islands in the Cleveland Street District." says Deedee Morrison. As a sculptor and installation artist, Morrison has a particular affinity for plants, other natural forms, and light. The sculptor has coupled her interest in the natural world with a fascination for technical and scientific advances.

The color scheme of the Sun-catcher sculpture mirrors the vibrant yellow hues of the sun. A solar panel is installed on the top panel of the sun totem

– capturing the energy of the sun during the day and emitting its dramatic stored light at night, giving the sculpture an added dimension. This energy

A unique style has evolved that reflect the artist’s understanding of the natural

is released at night in the form of light – maintaining an energy balance that

world, by using heavy industrial metals and laser jet cutting methods to create

cannot be borrowed against. Sun-catcher is a visual display of the power and

solar powered light sculptures. By necessity, nature has solved many of

energy that’s available every day from a single solar panel’s relationship with

the problems we are currently facing in our physical and built environments.

the sun. | Street Landscape Sculpture |

031

The Guardian 守护者 Artist Cezary Stulgis

Commissioned Lexicon Material Welded stainless steel Location Brisbane, Australia

The Guardian is a contemporary mythological figure, a good-natured dog/man that restores balance on the Planet. The Sphere in his body symbolizes his energy or his life force.

The tree in his backpack is a link to the fragile climate.

《守护者》是一个当代的神话人物，狗头人身， 本性纯良，致力于维护地球的生态平衡。雕塑体内 的“球”象征着它的能量和生命力，而肩上背包里 的树干则暗示着我们脆弱的生态环境。

034 | Street Landscape Sculpture |

| Street Landscape Sculpture |

035

The Guardian 守护者 Artist Cezary Stulgis

Commissioned Lexicon Material Welded stainless steel Location Brisbane, Australia

The Guardian is a contemporary mythological figure, a good-natured dog/man that restores balance on the Planet. The Sphere in his body symbolizes his energy or his life force.

The tree in his backpack is a link to the fragile climate.

《守护者》是一个当代的神话人物，狗头人身， 本性纯良，致力于维护地球的生态平衡。雕塑体内 的“球”象征着它的能量和生命力，而肩上背包里 的树干则暗示着我们脆弱的生态环境。

034 | Street Landscape Sculpture |

| Street Landscape Sculpture |

035

Structural fabrication Birch Engineering

"Reflections of Bedford" 贝德福德映像 Artist Rick Kirby

036 | Street Landscape Sculpture |

Material Stainless steel Dimensions 6m H x 8m W x 2m D Location Silver Street, Bedford, UK Photographer Clever Capture

2009 年末，贝德福德镇银街上的游客见证了里克·卡比的两件地标性雕塑 的到来，这两件艺术品共同构成了一扇通往市中心的新大门。 这两件高 6 米的雕塑是两半对称的侧脸，它们鼻子对着鼻子，高耸于顾客 们的头顶。这两件映照出许许多多贝德福德人脸庞的雕塑也在歌颂着小镇的文 化遗产。 正如其名，《贝德福德映像》反映了贝德福德镇的历史，尤其是其曾为花 边制作中心的历史和银街上曾有过一间古老的硬币铸造厂的历史，都被刻在了 雕塑的曲线横断面上。这两件雕塑寓意着贝德福德镇是一个由世界各地文化共 同组成的群体，也象征着友谊和互相尊重。点亮彩灯，夜晚的雕塑又是另一番 景象，格外引人注目。 不锈钢这种可塑性并不是很高的材料，到了里克的手里却变得弯曲自如、 活灵活现。雕塑采用了钢铁最原始的形式，散发着冰冷的工业气质，同时它又 吸收了温暖的生命气息。这一冷一暖的结合，给雕塑带来了无穷的魅力。

In late 2009 visitors to Bedford’s Silver Street witnessed the arrival

the site of an ancient coin mint. It also acknowledges that cultures

of Rick Kirby’s two landmark statues, which together provide a

from around the world make up Bedford’s community and

new gateway to the town center.

symbolizes friendship and mutual respect. At night, the sculpture

The six meter high statues, two halves of a symmetrical face,

is dramatically changed through the use of colored up lights.

nose to nose, tower over shoppers and reflect the many faces of

The stainless steel, which is not the most malleable of materials,

Bedford while also celebrating the town’s cultural heritage.

becomes sinuous and alive in Rick’s hands. The juxtaposition of

"Reflections of Bedford" as it’s name suggests, is a reflection of Bedford’s history, in particular, lace making which is depicted on

steel in its raw form, cold and industrial and the warm, human life that his art breathes into it has infinite appeal.

the curved cross sections of the sculpture and Silver Street as

| Street Landscape Sculpture |

037

Structural fabrication Birch Engineering

"Reflections of Bedford" 贝德福德映像 Artist Rick Kirby

036 | Street Landscape Sculpture |

Material Stainless steel Dimensions 6m H x 8m W x 2m D Location Silver Street, Bedford, UK Photographer Clever Capture

2009 年末，贝德福德镇银街上的游客见证了里克·卡比的两件地标性雕塑 的到来，这两件艺术品共同构成了一扇通往市中心的新大门。 这两件高 6 米的雕塑是两半对称的侧脸，它们鼻子对着鼻子，高耸于顾客 们的头顶。这两件映照出许许多多贝德福德人脸庞的雕塑也在歌颂着小镇的文 化遗产。 正如其名，《贝德福德映像》反映了贝德福德镇的历史，尤其是其曾为花 边制作中心的历史和银街上曾有过一间古老的硬币铸造厂的历史，都被刻在了 雕塑的曲线横断面上。这两件雕塑寓意着贝德福德镇是一个由世界各地文化共 同组成的群体，也象征着友谊和互相尊重。点亮彩灯，夜晚的雕塑又是另一番 景象，格外引人注目。 不锈钢这种可塑性并不是很高的材料，到了里克的手里却变得弯曲自如、 活灵活现。雕塑采用了钢铁最原始的形式，散发着冰冷的工业气质，同时它又 吸收了温暖的生命气息。这一冷一暖的结合，给雕塑带来了无穷的魅力。

In late 2009 visitors to Bedford’s Silver Street witnessed the arrival

the site of an ancient coin mint. It also acknowledges that cultures

of Rick Kirby’s two landmark statues, which together provide a

from around the world make up Bedford’s community and

new gateway to the town center.

symbolizes friendship and mutual respect. At night, the sculpture

The six meter high statues, two halves of a symmetrical face,

is dramatically changed through the use of colored up lights.

nose to nose, tower over shoppers and reflect the many faces of

The stainless steel, which is not the most malleable of materials,

Bedford while also celebrating the town’s cultural heritage.

becomes sinuous and alive in Rick’s hands. The juxtaposition of

"Reflections of Bedford" as it’s name suggests, is a reflection of Bedford’s history, in particular, lace making which is depicted on

steel in its raw form, cold and industrial and the warm, human life that his art breathes into it has infinite appeal.

the curved cross sections of the sculpture and Silver Street as

| Street Landscape Sculpture |

037

BT ArtBox 英国电信公司的艺术电话亭 Artist Gerry Judah

Material Fibre-glass

Location UK

Photographer David Barbour

为庆祝儿童热线开通 25 周年，英国电信公司成立了艺术电话亭项目——在 2012 年的夏天，这个巨大的露天艺术展俯瞰着伦敦的各条街道。 从吉尔伯特·斯哥特设计的原创版 K6 电话亭中汲取灵感，英国电信公司邀请了 80 名优秀的艺术家和设计师参与设计，希望他们以各自的创造性手法对这个颇受喜爱的设 计形象——红色电话亭进行重新设计。每位英国电信公司艺术电话亭的设计师都要对一 个原创版 K6 电话亭的玻璃纤维复制品（按 1:1 的比例复制）进行改造。1936 年为纪念 乔治五世加冕 25 周年，原创版的 K6 电话亭设计问世。格里·朱达的这个 “切片”版本， 采用雕塑的方式将电话亭切成若干块，然后再将它们重新组装在一起，这样的设计给人 一种支离感，同时也表现出了那些在绝望中被虐待的儿童的情感。

material Galvanized welded steel

The Bridge 友谊之桥 Artist Andy Scott

Dimensions 5m H x 7m W x 1m D Location Alloa, Clackmannanshire, Scotland Photographer Andy Scott

The Bridge was commissioned to celebrate the opening of a new road bridge into the county of Clackmannanshire across the River Forth in central To celebrate the 25th anniversary of Child Line, British Telecom launched the

Scotland. The sculpture symbolizes welcome and reaching across a divide.

BT ArtBox project – a vast, open-air art exhibition over the London’s streets in

The male figure holds a crown which is part of the heraldic coat of arms of

the Summer of 2012.

the county, he reaches out to the woman, and she holds a circle of stars

Taking inspiration from the Gilbert Scott-designed original K6 kiosk, BT has

welcome the people of Europe across the bridge into their area.

engaged more than 80 leading artists and designers to re-style that much-

which represents the flag of Europe... so the people of Clackmannanshire

loved icon of British design, the red telephone box, in their own creative way. Each BT ArtBox artist has transformed a full-size, fibre-glass replica of the original telephone kiosk introduced in 1936 to commemorate the Silver Jubilee of the coronation of King George V. This version "SLIP" by Gerry Judah took a sculptural approach by cutting up the kiosk in various pieces and reassembling them to express a fractured expression, thus showing the

苏格兰中部克拉克曼南郡的福斯河上架起了一座新公路桥，为庆祝桥的竣工， 《友 谊之桥》应运而生。《友谊之桥》象征着敞开心胸，跨越分歧。男性人物手握皇冠， 皇冠是本郡盾形纹章的一部分，他将手臂伸向身旁的女伴，女伴手持象征欧盟旗帜的 星环……克拉克曼南郡的居民欢迎来自欧洲的朋友跨过友谊之桥，来到他们的家园做 客。

feelings of abused children in despair.

038 | Street Landscape Sculpture |

| Street Landscape Sculpture |

039

BT ArtBox 英国电信公司的艺术电话亭 Artist Gerry Judah

Material Fibre-glass

Location UK

Photographer David Barbour

为庆祝儿童热线开通 25 周年，英国电信公司成立了艺术电话亭项目——在 2012 年的夏天，这个巨大的露天艺术展俯瞰着伦敦的各条街道。 从吉尔伯特·斯哥特设计的原创版 K6 电话亭中汲取灵感，英国电信公司邀请了 80 名优秀的艺术家和设计师参与设计，希望他们以各自的创造性手法对这个颇受喜爱的设 计形象——红色电话亭进行重新设计。每位英国电信公司艺术电话亭的设计师都要对一 个原创版 K6 电话亭的玻璃纤维复制品（按 1:1 的比例复制）进行改造。1936 年为纪念 乔治五世加冕 25 周年，原创版的 K6 电话亭设计问世。格里·朱达的这个 “切片”版本， 采用雕塑的方式将电话亭切成若干块，然后再将它们重新组装在一起，这样的设计给人 一种支离感，同时也表现出了那些在绝望中被虐待的儿童的情感。

material Galvanized welded steel

The Bridge 友谊之桥 Artist Andy Scott

Dimensions 5m H x 7m W x 1m D Location Alloa, Clackmannanshire, Scotland Photographer Andy Scott

The Bridge was commissioned to celebrate the opening of a new road bridge into the county of Clackmannanshire across the River Forth in central To celebrate the 25th anniversary of Child Line, British Telecom launched the

Scotland. The sculpture symbolizes welcome and reaching across a divide.

BT ArtBox project – a vast, open-air art exhibition over the London’s streets in

The male figure holds a crown which is part of the heraldic coat of arms of

the Summer of 2012.

the county, he reaches out to the woman, and she holds a circle of stars

Taking inspiration from the Gilbert Scott-designed original K6 kiosk, BT has

welcome the people of Europe across the bridge into their area.

engaged more than 80 leading artists and designers to re-style that much-

which represents the flag of Europe... so the people of Clackmannanshire

loved icon of British design, the red telephone box, in their own creative way. Each BT ArtBox artist has transformed a full-size, fibre-glass replica of the original telephone kiosk introduced in 1936 to commemorate the Silver Jubilee of the coronation of King George V. This version "SLIP" by Gerry Judah took a sculptural approach by cutting up the kiosk in various pieces and reassembling them to express a fractured expression, thus showing the

苏格兰中部克拉克曼南郡的福斯河上架起了一座新公路桥，为庆祝桥的竣工， 《友 谊之桥》应运而生。《友谊之桥》象征着敞开心胸，跨越分歧。男性人物手握皇冠， 皇冠是本郡盾形纹章的一部分，他将手臂伸向身旁的女伴，女伴手持象征欧盟旗帜的 星环……克拉克曼南郡的居民欢迎来自欧洲的朋友跨过友谊之桥，来到他们的家园做 客。

feelings of abused children in despair.

038 | Street Landscape Sculpture |

| Street Landscape Sculpture |

039

Quantum Man 量子人

Artist Julian Voss-Andreae

Project partner Sellen Construction, Schnitzer West

The image of a walking human as a quantum object.

Commissioning agency The Bravern, LLC

3.2m tall sculpture seems to consist of solid steel

Material Stainless steel

nothing when seen from the side. Commissioned

DimensionS 3.2m x 1.4m x 0.6m Location The Bravern, Bellevue, WA, USA

Made up of vertically oriented steel sheets, the when seen from the front, but dissolves into almost for an upscale outdoor Mall in Bellevue (Wash.) and located in front of two Microsoft office towers, the sculpture expresses the miraculous in nature through art: Quantum phenomena which are at the heart of computer technology.

042 | Street Landscape Sculpture |

| Street Landscape Sculpture |

043

Quantum Man 量子人

Artist Julian Voss-Andreae

Project partner Sellen Construction, Schnitzer West

The image of a walking human as a quantum object.

Commissioning agency The Bravern, LLC

3.2m tall sculpture seems to consist of solid steel

Material Stainless steel

nothing when seen from the side. Commissioned

DimensionS 3.2m x 1.4m x 0.6m Location The Bravern, Bellevue, WA, USA

Made up of vertically oriented steel sheets, the when seen from the front, but dissolves into almost for an upscale outdoor Mall in Bellevue (Wash.) and located in front of two Microsoft office towers, the sculpture expresses the miraculous in nature through art: Quantum phenomena which are at the heart of computer technology.

042 | Street Landscape Sculpture |

| Street Landscape Sculpture |

043

该雕塑是一个走路者的形象，以量子物体的形式展现， 由一片片垂直的薄钢片组成，高达 3.2 米。从正面看好似 由脱氧钢制成，从侧面看却又几乎什么都不是了。该雕塑 为华盛顿州贝尔维尤市一个高档的户外购物中心所设计， 矗立于微软的两座高层办公楼前，以艺术的形式展现了自 然界的神奇事物——量子现象，它是计算机技术的核心。

044 | Street Landscape Sculpture |

| Street Landscape Sculpture |

045

该雕塑是一个走路者的形象，以量子物体的形式展现， 由一片片垂直的薄钢片组成，高达 3.2 米。从正面看好似 由脱氧钢制成，从侧面看却又几乎什么都不是了。该雕塑 为华盛顿州贝尔维尤市一个高档的户外购物中心所设计， 矗立于微软的两座高层办公楼前，以艺术的形式展现了自 然界的神奇事物——量子现象，它是计算机技术的核心。

044 | Street Landscape Sculpture |

| Street Landscape Sculpture |

045

装饰性景观雕塑

Decorative landscape Sculpture 046 | Street Landscape Sculpture |

装饰性景观雕塑

Decorative landscape Sculpture 046 | Street Landscape Sculpture |

Rising

Rising was unveiled on May 5, 2012 and served as a permanent public sculpture

升腾

for Canada's largest city. The developers, Westbank and the Peterson Group,

Artist Zhang Huan

have made a point of integrating contemporary art into their recent projects. For

at Living Shangri-La, Toronto on University Avenue, the ceremonial boulevard

the Toronto-based property, the two companies partnered with the Art Gallery of Ontario to commission a world-class artist to create a site-specific work of art for Materials Stainless SteelClient: Westbank Projects Corp Dimension 2198 x 1980 x 480cm Location Shangri-La Hotel, Toronto, Canada Photographer Courtesy of Zhang Huan studio

the building's exterior. After an extensive global search the selection committee unanimously chose Zhang Huan, captivated by his unbridled imagination.

The inspiration for“Rising” is from the reflection of the living space of mankind.

With Numerous peace pigeons landed on the body of a running creature from the outer space, the living space is more and more crowded, just like People and animals sharing the same space on the earth, which make the space smaller and smaller. Through the monster-shape tree, the artist would like to advocate the protection of ecology, and the harmonious relationship between Human and nature. The pigeons in the tree symbolize the peace of the world and beautiful city life shared by mankind and nature.

2012 年 5 月 5 日，为香格里拉御庭酒店制作的大型不锈钢公共艺术作品《升腾》隆重 揭幕，并永久落户于多伦多大学路——加拿大最大城市的繁华街道。开发商 Westbank 和 Peterson 集团欲将现代艺术融入他们的项目中。为了这个位于多伦多的建筑项目，两家公 司与安大略湖美术馆竭诚合作，计划委托一位世界顶级的设计师为建筑的外景量身定制一 件艺术作品。在经过全球范围的寻找后，甄选委员会一致选择了张洹，因为其独特大胆的 想象力令所有人折服。 《升腾》的设计灵感来源于对人类生存空间的反思。大群的和平鸽落在来自外太空的 奔跑中的生物身体上，生存空间随之变得越来越拥挤，就像地球上的人类与动物一样，分 享着同一个空间，使空间变得越来越小。设计师通过塑造怪物形状的树，向我们提倡生态 保护和人与自然之间的和谐关系。树上的和平鸽则象征着世界和平以及人与自然共同分享 的美好城市生活。

048 | Public Landscape Sculpture |

| Public Landscape Sculpture | 049

Rising

Rising was unveiled on May 5, 2012 and served as a permanent public sculpture

升腾

for Canada's largest city. The developers, Westbank and the Peterson Group,

Artist Zhang Huan

have made a point of integrating contemporary art into their recent projects. For

at Living Shangri-La, Toronto on University Avenue, the ceremonial boulevard

the Toronto-based property, the two companies partnered with the Art Gallery of Ontario to commission a world-class artist to create a site-specific work of art for Materials Stainless SteelClient: Westbank Projects Corp Dimension 2198 x 1980 x 480cm Location Shangri-La Hotel, Toronto, Canada Photographer Courtesy of Zhang Huan studio

the building's exterior. After an extensive global search the selection committee unanimously chose Zhang Huan, captivated by his unbridled imagination.

The inspiration for“Rising” is from the reflection of the living space of mankind.

With Numerous peace pigeons landed on the body of a running creature from the outer space, the living space is more and more crowded, just like People and animals sharing the same space on the earth, which make the space smaller and smaller. Through the monster-shape tree, the artist would like to advocate the protection of ecology, and the harmonious relationship between Human and nature. The pigeons in the tree symbolize the peace of the world and beautiful city life shared by mankind and nature.

2012 年 5 月 5 日，为香格里拉御庭酒店制作的大型不锈钢公共艺术作品《升腾》隆重 揭幕，并永久落户于多伦多大学路——加拿大最大城市的繁华街道。开发商 Westbank 和 Peterson 集团欲将现代艺术融入他们的项目中。为了这个位于多伦多的建筑项目，两家公 司与安大略湖美术馆竭诚合作，计划委托一位世界顶级的设计师为建筑的外景量身定制一 件艺术作品。在经过全球范围的寻找后，甄选委员会一致选择了张洹，因为其独特大胆的 想象力令所有人折服。 《升腾》的设计灵感来源于对人类生存空间的反思。大群的和平鸽落在来自外太空的 奔跑中的生物身体上，生存空间随之变得越来越拥挤，就像地球上的人类与动物一样，分 享着同一个空间，使空间变得越来越小。设计师通过塑造怪物形状的树，向我们提倡生态 保护和人与自然之间的和谐关系。树上的和平鸽则象征着世界和平以及人与自然共同分享 的美好城市生活。

048 | Public Landscape Sculpture |

| Public Landscape Sculpture | 049

Butterfly Ring 蝴蝶圆环 Artist Stuart Green

Client Metropolitan Redevelopment Authority Western Australia Specification Approx 6m high

Materials Painted mild steel

Photographer Acorn Photography,Stuart Green studio

Location Australian Fine China Site - China Green Subiaco Western Australia

China Green is a new inner-city residential and commercial centre situated on the redeveloped site of an historic ceramics factory. Hassell Perth designed the new landscaped site in which various sculptures

by Stuart Green are situated. The artworks are each inspired by the processes of the former ceramics factory.

Butterfly Ring plays on the idea of decal decoration applied to ceramics, and

绿瓷（China Green）所处位置曾是一座历史悠久的陶瓷厂，现如今经过改建，这里已然成为一座集住宅与商业中心为一体的新型 市区。哈塞尔·珀斯（Hassell Perth）国际设计团队负责为这里建造新景观，雕塑家斯图尔特·格林（Stuart Green）设计的几款形态 各异的雕塑散布在这片区域之中，在这里他每一件艺术作品的设计灵感均来源于陶瓷厂的工艺流程，《蝴蝶圆环》就是其中之一。 《蝴蝶圆环》的设计借鉴了陶瓷工艺中的贴花装饰方法，直径 6 米的立体圆环上布满了一只只翩翩飞舞、栩栩如生的白色蝴蝶。

brings this to life in a three dimensional circular race of butterflies that form the 6m diameter ring

050 | Public Landscape Sculpture |

| Public Landscape Sculpture | 051

Butterfly Ring 蝴蝶圆环 Artist Stuart Green

Client Metropolitan Redevelopment Authority Western Australia Specification Approx 6m high

Materials Painted mild steel

Photographer Acorn Photography,Stuart Green studio

Location Australian Fine China Site - China Green Subiaco Western Australia

China Green is a new inner-city residential and commercial centre situated on the redeveloped site of an historic ceramics factory. Hassell Perth designed the new landscaped site in which various sculptures

by Stuart Green are situated. The artworks are each inspired by the processes of the former ceramics factory.

Butterfly Ring plays on the idea of decal decoration applied to ceramics, and

绿瓷（China Green）所处位置曾是一座历史悠久的陶瓷厂，现如今经过改建，这里已然成为一座集住宅与商业中心为一体的新型 市区。哈塞尔·珀斯（Hassell Perth）国际设计团队负责为这里建造新景观，雕塑家斯图尔特·格林（Stuart Green）设计的几款形态 各异的雕塑散布在这片区域之中，在这里他每一件艺术作品的设计灵感均来源于陶瓷厂的工艺流程，《蝴蝶圆环》就是其中之一。 《蝴蝶圆环》的设计借鉴了陶瓷工艺中的贴花装饰方法，直径 6 米的立体圆环上布满了一只只翩翩飞舞、栩栩如生的白色蝴蝶。

brings this to life in a three dimensional circular race of butterflies that form the 6m diameter ring

050 | Public Landscape Sculpture |

| Public Landscape Sculpture | 051

Client Metropolitan Redevelopment Authority Western Australia

Spun Yellow Red & White

Specification Approx 6m high Materials Painted mild steel

天旋地幻 ：红、白、黄

Location Australian Fine China Site - China Green Subiaco Western Australia

Artist Stuart Green

Photographer Acorn Photography

Spun is actually three identical works each made up of painted steel tubes and a cast concrete base. These works help to link the site together and form a visual motif easily read across the site. Spun evokes the circular spinning movement used to form the articles manufactured in the former ceramics factory. It takes an idea of history and reconfigures it into an energetic, new and highly visible form that is scaled to the new landscape.

Spun 实际上包括三个外形相 同的作品，每一个都是由喷漆的钢 管和混凝土底座组成。这些雕塑使 整个场地更具连接感，形成一种贯 穿整个空间、一目了然的视觉主题。 Spun 让人联想到制陶时机器的不 停旋转，这正是以往陶瓷工厂用于 制造工艺品的必备工序。设计师借 鉴了这一灵感，并对其加以细心雕 琢，设计出了一款活力、新颖、夺 目的雕塑，与该处的新景观和谐相 称。

052 | Public Landscape Sculpture |

| Public Landscape Sculpture | 053

Client Metropolitan Redevelopment Authority Western Australia

Spun Yellow Red & White

Specification Approx 6m high Materials Painted mild steel

天旋地幻 ：红、白、黄

Location Australian Fine China Site - China Green Subiaco Western Australia

Artist Stuart Green

Photographer Acorn Photography

Spun is actually three identical works each made up of painted steel tubes and a cast concrete base. These works help to link the site together and form a visual motif easily read across the site. Spun evokes the circular spinning movement used to form the articles manufactured in the former ceramics factory. It takes an idea of history and reconfigures it into an energetic, new and highly visible form that is scaled to the new landscape.

Spun 实际上包括三个外形相 同的作品，每一个都是由喷漆的钢 管和混凝土底座组成。这些雕塑使 整个场地更具连接感，形成一种贯 穿整个空间、一目了然的视觉主题。 Spun 让人联想到制陶时机器的不 停旋转，这正是以往陶瓷工厂用于 制造工艺品的必备工序。设计师借 鉴了这一灵感，并对其加以细心雕 琢，设计出了一款活力、新颖、夺 目的雕塑，与该处的新景观和谐相 称。

052 | Public Landscape Sculpture |

| Public Landscape Sculpture | 053

Crossing (Vertical) (Horizontal) 纵横 Artist Stuart Green

Client Government of Western Australia through the Percent for Art Scheme Specification 4.9m high x 4.2m wide x 1m deep Materials Electro-polished 316 grade stainless steel Location Atwell Perth AustraliaAustralia Photographer Stuart Green studio

Crossing is made up of two artworks; horizontal and vertical. Each is made up of an interlaced surface of stainless steel plates that connect only at points on their edges. This reveals a visible gap between each plate that allows views at night into the internal illuminated space. By day the facetted skin creates a highly active and reflective surface that is animated by the passing colours and movement of the surrounding environment. Both sculptures form a complex semi triangular continuous motion or sweep through space; its trunk like forms showing a muscular quality and strength as it carves out a position in space.

054 | Public Landscape Sculpture |

雕塑作品《纵横》由纵向和横向两部分组成，每部分均由不锈钢板制成。钢板与钢板只在边缘部分相互连接，由此形成错落有致 的空间。夜间，雕塑内部的灯光向外散发出来，清晰可见；日间，雕塑作品经过打磨的表面反射性极佳，周围的景物和来来往往的行 人映在雕塑表面，呈现出一幅幅色彩缤纷且生动形象的动态画面。两座雕塑都呈三角形， 似乎在不停地运转，穿越空间。雕塑造型与 树干相似，略呈三角形，让人能够从中体会到一种在天地间奋勇开拓的力量。

| Public Landscape Sculpture | 055

Crossing (Vertical) (Horizontal) 纵横 Artist Stuart Green

Client Government of Western Australia through the Percent for Art Scheme Specification 4.9m high x 4.2m wide x 1m deep Materials Electro-polished 316 grade stainless steel Location Atwell Perth AustraliaAustralia Photographer Stuart Green studio

Crossing is made up of two artworks; horizontal and vertical. Each is made up of an interlaced surface of stainless steel plates that connect only at points on their edges. This reveals a visible gap between each plate that allows views at night into the internal illuminated space. By day the facetted skin creates a highly active and reflective surface that is animated by the passing colours and movement of the surrounding environment. Both sculptures form a complex semi triangular continuous motion or sweep through space; its trunk like forms showing a muscular quality and strength as it carves out a position in space.

054 | Public Landscape Sculpture |

雕塑作品《纵横》由纵向和横向两部分组成，每部分均由不锈钢板制成。钢板与钢板只在边缘部分相互连接，由此形成错落有致 的空间。夜间，雕塑内部的灯光向外散发出来，清晰可见；日间，雕塑作品经过打磨的表面反射性极佳，周围的景物和来来往往的行 人映在雕塑表面，呈现出一幅幅色彩缤纷且生动形象的动态画面。两座雕塑都呈三角形， 似乎在不停地运转，穿越空间。雕塑造型与 树干相似，略呈三角形，让人能够从中体会到一种在天地间奋勇开拓的力量。

| Public Landscape Sculpture | 055

Journey Music 旅途音乐 Artist Mariana Martin

Mariana’s art installation is the result of her two passions: sculpture and architecture. The interaction between nature, people, space, forms and spirit are the main concerns of her work. She aims to see spectators of her work as active participants. Only when they interact with her art is it truly complete. "Journey Music": is literally a journey(un viaje), a path in the sand that visitors can experience. The journey of life, the journey to another land, the journey to the promised land…it is any journey in your mind. It is composed by high and low elements that represent the different moments and so creating “music”.

Lightning design Jason Allen Supporter TETRA PAK Material Aluminium tubes and “polyfoil” panel boards made from recycled milk cartons from TETRA PAK Dimensions 9m x 5m x 3.7m

056 | Decorative Landscape Sculpture |

The language is abstract, minimalist, to only allow the “essential “ beauty to be revealed.

Mariana says: “the beauty of long, light and fragile elements is something that really attracts me. I especially like it when they are grouped together, as if their collective mass gives strength to their fragility. My sculptures are fragile and ethereal, expressing a sensation perceived: fragility and dispossession, twisting quickly into solidity and firmness beauty.” | Decorative Landscape Sculpture |

057

Journey Music 旅途音乐 Artist Mariana Martin

Mariana’s art installation is the result of her two passions: sculpture and architecture. The interaction between nature, people, space, forms and spirit are the main concerns of her work. She aims to see spectators of her work as active participants. Only when they interact with her art is it truly complete. "Journey Music": is literally a journey(un viaje), a path in the sand that visitors can experience. The journey of life, the journey to another land, the journey to the promised land…it is any journey in your mind. It is composed by high and low elements that represent the different moments and so creating “music”.

Lightning design Jason Allen Supporter TETRA PAK Material Aluminium tubes and “polyfoil” panel boards made from recycled milk cartons from TETRA PAK Dimensions 9m x 5m x 3.7m

056 | Decorative Landscape Sculpture |

The language is abstract, minimalist, to only allow the “essential “ beauty to be revealed.

Mariana says: “the beauty of long, light and fragile elements is something that really attracts me. I especially like it when they are grouped together, as if their collective mass gives strength to their fragility. My sculptures are fragile and ethereal, expressing a sensation perceived: fragility and dispossession, twisting quickly into solidity and firmness beauty.” | Decorative Landscape Sculpture |

057

玛丽安娜的艺术雕塑创作来源于她对雕塑艺术和建筑学的两种热情。自然、人、 空间、外形和精神之间的互动是设计师作品主要关注之所在。玛丽安娜注重将欣 赏者视为其作品的积极参与者。只有当欣赏者与作品之间形成交流时，她的作品 才完整。《旅途音乐》就是字面意义上的旅途（西班牙语 un viaje），它是一条旅 游者能够体验到的沙地小路。它是人生的旅途，是去往另一片土地的旅途，是到 梦想中的乐土的旅途……它是你心里面的任何旅途。雕塑由高低不同的元素组成， 这些代表了不同时刻的元素汇成了“音乐”。这是一种极简抽象派艺术的表达方式， 表达出来的只有“极致”的完美。 玛丽安娜说： “一根根又长又轻的脆弱元素所展现出来的美是真正吸引我的地 方。尤其是在它们被组装在一起时，它们汇聚成的整体好似能给它们的脆弱带来 力量。这些元素单个看似给人以脆弱和飘逸之感，但合在一起时就会迅速汇聚成 一种坚固和稳定之美。”

058 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

059

玛丽安娜的艺术雕塑创作来源于她对雕塑艺术和建筑学的两种热情。自然、人、 空间、外形和精神之间的互动是设计师作品主要关注之所在。玛丽安娜注重将欣 赏者视为其作品的积极参与者。只有当欣赏者与作品之间形成交流时，她的作品 才完整。《旅途音乐》就是字面意义上的旅途（西班牙语 un viaje），它是一条旅 游者能够体验到的沙地小路。它是人生的旅途，是去往另一片土地的旅途，是到 梦想中的乐土的旅途……它是你心里面的任何旅途。雕塑由高低不同的元素组成， 这些代表了不同时刻的元素汇成了“音乐”。这是一种极简抽象派艺术的表达方式， 表达出来的只有“极致”的完美。 玛丽安娜说： “一根根又长又轻的脆弱元素所展现出来的美是真正吸引我的地 方。尤其是在它们被组装在一起时，它们汇聚成的整体好似能给它们的脆弱带来 力量。这些元素单个看似给人以脆弱和飘逸之感，但合在一起时就会迅速汇聚成 一种坚固和稳定之美。”

058 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

059

Future Flower 未来之花 Design Company Tonkin Liu Ltd

Design Team Mike Tonkin, Anna Liu, Neil Charlton, Suk Kyu Hong, Cristiano Billia

client Widnes Waterfront EDZ Programme, Halton Borough Council

Project Architect Neil Charlton

Fabricator Mike Smith Studio

Structural Engineer Eckersley O'callaghan

Groundworks Cheetham Hill Construction Limited

Environmental Engineer XCO2 Energy

dimensionS measures 4.5 m diameter by 14 m tall

Electrical Engineer Silent Power Systems

Location Widnes, Cheshire, UK

Out of the mud banks of the river Mersey grows a flower, capturing the wind to create light. 120 perforate galvanized petals gently flutter and glow, lit by 60 low-voltage LED lights. Without the wind, the petals glow in the light of the sun and the sky. With different wind speeds, the lights reach different intensities, resulting in an ever-changing and dynamic flower. Beyond the chemical factories, the Future Flower acts as a beacon, drawing people to the waterfront to enjoy its natural beauty and expansive sky. From afar, the lifted flower appears and disappears in the mist, marking the horizon. Closer up, moire patterns created by the layered petals continually shift when the visitors approach. Inspired by the convergence of nature and industry, the Future Flower embraces the future of renewable energy and signals the optimism for the future of Wildnes.

060 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

061

Future Flower 未来之花 Design Company Tonkin Liu Ltd

Design Team Mike Tonkin, Anna Liu, Neil Charlton, Suk Kyu Hong, Cristiano Billia

client Widnes Waterfront EDZ Programme, Halton Borough Council

Project Architect Neil Charlton

Fabricator Mike Smith Studio

Structural Engineer Eckersley O'callaghan

Groundworks Cheetham Hill Construction Limited

Environmental Engineer XCO2 Energy

dimensionS measures 4.5 m diameter by 14 m tall

Electrical Engineer Silent Power Systems

Location Widnes, Cheshire, UK

Out of the mud banks of the river Mersey grows a flower, capturing the wind to create light. 120 perforate galvanized petals gently flutter and glow, lit by 60 low-voltage LED lights. Without the wind, the petals glow in the light of the sun and the sky. With different wind speeds, the lights reach different intensities, resulting in an ever-changing and dynamic flower. Beyond the chemical factories, the Future Flower acts as a beacon, drawing people to the waterfront to enjoy its natural beauty and expansive sky. From afar, the lifted flower appears and disappears in the mist, marking the horizon. Closer up, moire patterns created by the layered petals continually shift when the visitors approach. Inspired by the convergence of nature and industry, the Future Flower embraces the future of renewable energy and signals the optimism for the future of Wildnes.

060 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

061

062 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

063

062 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

063

默西河河堤的泥土里开出了一朵花，它能捕捉风力并将其转化为光。这枝花上有 120 片镀锌穿孔的花瓣，点亮上面 的 60 伏低电压的 LED 灯，花瓣便在风中轻轻地摇曳，散发着光芒。没有风的时候，艳阳高照，花瓣便在天空中熠熠生辉。 风速不同，灯光的强弱也不同，就呈现了一个颜色不断变化的动态的鲜花。远离化工厂，未来之花像是一座灯塔，吸引 人们到这个滨水区域来感受大自然的美丽和天空的浩瀚。从远处看，这枝屹立的《未来之花》在雾中若隐若现，地平线 在它的烘托下显得更为清晰。再靠近一点儿，层层叠叠的网状花瓣会随游人的移动而不断变化。《未来之花》的设计灵 感来自于工业和大自然的结合，它向往再生能源的美好未来，也代表了对韦德尼斯市未来发展的乐观与信心。

064 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

065

默西河河堤的泥土里开出了一朵花，它能捕捉风力并将其转化为光。这枝花上有 120 片镀锌穿孔的花瓣，点亮上面 的 60 伏低电压的 LED 灯，花瓣便在风中轻轻地摇曳，散发着光芒。没有风的时候，艳阳高照，花瓣便在天空中熠熠生辉。 风速不同，灯光的强弱也不同，就呈现了一个颜色不断变化的动态的鲜花。远离化工厂，未来之花像是一座灯塔，吸引 人们到这个滨水区域来感受大自然的美丽和天空的浩瀚。从远处看，这枝屹立的《未来之花》在雾中若隐若现，地平线 在它的烘托下显得更为清晰。再靠近一点儿，层层叠叠的网状花瓣会随游人的移动而不断变化。《未来之花》的设计灵 感来自于工业和大自然的结合，它向往再生能源的美好未来，也代表了对韦德尼斯市未来发展的乐观与信心。

064 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

065

Flame Flower 火之花 Artist Michael Stutz

In the exterior courtyard sculpture and light work, “Flame Flower” – 12.2-meter-tall stainless steel forms are abstractions of the natural world around the Westin Gaslamp Quarter in San Diego. Flames, wings, sails, and leaves are referenced in a way that allows the viewer space for interpretation, but

Lighting designer John Fox

client Pebblebrook Corporation

Project manager Gail Goldman

dimensionS 12.2m x 7.32m x 7.93m

sculpture is illuminated by plasma LED lights that

Medium Stainless Steel, Plasma LED Lighting, Integrated landscape mound and plaza paving patterns

Location San Diego, CA, USA

artist worked with the redesign projects architects

Photographer Michael Stutz

design into the plaza paving, landscaping, and

gives an anchoring identity to the hotel plaza. The project color and dramatically cast shadows. The and owners to incorporate elements of the art

在露天的院子里，这部轻型雕塑作 品《火之花》高 12.2 米，由不锈钢制成， 它的外形是威斯汀酒店（位于圣地亚哥 瓦斯灯街区）周围的自然环境的抽象写 照。引用火焰、翅膀、船帆、树叶这些 意象可以给欣赏者留下更多的思考空间， 与此同时，雕塑也成了酒店广场上的一 个固定标志。等离子 LED 灯射出的彩光 打在雕塑上，投射出的影子十分引人注 目。设计师与该再建项目的建筑师和负 责人一起合作，将雕塑的艺术设计元素 融合进广场、景观以及内部空间中。雕 塑的安装体现了整个设计团队的丰富经 验，他们热爱解决问题，崇尚开放的思想， 这对成功完成一个项目也是至关重要的。

interior spaces. This installation is an example of the artists extensive design team experience, where a love of problem solving and an open mind are important in making a successful project.

066 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

067

Flame Flower 火之花 Artist Michael Stutz

In the exterior courtyard sculpture and light work, “Flame Flower” – 12.2-meter-tall stainless steel forms are abstractions of the natural world around the Westin Gaslamp Quarter in San Diego. Flames, wings, sails, and leaves are referenced in a way that allows the viewer space for interpretation, but

Lighting designer John Fox

client Pebblebrook Corporation

Project manager Gail Goldman

dimensionS 12.2m x 7.32m x 7.93m

sculpture is illuminated by plasma LED lights that

Medium Stainless Steel, Plasma LED Lighting, Integrated landscape mound and plaza paving patterns

Location San Diego, CA, USA

artist worked with the redesign projects architects

Photographer Michael Stutz

design into the plaza paving, landscaping, and

gives an anchoring identity to the hotel plaza. The project color and dramatically cast shadows. The and owners to incorporate elements of the art

在露天的院子里，这部轻型雕塑作 品《火之花》高 12.2 米，由不锈钢制成， 它的外形是威斯汀酒店（位于圣地亚哥 瓦斯灯街区）周围的自然环境的抽象写 照。引用火焰、翅膀、船帆、树叶这些 意象可以给欣赏者留下更多的思考空间， 与此同时，雕塑也成了酒店广场上的一 个固定标志。等离子 LED 灯射出的彩光 打在雕塑上，投射出的影子十分引人注 目。设计师与该再建项目的建筑师和负 责人一起合作，将雕塑的艺术设计元素 融合进广场、景观以及内部空间中。雕 塑的安装体现了整个设计团队的丰富经 验，他们热爱解决问题，崇尚开放的思想， 这对成功完成一个项目也是至关重要的。

interior spaces. This installation is an example of the artists extensive design team experience, where a love of problem solving and an open mind are important in making a successful project.

066 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

067

068 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

069

068 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

069

Leaf Dance 轻舞飞扬 Design company May & Watkins Design

Commissioning Agency Clackamas County Cultural Affairs

Leaf Dance was designed as a colorful bas-relief for an existing

Material Steel pipe, Steel mesh, Aluminum. All the steel is hot-dipped galvanized and powder coated

developed to evoke dancing leaves. The goal is to have the piece

Location Oregon City, OR, USA

comprised of multiple units, and the overall dimensions are 6 m H by

screen wall that encloses the facilities utilities plant. The shapes were function as a visual marker whether you are 6 meters away or on the 7th floor of the government offices 61 meters away. The piece is 31m L by 1.53m D.

Photographer May & Watkins Design

074 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

075

Leaf Dance 轻舞飞扬 Design company May & Watkins Design

Commissioning Agency Clackamas County Cultural Affairs

Leaf Dance was designed as a colorful bas-relief for an existing

Material Steel pipe, Steel mesh, Aluminum. All the steel is hot-dipped galvanized and powder coated

developed to evoke dancing leaves. The goal is to have the piece

Location Oregon City, OR, USA

comprised of multiple units, and the overall dimensions are 6 m H by

screen wall that encloses the facilities utilities plant. The shapes were function as a visual marker whether you are 6 meters away or on the 7th floor of the government offices 61 meters away. The piece is 31m L by 1.53m D.

Photographer May & Watkins Design

074 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

075

《轻舞飞扬》是为一块围绕着设备厂的屏幕墙设计的彩色浅浮雕。从外形上看，叶子正在翩翩起 舞。该方案旨在成为一个视觉性标志，无论你站在 6 米外，还是身处距此 61 米的政府大楼的 7 楼， 都能清楚地看见这些飞舞的叶子。该方案整体高 6 米，长 31 米，厚度达 1.53 米，由多个单位组合而成。

076 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

077

《轻舞飞扬》是为一块围绕着设备厂的屏幕墙设计的彩色浅浮雕。从外形上看，叶子正在翩翩起 舞。该方案旨在成为一个视觉性标志，无论你站在 6 米外，还是身处距此 61 米的政府大楼的 7 楼， 都能清楚地看见这些飞舞的叶子。该方案整体高 6 米，长 31 米，厚度达 1.53 米，由多个单位组合而成。

076 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

077

Krychloids 克里克洛伊德一家 Artist David Černý

Materia Stainless steel Location Ostrava, Moravia, Czech Republic photographer David Černý

There are three members in this family, the sexy mumy is in pool, the handsome dady is busy in pushing the "ship", actually it is the Hotel MIURA, and the little son siting in the roof is watching what happen on the groud. What a strange family David Cerný created. 这个家庭里有三名成员：水池里的性感老妈；忙着 推“船”的帅气老爸，其实这艘船就是缪拉酒店；坐在 屋顶上的小男孩，正在观察地面发生的一切。大卫·切 尼创造的是多么奇怪的一家啊！

078 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

079

Krychloids 克里克洛伊德一家 Artist David Černý

Materia Stainless steel Location Ostrava, Moravia, Czech Republic photographer David Černý

There are three members in this family, the sexy mumy is in pool, the handsome dady is busy in pushing the "ship", actually it is the Hotel MIURA, and the little son siting in the roof is watching what happen on the groud. What a strange family David Cerný created. 这个家庭里有三名成员：水池里的性感老妈；忙着 推“船”的帅气老爸，其实这艘船就是缪拉酒店；坐在 屋顶上的小男孩，正在观察地面发生的一切。大卫·切 尼创造的是多么奇怪的一家啊！

078 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

079

Vortex Ⅱ is a monumental sculpture that was an experiment in the aesthetic qualities that could be achieved by exploring simple ratio’s and repetition. The principles of

Vortex Ⅱ 漩涡Ⅱ Artist Thomas Joynes

material Satin polished stainless steel Dimensions 2.4m H x 0.8m W

Fibonacci were followed in the creation of this sculpture and as a result the simplicity of the form creates a very beautiful and eye catching quality.

VortexⅡ was commissioned for a garden at Hampton Court Flower Show, UK in 2007. It is made from satin polished stainless steel and measures 240cm high by 80cm wide. 《漩涡Ⅱ》是在审美上作的一个试验性创造，通过探究精巧的比例和简单反复的艺术手法， 设计出了这一经典之作。该方案的设计运用了斐波纳契数列原理，外形结构简单大方，创造出 一种美感，让人移不开视线。 《漩涡Ⅱ》高 2.4 米，宽 0.8 米，由光滑的抛光不锈钢材料制成，是为 2007 年英国汉普 顿宫花展中的一个花园而设计的。

Location UK

084 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

085

Vortex Ⅱ is a monumental sculpture that was an experiment in the aesthetic qualities that could be achieved by exploring simple ratio’s and repetition. The principles of

Vortex Ⅱ 漩涡Ⅱ Artist Thomas Joynes

material Satin polished stainless steel Dimensions 2.4m H x 0.8m W

Fibonacci were followed in the creation of this sculpture and as a result the simplicity of the form creates a very beautiful and eye catching quality.

VortexⅡ was commissioned for a garden at Hampton Court Flower Show, UK in 2007. It is made from satin polished stainless steel and measures 240cm high by 80cm wide. 《漩涡Ⅱ》是在审美上作的一个试验性创造，通过探究精巧的比例和简单反复的艺术手法， 设计出了这一经典之作。该方案的设计运用了斐波纳契数列原理，外形结构简单大方，创造出 一种美感，让人移不开视线。 《漩涡Ⅱ》高 2.4 米，宽 0.8 米，由光滑的抛光不锈钢材料制成，是为 2007 年英国汉普 顿宫花展中的一个花园而设计的。

Location UK

084 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

085

Berkeley Big People 伯克利巨人 Artist Scott Donahue

client The City of Berkeley California MATERIALS Stainless steel, Concrete, Fiberglass, Bronze dimensionS 8.54m H × 3.66m W × 3.66m D Location Berkeley, California, USA Photographer Josh Rosenthal

Two sculptures are on either side of the Berkeley Interstate 80 Bicycle and Pedestrian Bridge.

They are tall enough to be seen by traffic and have small reliefs encircling the base to be viewed by pedestrians and bicyclists. The East side sculpture celebrates the City of Berkeley and the West side celebrates the East Shore State Park.

这两件雕塑分别矗立在伯克利 80 号州际公路的步行桥 的两端。 雕塑很高，从汽车里就可以看见，而雕塑底座四周的那 些小浮雕就只有经过的路人和骑自行车者才能看到了。靠东 面的那座雕塑歌颂了伯克利市，西面那座歌颂的是东海岸国 家公园。

090 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

091

Berkeley Big People 伯克利巨人 Artist Scott Donahue

client The City of Berkeley California MATERIALS Stainless steel, Concrete, Fiberglass, Bronze dimensionS 8.54m H × 3.66m W × 3.66m D Location Berkeley, California, USA Photographer Josh Rosenthal

Two sculptures are on either side of the Berkeley Interstate 80 Bicycle and Pedestrian Bridge.

They are tall enough to be seen by traffic and have small reliefs encircling the base to be viewed by pedestrians and bicyclists. The East side sculpture celebrates the City of Berkeley and the West side celebrates the East Shore State Park.

这两件雕塑分别矗立在伯克利 80 号州际公路的步行桥 的两端。 雕塑很高，从汽车里就可以看见，而雕塑底座四周的那 些小浮雕就只有经过的路人和骑自行车者才能看到了。靠东 面的那座雕塑歌颂了伯克利市，西面那座歌颂的是东海岸国 家公园。

090 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

091

Germination č?ŒčŠ˝

Design Company May & Watkins Design

Commissioning Agency Maine Arts Commission Building Architect Michael Johanning, WBRC Architects/Engineers, Bangor, Portland, Sarasota Material Steel pipe, Perforated steel, Aluminum, Bearings, Solar panel Location Portland, ME, USA Photographer May & Watkins Design

Germination was designed to complement a new LEEDs certified Public School. May & Watkins worked with the architect to develop the elements for the site. Beyond the visual references to growth, hence the title, their hope is to help kids become more aware of alternative or renewable energy, whether it is wind, sun or water power.

The piece is comprised of 5 units up to 7.3 meters in height. Two are wind powered, one is solar powered, and one is water powered from the run off from the building. The 5th unit is a more intimate sculpture at 1.7meters.

092 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

093

Germination č?ŒčŠ˝

Design Company May & Watkins Design

Commissioning Agency Maine Arts Commission Building Architect Michael Johanning, WBRC Architects/Engineers, Bangor, Portland, Sarasota Material Steel pipe, Perforated steel, Aluminum, Bearings, Solar panel Location Portland, ME, USA Photographer May & Watkins Design

Germination was designed to complement a new LEEDs certified Public School. May & Watkins worked with the architect to develop the elements for the site. Beyond the visual references to growth, hence the title, their hope is to help kids become more aware of alternative or renewable energy, whether it is wind, sun or water power.

The piece is comprised of 5 units up to 7.3 meters in height. Two are wind powered, one is solar powered, and one is water powered from the run off from the building. The 5th unit is a more intimate sculpture at 1.7meters.

092 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

093

4 3/4"

Decorative tip: 5 inch hollow steel ball 1 inch steel pipe Total weight 15 lbs

Top decorative element: Approx 3 ft by 3ft by 3ft Hollow steel balls/flat steel triangles Steel tubing Total weight 40 lbs a t k W in s D e s ig n , L L C

8"

Ma y &

9"

Sample blade: Final shape TBD

40H o y tS t .

B ro o k ly n , NY 1201 71 8 -8 5 2 -0 8 08

1'-3 5/8"

Sample bearing assembly See detail drawing 1A

P ro je c t :B C M To t a l ly T o t s Bo r o k ly n C h ild e r n 's M u s e u m

Wa l o c a tio n s f o r C MC S

1.5 inch ID Schedule 40 black pipe

Typical pipe connection See Drawing #7 Sc a le 1 :9 6 Da t e : F b e 13208

8'-1"

10'-1 1/2"

18'-3 1/4"

2 inch ID Schedule 40 black pipe All steel pipe and mesh to be hot dip galvanized and powdercoated with primer/color/clear coat

Typical leaf structure: 1.5 inch Schedule 40 black pipe frame 14 gauge perforated steel tin 1/4 inch holes/5/16 staggered pattern 49% opacity

Typical base plate construction See drawing #6

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Wind sculpture 1 elevation Drawing #1 Project: Ocean Avenue Elementary School Portland, ME Scale 1: 24 Date: Aug 09 1 foot

6"

1'-1 3/8"

Decorative tip: 5 inch hollow steel ball 1 inch steel pipe Total weight 15 lbs

Full seam weld

8'-3 3/4"

Bearing housing detail See drawing 2A

1.5 inch OD Schedule 40 black pipe All steel pipe and mesh to be hot dip galvanized and powdercoated with primer/color/clear coat

Typical Pipe connectior See detail drawing #7

Typical leaf structure: 1.5 inch Schedule 40 black pipe frame 14 gauge perforated steel tin 1/4 inch holes/5/16 staggered pattern 49% opacity

11'-2 3/4"

2.5 inch OD Schedule 40 black pipe All steel pipe and mesh to be hot dip galvanized and powdercoated with primer/color/clear coat

Typical base plate construction See drawing #6

094 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

095

4 3/4"

Decorative tip: 5 inch hollow steel ball 1 inch steel pipe Total weight 15 lbs

Top decorative element: Approx 3 ft by 3ft by 3ft Hollow steel balls/flat steel triangles Steel tubing Total weight 40 lbs a t k W in s D e s ig n , L L C

8"

Ma y &

9"

Sample blade: Final shape TBD

40H o y tS t .

B ro o k ly n , NY 1201 71 8 -8 5 2 -0 8 08

1'-3 5/8"

Sample bearing assembly See detail drawing 1A

P ro je c t :B C M To t a l ly T o t s Bo r o k ly n C h ild e r n 's M u s e u m

Wa l o c a tio n s f o r C MC S

1.5 inch ID Schedule 40 black pipe

Typical pipe connection See Drawing #7 Sc a le 1 :9 6 Da t e : F b e 13208

8'-1"

10'-1 1/2"

18'-3 1/4"

2 inch ID Schedule 40 black pipe All steel pipe and mesh to be hot dip galvanized and powdercoated with primer/color/clear coat

Typical leaf structure: 1.5 inch Schedule 40 black pipe frame 14 gauge perforated steel tin 1/4 inch holes/5/16 staggered pattern 49% opacity

Typical base plate construction See drawing #6

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Wind sculpture 1 elevation Drawing #1 Project: Ocean Avenue Elementary School Portland, ME Scale 1: 24 Date: Aug 09 1 foot

6"

1'-1 3/8"

Decorative tip: 5 inch hollow steel ball 1 inch steel pipe Total weight 15 lbs

Full seam weld

8'-3 3/4"

Bearing housing detail See drawing 2A

1.5 inch OD Schedule 40 black pipe All steel pipe and mesh to be hot dip galvanized and powdercoated with primer/color/clear coat

Typical Pipe connectior See detail drawing #7

Typical leaf structure: 1.5 inch Schedule 40 black pipe frame 14 gauge perforated steel tin 1/4 inch holes/5/16 staggered pattern 49% opacity

11'-2 3/4"

2.5 inch OD Schedule 40 black pipe All steel pipe and mesh to be hot dip galvanized and powdercoated with primer/color/clear coat

Typical base plate construction See drawing #6

094 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

095

1.5 inch OD by 1/8 inch wall SS tube axle

1/2 inch by 1/2 inch D plug welds by 3

1.5 inch ID schedule 40 black pipe

5/16 SS hex bolt/nut

Welded seam

Welded pipe for spinner fin support

3/8 by 3/8 in SS allen screw by 2

Fin

1.5 inch ID schedule 40 steel spacer

11 / 2"

3 inch ID Schedule 40 pipe bearing housing

3 inch OD by 1.5 ID Delrin/stainless steel balls bearing (See provided specs)

1.5 inch OD by 1/8 inch wallSS tube axle

17 /8"

1/2 inch by 1/2 inch D plug welds by 3

1.5 inch ID schedule 40 black pipe

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808

Wind Sculpture 1 detail of bearing housing, shaft and fin attachments Drawing #1A Project: Ocean Avenue Elementary School Portland, ME Scale 1: 2 Date: Aug 09 1 foot

096 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

097

1.5 inch OD by 1/8 inch wall SS tube axle

1/2 inch by 1/2 inch D plug welds by 3

1.5 inch ID schedule 40 black pipe

5/16 SS hex bolt/nut

Welded seam

Welded pipe for spinner fin support

3/8 by 3/8 in SS allen screw by 2

Fin

1.5 inch ID schedule 40 steel spacer

11 / 2"

3 inch ID Schedule 40 pipe bearing housing

3 inch OD by 1.5 ID Delrin/stainless steel balls bearing (See provided specs)

1.5 inch OD by 1/8 inch wallSS tube axle

17 /8"

1/2 inch by 1/2 inch D plug welds by 3

1.5 inch ID schedule 40 black pipe

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808

Wind Sculpture 1 detail of bearing housing, shaft and fin attachments Drawing #1A Project: Ocean Avenue Elementary School Portland, ME Scale 1: 2 Date: Aug 09 1 foot

096 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

097

Water catching fins 1/4 in aluminum plate

Side view

Front view

Decorative facing disc

2 inch OD stainless steel bearing 5 5/8"

2 inch Schedule 40 pipe bearing housing Leather seal 5/16 inch SS hex bolt/nut

1 inch ID stainless steel spacer 6 3/4"

1'-4"

1 inch OD stainless steel axle

5/16 inch SS hex bolt/nut

Welded areas

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Water Sculpture bearing housing Drawing #3A

1.675 ID Schedule 40 black pipe hot dip galvanized, powder coated

Project: Ocean Avenue Elementary School Portland, ME

1.25 inch end cap

Scale 1: 4 Date: Aug 09

1 inch ID stainless steel spacer 5/16 inch hex bolt/nut

1 foot

《萌芽》是为一家公立学校设计的，该校刚刚 获得“绿色能源与环境设计先锋奖”的认证。May & Watkins 设计公司在建筑师的帮助下，完成了雕 塑各个部件的研制工作。除了视觉上能看到的成长， 也就是题目所说的“萌芽”，建筑师还希望通过该 雕塑培养孩子们对可替代能源及可再生能源的意识， 比如风能、太阳能或是水力。 本件作品分为五组，高度达 7.3 米。两组是风 能发电；一组是太阳能发电；一组是利用建筑里流 出的水而进行水能发电；第五组雕塑较小，只有 1.7 米高。

2 inch OD stainless steel bearing

2 inch Schedule 40 pipe bearing housing

5/8 inch steel pipe (to be skinned with 1/8 in aluminum)

sealing washer

2 in OD 1 in ID SS bearing spacer washer 1.5 OD by 1 in ID Rubber or leather gasket

Bearing hub

Wind Sculpture 2 bearing housing details Drawing #2A 5/16 inch SS hex bolt/nut

Project: Ocean Avenue Elementary School Portland, ME Scale 1: 2 Date: Aug 09

1 inch OD stainless steel axle 1 inch ID Schedule 40 Steel sleeve

spacer washer 1.5 OD by 1 in ID

Mounting plate washer 5 in OD by 1.5 ID

1/4 by 1 in SS hex bolts by 5

2 in. SS bearing 1 inch OD SS shaft

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808

Decorative aluminum disc

Schedule 40 steel sleeve 1.25 OD by 1 in ID

SS spacing sleeve 1.25 OD by 1 in ID

Weld seam

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Water sculpture bearing housing detail Drawing #3B Project: Ocean Avenue Elementary School Portland, ME Scale 1: 1 Date: Aug 09

1 foot

098 | Decorative Landscape Sculpture |

| Decorative Landscape Sculpture |

099

Water catching fins 1/4 in aluminum plate

Side view

Front view

Decorative facing disc

2 inch OD stainless steel bearing 5 5/8"

2 inch Schedule 40 pipe bearing housing Leather seal 5/16 inch SS hex bolt/nut

1 inch ID stainless steel spacer 6 3/4"

1'-4"

1 inch OD stainless steel axle

5/16 inch SS hex bolt/nut

Welded areas

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Water Sculpture bearing housing Drawing #3A

1.675 ID Schedule 40 black pipe hot dip galvanized, powder coated

Project: Ocean Avenue Elementary School Portland, ME

1.25 inch end cap

Scale 1: 4 Date: Aug 09

1 inch ID stainless steel spacer 5/16 inch hex bolt/nut

1 foot

《萌芽》是为一家公立学校设计的，该校刚刚 获得“绿色能源与环境设计先锋奖”的认证。May & Watkins 设计公司在建筑师的帮助下，完成了雕 塑各个部件的研制工作。除了视觉上能看到的成长， 也就是题目所说的“萌芽”，建筑师还希望通过该 雕塑培养孩子们对可替代能源及可再生能源的意识， 比如风能、太阳能或是水力。 本件作品分为五组，高度达 7.3 米。两组是风 能发电；一组是太阳能发电；一组是利用建筑里流 出的水而进行水能发电；第五组雕塑较小，只有 1.7 米高。

2 inch OD stainless steel bearing

2 inch Schedule 40 pipe bearing housing

5/8 inch steel pipe (to be skinned with 1/8 in aluminum)

sealing washer

2 in OD 1 in ID SS bearing spacer washer 1.5 OD by 1 in ID Rubber or leather gasket

Bearing hub

Wind Sculpture 2 bearing housing details Drawing #2A 5/16 inch SS hex bolt/nut

Project: Ocean Avenue Elementary School Portland, ME Scale 1: 2 Date: Aug 09

1 inch OD stainless steel axle 1 inch ID Schedule 40 Steel sleeve

spacer washer 1.5 OD by 1 in ID

Mounting plate washer 5 in OD by 1.5 ID

1/4 by 1 in SS hex bolts by 5

2 in. SS bearing 1 inch OD SS shaft

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808

Decorative aluminum disc

Schedule 40 steel sleeve 1.25 OD by 1 in ID

SS spacing sleeve 1.25 OD by 1 in ID

Weld seam

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Water sculpture bearing housing detail Drawing #3B Project: Ocean Avenue Elementary School Portland, ME Scale 1: 1 Date: Aug 09

1 foot

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099

3/4 in. SS steel shaft

Stainless steel bearing

Hollographic acrylite discs

3"

Decorative perpendicular steel disc

1'-11"

Powder coated mounting washers to secure glass discs

Water wheel mechanical assembly See detail drawing 3A & 3B

1.5 inch ID Schedule 40 black pipe

10"

3'-4 3/8"

Powder coated 1.75 in. steel sleeve

Typical leaf structure: 1.5 inch Schedule 40 black pipe frame 14 gauge perforated steel tin 1/4 inch holes/5/16 staggered pattern 49% opacity

1'-9 1/2"

10'-8 1/4"

11'-11"

Weather shield

Typical base plate construction See drawing #6

Belt drive system

Motor mounting plate

12 Volt by 6 RPM motor

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808

5/16 in. SS hex bolts Plug weld

Plug weld

May & Watkins Design, LLC

Water Sculpture elevation Drawing #3

40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Powder coated steel motor housing

Powder coated 1.5 in. ID schedule 40 pipe

Project: Ocean Avenue Elementary School Portland, ME

Solar sculpture mechanical dtl.

Drawing #5A Project: Ocean Avenue Elementary School Portland, ME Scale 1:4 Date: Aug 09

Scale 1: 24 Date: Aug 09 1 foot

Starburst drawing #4 All spheres are hollow steel

1 foot

5"

1 inch OD Schedule 40 steel pipe

1'-8 3/8"

3"

5'-5"

2"

2'-0 3/ 4"

7"

1.5 inch ID Schedule 40 steel pipe

Typical base plate See Drawing #6

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Starburst Elevation Drawing #4 Project: Ocean Avenue Elementary School Portland, ME Scale 1: 12 Date: Aug 09 1 foot

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3/4 in. SS steel shaft

Stainless steel bearing

Hollographic acrylite discs

3"

Decorative perpendicular steel disc

1'-11"

Powder coated mounting washers to secure glass discs

Water wheel mechanical assembly See detail drawing 3A & 3B

1.5 inch ID Schedule 40 black pipe

10"

3'-4 3/8"

Powder coated 1.75 in. steel sleeve

Typical leaf structure: 1.5 inch Schedule 40 black pipe frame 14 gauge perforated steel tin 1/4 inch holes/5/16 staggered pattern 49% opacity

1'-9 1/2"

10'-8 1/4"

11'-11"

Weather shield

Typical base plate construction See drawing #6

Belt drive system

Motor mounting plate

12 Volt by 6 RPM motor

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808

5/16 in. SS hex bolts Plug weld

Plug weld

May & Watkins Design, LLC

Water Sculpture elevation Drawing #3

40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Powder coated steel motor housing

Powder coated 1.5 in. ID schedule 40 pipe

Project: Ocean Avenue Elementary School Portland, ME

Solar sculpture mechanical dtl.

Drawing #5A Project: Ocean Avenue Elementary School Portland, ME Scale 1:4 Date: Aug 09

Scale 1: 24 Date: Aug 09 1 foot

Starburst drawing #4 All spheres are hollow steel

1 foot

5"

1 inch OD Schedule 40 steel pipe

1'-8 3/8"

3"

5'-5"

2"

2'-0 3/ 4"

7"

1.5 inch ID Schedule 40 steel pipe

Typical base plate See Drawing #6

May & Watkins Design, LLC 40 Hoyt St. Brooklyn, NY 11201 718-852-0808 Starburst Elevation Drawing #4 Project: Ocean Avenue Elementary School Portland, ME Scale 1: 12 Date: Aug 09 1 foot

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Material Bronze, Inox frame

Harck 哈尔克 Artist Tom Claassen

dimensionS 3.6m high Location Amsterdam, the Netherlands photographer Gijs Kaayk Client The New Jersey State Council on the Arts

2006 年，阿姆斯特丹的 Ymere 房屋协会邀 请汤姆·克拉森为他们即将建设的“Batik”小区 提供指导意见，该小区将建在阿姆斯特丹东印度 人（印度尼西亚人）小区旁。建筑师们注重观察 阿姆斯特丹的学校建筑，并关注其雕塑部分的施 工。既然该项目仍在设计阶段，在结构上稍作改 动仍是有可能的。 安放《哈尔克》的最佳位置是在建筑的西南角， 因为人们在很远的地方就可以看到它，虽然十分 靠近街上的行人，但是又让人够不着，因而不易 受损。建筑上留下的是又高又窄的壁龛，这就要 求放在这里的物体要狭长。 钻进去，伸出来，盘旋在墙角旁，这只绿色 的鹳注视着街上发生的一切，仿佛随时都能睡着。

102 | Decorative Landscape Sculpture |

In 2006 Ymere Housing Society from Amsterdam invited Tom Claassen to come with a proposal for a new housing complex called "Batik" to be build in the Amsterdam Eastindian (Indonesian) neighborhood. The Architects idea was to look at Amsterdam school architecture and its implementation of sculptural ingredients. Since the process being in the design phase small alterations in the structure were still possible.

Being most visible fro a distance and in proximity of the people on the street but just out of reach and thus less vulnerable Harck best would be located at buildings numb SW-corner. The given space in the buildings facade meant this were going to be a narrow and high niche, asking for something long and narrow .

Fitting, sticking out and getting around the corner, the green storckisch animal keeps an eye on what happens on the street, ready to take a naps.

Signal 信号

Artist Ralph Helmick

Material Steel Finish galvanization with epoxy paint topcoat DIMENSIONS 3m H × 2.6m W × 3.175m D Location Rutgers University, NJ, USA Photographer Will Howcroft

Every branch of research at Rutgers University’s Biomedical Engineering Building relates in some way to the human body. Signal simultaneously embodies the human form and serves as a metaphor for scientific inquiry.

The core sculptural image is a running figure inspired by Eadweard Muybridge’s 19th c. motion studies.

Comprised of stacked steel pipes, this form reveals itself dynamically depending on the viewer’s location. Stasis and motion; realism and abstraction.

In this manner it also echoes issues of perception, focus and relativity inherent in scientific research. 罗格斯大学生物医学工程院下属的研究分支或多或少都与人体相关。雕塑《信 号》体现的不仅仅是人体结构，而且还隐喻着科学探究之意。 该作品受到埃德沃德·迈布里奇 19 世纪运动摄影系列启发，雕塑的核心是一 个跑步者的形象。 《信号》由钢管堆砌而成，根据观赏者位置的不同，呈现出不同的动态形象， 亦动亦静，写实与抽象并存。 该方案用这种方式体现了科学研究中的内在品质：洞察力、专注度和相对性。

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103

Material Bronze, Inox frame

Harck 哈尔克 Artist Tom Claassen

dimensionS 3.6m high Location Amsterdam, the Netherlands photographer Gijs Kaayk Client The New Jersey State Council on the Arts

2006 年，阿姆斯特丹的 Ymere 房屋协会邀 请汤姆·克拉森为他们即将建设的“Batik”小区 提供指导意见，该小区将建在阿姆斯特丹东印度 人（印度尼西亚人）小区旁。建筑师们注重观察 阿姆斯特丹的学校建筑，并关注其雕塑部分的施 工。既然该项目仍在设计阶段，在结构上稍作改 动仍是有可能的。 安放《哈尔克》的最佳位置是在建筑的西南角， 因为人们在很远的地方就可以看到它，虽然十分 靠近街上的行人，但是又让人够不着，因而不易 受损。建筑上留下的是又高又窄的壁龛，这就要 求放在这里的物体要狭长。 钻进去，伸出来，盘旋在墙角旁，这只绿色 的鹳注视着街上发生的一切，仿佛随时都能睡着。

102 | Decorative Landscape Sculpture |

In 2006 Ymere Housing Society from Amsterdam invited Tom Claassen to come with a proposal for a new housing complex called "Batik" to be build in the Amsterdam Eastindian (Indonesian) neighborhood. The Architects idea was to look at Amsterdam school architecture and its implementation of sculptural ingredients. Since the process being in the design phase small alterations in the structure were still possible.

Being most visible fro a distance and in proximity of the people on the street but just out of reach and thus less vulnerable Harck best would be located at buildings numb SW-corner. The given space in the buildings facade meant this were going to be a narrow and high niche, asking for something long and narrow .

Fitting, sticking out and getting around the corner, the green storckisch animal keeps an eye on what happens on the street, ready to take a naps.

Signal 信号

Artist Ralph Helmick

Material Steel Finish galvanization with epoxy paint topcoat DIMENSIONS 3m H × 2.6m W × 3.175m D Location Rutgers University, NJ, USA Photographer Will Howcroft

Every branch of research at Rutgers University’s Biomedical Engineering Building relates in some way to the human body. Signal simultaneously embodies the human form and serves as a metaphor for scientific inquiry.

The core sculptural image is a running figure inspired by Eadweard Muybridge’s 19th c. motion studies.

Comprised of stacked steel pipes, this form reveals itself dynamically depending on the viewer’s location. Stasis and motion; realism and abstraction.

In this manner it also echoes issues of perception, focus and relativity inherent in scientific research. 罗格斯大学生物医学工程院下属的研究分支或多或少都与人体相关。雕塑《信 号》体现的不仅仅是人体结构，而且还隐喻着科学探究之意。 该作品受到埃德沃德·迈布里奇 19 世纪运动摄影系列启发，雕塑的核心是一 个跑步者的形象。 《信号》由钢管堆砌而成，根据观赏者位置的不同，呈现出不同的动态形象， 亦动亦静，写实与抽象并存。 该方案用这种方式体现了科学研究中的内在品质：洞察力、专注度和相对性。

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103

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| Decorative Landscape Sculpture |

105

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105

水景雕塑

Water Feature Sculpture 106 | Decorative Landscape Sculpture |

水景雕塑

Water Feature Sculpture 106 | Decorative Landscape Sculpture |

Tide Flow – Time Flow 潮涨时光落 Artist Rob Mulholland

Rob Mulholland’s latest installation " Tide Flow – Time Flow " is part of a group exhibition at the newly opened Caol Ruadh Sculpture Park overlooking the Kyles of Bute, Argyll, Scotland. " Tide Flow – Time Flow " has been installed on the shores of the Kyles of Bute. As the tide ebbs and flows, the reflections of the sun and sea constantly alter the appearance of the mirrored stainless steel forms creating a kinetic surface that moves to the rhythm of the sea. The Cretaceous sea-forms, standing alongside the human figures, are a reference to our genetic past and ask us to consider our evolutionary journey thus far.

劳勃·马尔霍兰创作的最新装置艺术《潮涨时光落》 属于新开放的考尔·拉得雕塑公园联展 的一部分，这里可以俯瞰苏格兰阿盖尔郡的比特狭海峡。 《潮涨时光落》位于比特狭海峡海岸，随着潮汐的涨落，太阳和海水投射在不锈钢镜面上的 影像变幻万千，仿佛是跟随海洋旋律谱出的跃动音符。人物雕塑旁边矗立的是白垩纪海洋模型， 象征着人类历史的起源，诉说着生命由古至今的进化之旅。

108 | Water Feature Sculpture |

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109

Tide Flow – Time Flow 潮涨时光落 Artist Rob Mulholland

Rob Mulholland’s latest installation " Tide Flow – Time Flow " is part of a group exhibition at the newly opened Caol Ruadh Sculpture Park overlooking the Kyles of Bute, Argyll, Scotland. " Tide Flow – Time Flow " has been installed on the shores of the Kyles of Bute. As the tide ebbs and flows, the reflections of the sun and sea constantly alter the appearance of the mirrored stainless steel forms creating a kinetic surface that moves to the rhythm of the sea. The Cretaceous sea-forms, standing alongside the human figures, are a reference to our genetic past and ask us to consider our evolutionary journey thus far.

劳勃·马尔霍兰创作的最新装置艺术《潮涨时光落》 属于新开放的考尔·拉得雕塑公园联展 的一部分，这里可以俯瞰苏格兰阿盖尔郡的比特狭海峡。 《潮涨时光落》位于比特狭海峡海岸，随着潮汐的涨落，太阳和海水投射在不锈钢镜面上的 影像变幻万千，仿佛是跟随海洋旋律谱出的跃动音符。人物雕塑旁边矗立的是白垩纪海洋模型， 象征着人类历史的起源，诉说着生命由古至今的进化之旅。

108 | Water Feature Sculpture |

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109

Gracing Swan 优雅的天鹅 Artist Edwin Cheong

Design Company EDWINCHEONGSTUDIO

The larger than life swans evokes the presences of living being in the other wise deserted pond.

Mirrored perforated stainless steel surface glimmers during the day and glows colorful

这些雕塑大于一般的天鹅，它们让人联想到了生 活在空寂的池塘里的天鹅。穿孔的不锈钢外表光可鉴 人，白天，它闪烁着微亮的光芒；夜晚，它散发出不 断变幻的五彩灯光。

changing lights during the night.

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111

Gracing Swan 优雅的天鹅 Artist Edwin Cheong

Design Company EDWINCHEONGSTUDIO

The larger than life swans evokes the presences of living being in the other wise deserted pond.

Mirrored perforated stainless steel surface glimmers during the day and glows colorful

这些雕塑大于一般的天鹅，它们让人联想到了生 活在空寂的池塘里的天鹅。穿孔的不锈钢外表光可鉴 人，白天，它闪烁着微亮的光芒；夜晚，它散发出不 断变幻的五彩灯光。

changing lights during the night.

110 | Water Feature Sculpture |

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111

Enchanting... 醉人的仙境 Artist B. Jane Cowie

Design Company Art Glass Solutions Pte Ltd

One of their most renowned projects is an art glass installation consisting of elegant blown glass flower forms supported on metal stems which graces the building’s entrance reflection pond. It is one of the first major artworks designed by B. Jane Cowie for Art Glass Solutions. The blown and hot sculptured glass was made at the Canberra Glassworks, Australia. Working for 3 weeks with a team of 15 glassblowers, Jane completed over 170 pieces required for the installation. The scale and excitement of the project was immediately evident.

Once the glass was completed, it took several weeks at a local Singaporean metal fabricator, to develop unique fixtures and fittings for the flower forms as well as test the weight, height and load strengths of the metal rods. Creating an installation that looks effortless takes a lot of planning, thinking, research and development. Cowie carefully considers the surround structures, colors and aspects viewers approach the artwork. Within the tight geometry of the atrium’s smoked glass walls, the flowers look alive, their metal stems sprouting directly from the building’s foundations.

The artwork, exposed to equatorial weather conditions, is fast becoming a destination for tourists and locals alike. It remains precariously beautiful as the glass blossoms gently sway in the sea breezes and are watered by the warm rains. The pure beauty and color within the glass will never fade; these flowers continue to bloom, creating a space that is truly “enchanting…”

112 | Water Feature Sculpture |

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113

Enchanting... 醉人的仙境 Artist B. Jane Cowie

Design Company Art Glass Solutions Pte Ltd

One of their most renowned projects is an art glass installation consisting of elegant blown glass flower forms supported on metal stems which graces the building’s entrance reflection pond. It is one of the first major artworks designed by B. Jane Cowie for Art Glass Solutions. The blown and hot sculptured glass was made at the Canberra Glassworks, Australia. Working for 3 weeks with a team of 15 glassblowers, Jane completed over 170 pieces required for the installation. The scale and excitement of the project was immediately evident.

Once the glass was completed, it took several weeks at a local Singaporean metal fabricator, to develop unique fixtures and fittings for the flower forms as well as test the weight, height and load strengths of the metal rods. Creating an installation that looks effortless takes a lot of planning, thinking, research and development. Cowie carefully considers the surround structures, colors and aspects viewers approach the artwork. Within the tight geometry of the atrium’s smoked glass walls, the flowers look alive, their metal stems sprouting directly from the building’s foundations.

The artwork, exposed to equatorial weather conditions, is fast becoming a destination for tourists and locals alike. It remains precariously beautiful as the glass blossoms gently sway in the sea breezes and are watered by the warm rains. The pure beauty and color within the glass will never fade; these flowers continue to bloom, creating a space that is truly “enchanting…”

112 | Water Feature Sculpture |

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113

工艺玻璃公司最著名的一个工程是一套玻璃艺术 装置，由数枝优雅绽放的玻璃花儿组成。这些玻璃花 朵由金属茎杆支撑，它们为大楼入口的倒影池增添了 无穷的魅力。该项目是 B·简·考伊为工艺玻璃公司 设计的首批主要作品之一，其玻璃部件在澳大利亚的 堪培拉玻璃厂完成。考伊和 15 个玻璃吹制工花了三 周的时间完成了整个装置所需的 170 多个部件。很显 然，这是一个规模浩大并令人兴奋的工程。 玻璃部分一完成，他们就在新加坡当地的金属制 造厂花上数周的时间研制每一件玻璃花朵的固定装置 和配件，同时他们还要对这些金属杆的重量、高度以 及承载力进行测试。这套看似简单的装置其实要花费 无数精力去规划、思考、研究和修改。此外，考伊还 要对周围的建筑、色彩以及欣赏角度这一系列的因素 作精细的考虑。在烟色玻璃墙封闭而成的中庭内，这 些栩栩如生的花儿宛若从地面长出一般逼真动人。 在赤道的炎热条件下，这件清凉怡人的艺术品迅 速成为当地人和旅客向往的一个胜地。这些玻璃花轻 轻地摇曳在海风里，浸润在温暖的雨水里，看起来摇 摇欲坠，却是那样的美丽！玻璃内部的色彩和那种纯 粹美永远不会褪去；这些永不凋零的花营造出了一片 真正“醉人”的仙境。

114 | Water Feature Sculpture |

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115

工艺玻璃公司最著名的一个工程是一套玻璃艺术 装置，由数枝优雅绽放的玻璃花儿组成。这些玻璃花 朵由金属茎杆支撑，它们为大楼入口的倒影池增添了 无穷的魅力。该项目是 B·简·考伊为工艺玻璃公司 设计的首批主要作品之一，其玻璃部件在澳大利亚的 堪培拉玻璃厂完成。考伊和 15 个玻璃吹制工花了三 周的时间完成了整个装置所需的 170 多个部件。很显 然，这是一个规模浩大并令人兴奋的工程。 玻璃部分一完成，他们就在新加坡当地的金属制 造厂花上数周的时间研制每一件玻璃花朵的固定装置 和配件，同时他们还要对这些金属杆的重量、高度以 及承载力进行测试。这套看似简单的装置其实要花费 无数精力去规划、思考、研究和修改。此外，考伊还 要对周围的建筑、色彩以及欣赏角度这一系列的因素 作精细的考虑。在烟色玻璃墙封闭而成的中庭内，这 些栩栩如生的花儿宛若从地面长出一般逼真动人。 在赤道的炎热条件下，这件清凉怡人的艺术品迅 速成为当地人和旅客向往的一个胜地。这些玻璃花轻 轻地摇曳在海风里，浸润在温暖的雨水里，看起来摇 摇欲坠，却是那样的美丽！玻璃内部的色彩和那种纯 粹美永远不会褪去；这些永不凋零的花营造出了一片 真正“醉人”的仙境。

114 | Water Feature Sculpture |

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115

Artist Concept Delicate flowers are sculptured from hot glass to create lotus flower form. Held aloft on thin stainless steel stems, the flowers are illuminated by lighting located within the pond.

The color of the flowers is either clear or frosted glass to accept the light and appear bright within the sheltered entrance area.

The flowers are arranged in loose bunches and spread evenly through the pond, each a different height and tilt.

116 | Water Feature Sculpture |

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117

Artist Concept Delicate flowers are sculptured from hot glass to create lotus flower form. Held aloft on thin stainless steel stems, the flowers are illuminated by lighting located within the pond.

The color of the flowers is either clear or frosted glass to accept the light and appear bright within the sheltered entrance area.

The flowers are arranged in loose bunches and spread evenly through the pond, each a different height and tilt.

116 | Water Feature Sculpture |

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117

Specifications ×49 Lotus stems Held on 12mm diameter stainless steel solid rods are fixed, bent and anchored to the bottom of the pond. Stems vary in length from 1.5 meters to 3 meters.

×49 concrete fixtures Each flower is anchored to the structural base of the pond by individual concrete blocks with cast-in installation tubes below the reflective pond’s stone finish. The best lighting would be up lighting from within the pond or overhead lighting, with individual lights pointing on each individual flower.

118 | Water Feature Sculpture |

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119

Specifications ×49 Lotus stems Held on 12mm diameter stainless steel solid rods are fixed, bent and anchored to the bottom of the pond. Stems vary in length from 1.5 meters to 3 meters.

×49 concrete fixtures Each flower is anchored to the structural base of the pond by individual concrete blocks with cast-in installation tubes below the reflective pond’s stone finish. The best lighting would be up lighting from within the pond or overhead lighting, with individual lights pointing on each individual flower.

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119

Mapletree Business City 枫树之城 Artist B. Jane Cowie Design Company Art Glass Solutions Pte Ltd

Incorporating brightly colored glass leaves and the reflective qualities of stainless steel with the surrounding pond waters, this installation references traditional folklore which believes the maple tree is symbolic of independence, imagination and originality.

The artwork brings natural elements into the built environment, alluding to new opportunities, growth and prosperity that may be found within the branches of the Mapletree developments. The glass leaf shapes, based on the Japanese maple leaf, are a native of Asian forests, cultivated in Asia for over 300 years.

The artwork is about renewal and growth, exemplifying the saying "from little things big things will grow"…

色彩鲜明的玻璃枫叶和反光的不锈钢枫树 同周围的池水融为一体。这一系列设置参考了 传统的民俗，即枫树象征着独立性、想象力和 原创性。 这件艺术品引入了一些自然元素到周围的 建筑环境中，寓意着新的机遇、成长和繁荣， 我们也能从枫树枝桠中看出这些寓意。玻璃枫 叶的原型是日本枫叶，亚洲森林里的一个本土 树种，已经在亚洲生长繁衍了 300 余年。 该作品的主题是新生和成长，它恰如其分 地印证了那句歌词：茫茫大海始于涓涓细流。

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Mapletree Business City 枫树之城 Artist B. Jane Cowie Design Company Art Glass Solutions Pte Ltd

Incorporating brightly colored glass leaves and the reflective qualities of stainless steel with the surrounding pond waters, this installation references traditional folklore which believes the maple tree is symbolic of independence, imagination and originality.

The artwork brings natural elements into the built environment, alluding to new opportunities, growth and prosperity that may be found within the branches of the Mapletree developments. The glass leaf shapes, based on the Japanese maple leaf, are a native of Asian forests, cultivated in Asia for over 300 years.

The artwork is about renewal and growth, exemplifying the saying "from little things big things will grow"…

色彩鲜明的玻璃枫叶和反光的不锈钢枫树 同周围的池水融为一体。这一系列设置参考了 传统的民俗，即枫树象征着独立性、想象力和 原创性。 这件艺术品引入了一些自然元素到周围的 建筑环境中，寓意着新的机遇、成长和繁荣， 我们也能从枫树枝桠中看出这些寓意。玻璃枫 叶的原型是日本枫叶，亚洲森林里的一个本土 树种，已经在亚洲生长繁衍了 300 余年。 该作品的主题是新生和成长，它恰如其分 地印证了那句歌词：茫茫大海始于涓涓细流。

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Installation Details Position tree to cover the 5th stone line from the balcony‌ Cutting lines determined by sheet size 1220×2440mm The tree will be welded as one piece on site. Weld lines will be filled, ground and polished to mirror finish to match surrounding metal.

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Installation Details Position tree to cover the 5th stone line from the balcony‌ Cutting lines determined by sheet size 1220×2440mm The tree will be welded as one piece on site. Weld lines will be filled, ground and polished to mirror finish to match surrounding metal.

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Material Stainless steel, Motors, Water pumps, Control systems DimensionS 8m high Location Carlotte, USA photographer David Cerný

The contemporary sculptor David Cerný created a huge deformation kinetic energy sculpture fountain in North Carolina. The sculpture is made of stainless steel, 9.1meters high and weighs 14 tons, featured a customwritten program that controls the embedded motors within the structure.

This is David's first permanent public installation in the United States, the piece consists of multiple plates that rotate intermittently to create a three-dimensional human head that dispenses water from its mouth into a large fountain base.

当代雕塑家大卫·切尼创作了一座巨 大的动能喷泉雕塑，位于北卡罗来纳州。 该雕塑由不锈钢制成，高 9.1 米，重 14 吨， 特别编写的程序控制嵌入式发动机是其一 大特征。 这是大卫在美国的第一件永久性公共 艺术装置，由多层水平金属板不停旋转从 而创造出三维人头像，人头像口中喷出的 水流入下面巨大的喷泉底座中。

Metal–Morphosis 变形合金 Artist David Cerný

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Material Stainless steel, Motors, Water pumps, Control systems DimensionS 8m high Location Carlotte, USA photographer David Cerný

The contemporary sculptor David Cerný created a huge deformation kinetic energy sculpture fountain in North Carolina. The sculpture is made of stainless steel, 9.1meters high and weighs 14 tons, featured a customwritten program that controls the embedded motors within the structure.

This is David's first permanent public installation in the United States, the piece consists of multiple plates that rotate intermittently to create a three-dimensional human head that dispenses water from its mouth into a large fountain base.

当代雕塑家大卫·切尼创作了一座巨 大的动能喷泉雕塑，位于北卡罗来纳州。 该雕塑由不锈钢制成，高 9.1 米，重 14 吨， 特别编写的程序控制嵌入式发动机是其一 大特征。 这是大卫在美国的第一件永久性公共 艺术装置，由多层水平金属板不停旋转从 而创造出三维人头像，人头像口中喷出的 水流入下面巨大的喷泉底座中。

Metal–Morphosis 变形合金 Artist David Cerný

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Partner Ballerup Municipality, Kangsi Art, Flemming Brian Nielsen Stonemasonry ApS, Bdr. Funder Stucco work ApS, Henrik Keil

Eye of the Needle 针眼 Artist Bjørn Nørgaard

Client Ballerup Municipality Material Granite, Stainless bronze DimensionS 5.2m high Location Soendergaard torv, Ballerup, Denmark

As artistic consultant for this new city area, among other things a square at Maaloev station was developed, this was implemented as an actual project with architect Stine Baerentzen. From 2005 the actual idea for the sculpture for the square was developed. The Sculpture stands on the squares top step, a circular plateau in a pool that is 8 meters in diameter, the sculpture is 3 meters in diameter and 5 meters tall, the sculpture is vertical elliptical, in to parts. To the east the shell is made in stainless steel, with 12 angels in stainless steel. To the west in black granite with 12 beasts in bronze, the two parts are split by a vertical crack 20cm wide, the lowest part extends to an eye of a needle, there is a bridge passing through the sculptures inner space, inside beams of water are shooting across the shells, the water is flowing over the pools edges, down over the square and through the canal to the areas artificial lake.

作为这个新城区的艺术顾问，与 Maaloev 车站广场上其他的设计相比， 本雕塑是建筑师斯坦作为一个真正的项目来实施的。这件广场雕塑的设计思想自 2005 年就已产生。雕塑立于广场的顶层台阶上，底下是一个圆形的盘状水池， 水池直径达 8 米。雕塑直径为 3 米，高 5 米，是一个竖着的椭圆，且由中间分 成两半。东面的那一半壳由不锈钢制成，上面有 12 个天使；西面的那一半壳由 黑色花岗岩制成，上面有 12 只铜质猛兽。这两个半壳中间的裂缝有 20 厘米宽， 此条裂缝向下渐渐变宽，形成一个“针眼”。通过这个针眼，一条小桥“穿”过 雕塑内部。数条水柱由雕塑内部射出，汇聚的水漫过水池边缘，顺广场流下，然 后再由水槽引入周边的人工湖内。

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Partner Ballerup Municipality, Kangsi Art, Flemming Brian Nielsen Stonemasonry ApS, Bdr. Funder Stucco work ApS, Henrik Keil

Eye of the Needle 针眼 Artist Bjørn Nørgaard

Client Ballerup Municipality Material Granite, Stainless bronze DimensionS 5.2m high Location Soendergaard torv, Ballerup, Denmark

As artistic consultant for this new city area, among other things a square at Maaloev station was developed, this was implemented as an actual project with architect Stine Baerentzen. From 2005 the actual idea for the sculpture for the square was developed. The Sculpture stands on the squares top step, a circular plateau in a pool that is 8 meters in diameter, the sculpture is 3 meters in diameter and 5 meters tall, the sculpture is vertical elliptical, in to parts. To the east the shell is made in stainless steel, with 12 angels in stainless steel. To the west in black granite with 12 beasts in bronze, the two parts are split by a vertical crack 20cm wide, the lowest part extends to an eye of a needle, there is a bridge passing through the sculptures inner space, inside beams of water are shooting across the shells, the water is flowing over the pools edges, down over the square and through the canal to the areas artificial lake.

作为这个新城区的艺术顾问，与 Maaloev 车站广场上其他的设计相比， 本雕塑是建筑师斯坦作为一个真正的项目来实施的。这件广场雕塑的设计思想自 2005 年就已产生。雕塑立于广场的顶层台阶上，底下是一个圆形的盘状水池， 水池直径达 8 米。雕塑直径为 3 米，高 5 米，是一个竖着的椭圆，且由中间分 成两半。东面的那一半壳由不锈钢制成，上面有 12 个天使；西面的那一半壳由 黑色花岗岩制成，上面有 12 只铜质猛兽。这两个半壳中间的裂缝有 20 厘米宽， 此条裂缝向下渐渐变宽，形成一个“针眼”。通过这个针眼，一条小桥“穿”过 雕塑内部。数条水柱由雕塑内部射出，汇聚的水漫过水池边缘，顺广场流下，然 后再由水槽引入周边的人工湖内。

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Threshold 音符门 Artist Angela Conner

Steelwork Bishop and Smith, Hereford UK

Dimensions Individual units are approx 5m high

Material Stainless steel

edition 16 units. 12 units installed at Darlington Art Center

client Darlington Council – Competition winner

photographer John Bulmer

location Darlington Arts Center, UK

The sculpture was thought of as a way to bring pedestrians into the Art Center building entrance across the plaza. The 12 elements continually move due to the changing weight of water. On one side those using the café can watch the water being tipped and tumbling down a series of steps. On the other side the curved simple shape of the sculpture creates a moving arch under which people walk. At the ends of the arch are placed lights so that during the evening they shine in moving patterns on the plaza floor.

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Threshold 音符门 Artist Angela Conner

Steelwork Bishop and Smith, Hereford UK

Dimensions Individual units are approx 5m high

Material Stainless steel

edition 16 units. 12 units installed at Darlington Art Center

client Darlington Council – Competition winner

photographer John Bulmer

location Darlington Arts Center, UK

The sculpture was thought of as a way to bring pedestrians into the Art Center building entrance across the plaza. The 12 elements continually move due to the changing weight of water. On one side those using the café can watch the water being tipped and tumbling down a series of steps. On the other side the curved simple shape of the sculpture creates a moving arch under which people walk. At the ends of the arch are placed lights so that during the evening they shine in moving patterns on the plaza floor.

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《音符门》让人们不禁想要穿过广场进入艺术中心。每一 个音符都可通过流动的水不断变换位置。人们在咖啡馆里可以 欣赏到水流缓缓倾斜，一阶阶淌落。这一串简洁的音符汇成一 座流动的拱门，拱门下人们漫步其中。拱门的两端安装了灯光 设备，每逢夜晚降临，广场上的雕塑，恰似繁星点点闪耀人间。

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《音符门》让人们不禁想要穿过广场进入艺术中心。每一 个音符都可通过流动的水不断变换位置。人们在咖啡馆里可以 欣赏到水流缓缓倾斜，一阶阶淌落。这一串简洁的音符汇成一 座流动的拱门，拱门下人们漫步其中。拱门的两端安装了灯光 设备，每逢夜晚降临，广场上的雕塑，恰似繁星点点闪耀人间。

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Arpeggio 琶音 Artist Angela Conner

Steelwork Bishop and Smith, Hereford UK

DIMENSIONS Four units approx 3.4m high in a 5.3m diameter pool

Material Stainless steel with a granite base

edition Unique

location Heinz Hall, Pittsburg, USA

photographer Angela Conner, John Bulmer

雕塑《琶音》矗立在美国匹兹堡交 响乐大厅外的公共广场中心，由亨氏信 托出资筹建。白天，人们一边享用午餐， 一边坐着欣赏雕塑的动态之美。夜晚， 公共场所停止对外开放，在亨氏大厅观 赏芭蕾舞剧和管弦乐的观众们会在幕间 休息时间出来欣赏这座雕塑。 《琶音》的位移完全源于水量的变 化。该艺术家的作品以运用自然力量为 主，给人宁静、平和的感觉，摒弃了技 术营造的神秘感。

Arpeggio was commissioned by The Heinz Trust for the center of a public square outside Pittsburg Symphony Hall, USA. By day the general public sit and watch the movements of the sculpture as they eat their lunches. In the evenings the public gates are closed, audience members to the Heinz Hall ballet and orchestra come out in the intermission with their drinks to view the sculpture.

The movement of the sculpture is entirely due to the shifting weight of water. The artist has always centered her work on using natural forces. The effect is of tranquility and a sense of peace as opposed to the mysteries of technology.

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Arpeggio 琶音 Artist Angela Conner

Steelwork Bishop and Smith, Hereford UK

DIMENSIONS Four units approx 3.4m high in a 5.3m diameter pool

Material Stainless steel with a granite base

edition Unique

location Heinz Hall, Pittsburg, USA

photographer Angela Conner, John Bulmer

雕塑《琶音》矗立在美国匹兹堡交 响乐大厅外的公共广场中心，由亨氏信 托出资筹建。白天，人们一边享用午餐， 一边坐着欣赏雕塑的动态之美。夜晚， 公共场所停止对外开放，在亨氏大厅观 赏芭蕾舞剧和管弦乐的观众们会在幕间 休息时间出来欣赏这座雕塑。 《琶音》的位移完全源于水量的变 化。该艺术家的作品以运用自然力量为 主，给人宁静、平和的感觉，摒弃了技 术营造的神秘感。

Arpeggio was commissioned by The Heinz Trust for the center of a public square outside Pittsburg Symphony Hall, USA. By day the general public sit and watch the movements of the sculpture as they eat their lunches. In the evenings the public gates are closed, audience members to the Heinz Hall ballet and orchestra come out in the intermission with their drinks to view the sculpture.

The movement of the sculpture is entirely due to the shifting weight of water. The artist has always centered her work on using natural forces. The effect is of tranquility and a sense of peace as opposed to the mysteries of technology.

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园林景观雕塑

Garden LANDSCAPE Sculpture 136 | Water Feature Sculpture |

园林景观雕塑

Garden LANDSCAPE Sculpture 136 | Water Feature Sculpture |

Jardins Jardin 芹园 Design Company Jinny Blom Landscape Design

Material Jesmonite seed sculptures with internal steel frame, Crushed chalk paths, Central gravel path, Steel edging Location Paris, France Photographer Charlie Hopkinson

Aerial photographs are compelling at the best of times but those over the Champagne region of France are quite astonishing and gave the germ of the idea for the sculptural installation they created for the 2010 Jardins Jardin show for Laurent-Perrier in Paris. Over a recreation of the faceted landscape of Champagne, a miniature "field system", giant sculptural "seeds" lay split open either side of a central crushed chalk path, as if just fallen from the sky. They thought it would be amusing to make the internal seeds from resin cast champagne bottle bottoms. The resulting installation was sophisticated, witty and rather beautiful!

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Jardins Jardin 芹园 Design Company Jinny Blom Landscape Design

Material Jesmonite seed sculptures with internal steel frame, Crushed chalk paths, Central gravel path, Steel edging Location Paris, France Photographer Charlie Hopkinson

Aerial photographs are compelling at the best of times but those over the Champagne region of France are quite astonishing and gave the germ of the idea for the sculptural installation they created for the 2010 Jardins Jardin show for Laurent-Perrier in Paris. Over a recreation of the faceted landscape of Champagne, a miniature "field system", giant sculptural "seeds" lay split open either side of a central crushed chalk path, as if just fallen from the sky. They thought it would be amusing to make the internal seeds from resin cast champagne bottle bottoms. The resulting installation was sophisticated, witty and rather beautiful!

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最佳角度下的鸟瞰图都是十分引人注目的，但是法国香槟区周边地 区的鸟瞰图却能震撼人心，它们也是 2010 年巴黎罗兰百悦集团的园艺 展上那件雕塑设计思想的来源。通过对香槟区外表风景的重建，形成了 一个浓缩的“农田系统”。这些巨型“种子”雕塑从中间裂开两半，分 别躺在一条白垩岩铺成的小路的两边，就好像是刚从天上掉下来一样。 大种子里边的“籽”是由树脂制成的香槟瓶底，这样的设计更具趣味性。 最终呈现出来的雕塑十分精致、巧妙，而且异常美丽。

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最佳角度下的鸟瞰图都是十分引人注目的，但是法国香槟区周边地 区的鸟瞰图却能震撼人心，它们也是 2010 年巴黎罗兰百悦集团的园艺 展上那件雕塑设计思想的来源。通过对香槟区外表风景的重建，形成了 一个浓缩的“农田系统”。这些巨型“种子”雕塑从中间裂开两半，分 别躺在一条白垩岩铺成的小路的两边，就好像是刚从天上掉下来一样。 大种子里边的“籽”是由树脂制成的香槟瓶底，这样的设计更具趣味性。 最终呈现出来的雕塑十分精致、巧妙，而且异常美丽。

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Nelson Mandela’s Portrait Sculpture 尼尔森·曼德拉肖像雕塑 Artist Marco Cianfanelli

Project and Site Development Christopher Till, Director, Apartheid Museum

The sculpture, by artist Marco Cianfanelli, significantly comprises 50 steel

Concept Design Marco Cianfanelli and Jeremy Rose

by Jeremy Rose of Mashabane Rose Architects, leads one down a path

Architect/artistic collaborator Jeremy Rose of Mashabane Rose Architects

to create the illusion of a flat image.

Project Concept and Commissioning Agent Culture Mechanics

column constructions – each between 6.5 and 9.5 metres tall – set into the Midlands landscape. The approach to the site, which has been designed towards the sculpture where, at a distance of 35 meters, a portrait of Nelson Mandela, looking west, comes into focus, the 50 linear vertical units lining up

Cianfanelli’s perceptive rendering of this meditative image of the international icon – a portrait achieved from interpreting composites of several portraits of Mandela sourced off the Internet, and a film grab – is appropriately monumental, yet fittingly transient and delicate. From its main focal point,

Project Manager Brendan Copestake

the sculpture reads as a familiar photographic image, structurally suggestive

Structural Engineer John Duncan

the columns create a sense or moment of fracture and release. Cianfanelli

Civil Engineer Geoff Boutell

the momentum gained in the struggle through the symbolic of Mandela’s

Steel Fabricator Jurie van der Westhuizen

also suggest the idea of many making the whole; of solidarity. It points to

Material Painted laser-cut mild steel & steel tube construction

as an icon of struggle, which helped ferment the groundswell of resistance,

DimensionS 5.19m W x 9.48m H x 20.8m L

The sculpture, which eloquently both impacts and becomes part of the

of his incarceration, while from a side view, the design and arrangement of comments on the deliberate structural paradox, that, “this represents capture. The 50 columns represent the 50 years since his capture, but they an irony as the political act of Mandela’s incarceration cemented his status solidarity and uprising, bringing about political change and democracy”.

surrounding landscape, visually shifts throughout the day, with the sculpture itself being affected by the changing light and atmosphere behind and around it.

Cianfanelli has included an additional 5 smaller columns to create an axis from the main sculpture to the monument site across the road.

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Nelson Mandela’s Portrait Sculpture 尼尔森·曼德拉肖像雕塑 Artist Marco Cianfanelli

Project and Site Development Christopher Till, Director, Apartheid Museum

The sculpture, by artist Marco Cianfanelli, significantly comprises 50 steel

Concept Design Marco Cianfanelli and Jeremy Rose

by Jeremy Rose of Mashabane Rose Architects, leads one down a path

Architect/artistic collaborator Jeremy Rose of Mashabane Rose Architects

to create the illusion of a flat image.

Project Concept and Commissioning Agent Culture Mechanics

column constructions – each between 6.5 and 9.5 metres tall – set into the Midlands landscape. The approach to the site, which has been designed towards the sculpture where, at a distance of 35 meters, a portrait of Nelson Mandela, looking west, comes into focus, the 50 linear vertical units lining up

Cianfanelli’s perceptive rendering of this meditative image of the international icon – a portrait achieved from interpreting composites of several portraits of Mandela sourced off the Internet, and a film grab – is appropriately monumental, yet fittingly transient and delicate. From its main focal point,

Project Manager Brendan Copestake

the sculpture reads as a familiar photographic image, structurally suggestive

Structural Engineer John Duncan

the columns create a sense or moment of fracture and release. Cianfanelli

Civil Engineer Geoff Boutell

the momentum gained in the struggle through the symbolic of Mandela’s

Steel Fabricator Jurie van der Westhuizen

also suggest the idea of many making the whole; of solidarity. It points to

Material Painted laser-cut mild steel & steel tube construction

as an icon of struggle, which helped ferment the groundswell of resistance,

DimensionS 5.19m W x 9.48m H x 20.8m L

The sculpture, which eloquently both impacts and becomes part of the

of his incarceration, while from a side view, the design and arrangement of comments on the deliberate structural paradox, that, “this represents capture. The 50 columns represent the 50 years since his capture, but they an irony as the political act of Mandela’s incarceration cemented his status solidarity and uprising, bringing about political change and democracy”.

surrounding landscape, visually shifts throughout the day, with the sculpture itself being affected by the changing light and atmosphere behind and around it.

Cianfanelli has included an additional 5 smaller columns to create an axis from the main sculpture to the monument site across the road.

144 | Garden Landscape Sculpture |

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145

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该雕塑由艺术家马可·西恩方纳里创作完成，足足包含了 50 根钢质柱形结构 —— 每一根的高度都在 6.5 米到 9.5 米之间 —— 位于中部地区。通往该雕塑的小径由玛莎巴内·罗斯建筑事务所的杰里米·罗斯设计， 经过约 35 米的距离后，人们可以看见面向西方的尼尔森·曼德拉肖像逐渐展立于眼前，这是由 50 根线形 垂直钢柱营造出的平面幻象。 该图像是西恩方纳里从网络和电影抓取镜头中获取的多张曼德拉肖像的合成图，他敏锐的洞察力使这 位国际偶像的沉思者形象深入人心，堪称不朽，图像本身却又给人脆弱易逝之感。从主焦点上看去，该雕 塑就像一张熟悉的摄影影像，其构图不禁让人联想起曼德拉的监禁生涯，若从旁边望去，钢柱的设计和排 列给人一种瞬间破裂和释放的感觉。西恩方纳里在评论这种有意为之的结构悖论时说：“曼德拉在监禁岁 月的挣扎中坚守着冲破禁锢的顽强信念，50 根钢柱象征着曼德拉被捕之后的 50 年，同时也蕴含着‘万众 一心，其利断金’之意。同时也暗含着一种讽刺，即曼德拉被监禁反而巩固了其抗争斗士坚不可摧的地位， 促使反抗情绪高涨，人民团结一致，奋起抗争，推动了政治变革和民主进程。” 尼尔森·曼德拉肖像雕塑已成为当地一道亮丽的风景，受到光线变换及周边大气的影响，在一天内呈 现出不同的视觉盛宴，并感染了周围的环境。 西恩方纳里还在对街塑造了 5 个小型钢柱，更使主雕塑成为轴心。

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该雕塑由艺术家马可·西恩方纳里创作完成，足足包含了 50 根钢质柱形结构 —— 每一根的高度都在 6.5 米到 9.5 米之间 —— 位于中部地区。通往该雕塑的小径由玛莎巴内·罗斯建筑事务所的杰里米·罗斯设计， 经过约 35 米的距离后，人们可以看见面向西方的尼尔森·曼德拉肖像逐渐展立于眼前，这是由 50 根线形 垂直钢柱营造出的平面幻象。 该图像是西恩方纳里从网络和电影抓取镜头中获取的多张曼德拉肖像的合成图，他敏锐的洞察力使这 位国际偶像的沉思者形象深入人心，堪称不朽，图像本身却又给人脆弱易逝之感。从主焦点上看去，该雕 塑就像一张熟悉的摄影影像，其构图不禁让人联想起曼德拉的监禁生涯，若从旁边望去，钢柱的设计和排 列给人一种瞬间破裂和释放的感觉。西恩方纳里在评论这种有意为之的结构悖论时说：“曼德拉在监禁岁 月的挣扎中坚守着冲破禁锢的顽强信念，50 根钢柱象征着曼德拉被捕之后的 50 年，同时也蕴含着‘万众 一心，其利断金’之意。同时也暗含着一种讽刺，即曼德拉被监禁反而巩固了其抗争斗士坚不可摧的地位， 促使反抗情绪高涨，人民团结一致，奋起抗争，推动了政治变革和民主进程。” 尼尔森·曼德拉肖像雕塑已成为当地一道亮丽的风景，受到光线变换及周边大气的影响，在一天内呈 现出不同的视觉盛宴，并感染了周围的环境。 西恩方纳里还在对街塑造了 5 个小型钢柱，更使主雕塑成为轴心。

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Focused 专注 Artist Thomas Joynes

《专注》的设计使用了 3D 视角，是一次新的尝试。该设计的理念是使用一种熟悉的外形，这就是其 采用脸部剪影的原因，因为脸部剪影易于为大众所识别。通过将脸复制成两个不同的尺寸，再将这两个脸 合在一起并压以数条线条，原来的 2D 脸部轮廓就变成了一件令人称奇的、近乎抽象派的 3D 雕塑。3D 视 角的使用让欣赏者们的目光聚集在雕塑上，并且可以穿透这件艺术品。若要说观众们的注意力不由自主地 被吸引到某个特定的方向的话，这件雕塑就是这片风景里最完美的焦点。 《专注》是 2011 年受一位英格兰的私人客户的委托而制作的，材料为碳纤维复合物，外层用树脂抛 光。《专注》被固定在一个橡木底座上，雕塑本身长 90 厘米，宽 60 厘米，高 200 厘米。

"Focused" was designed as an experimentation into the use of perspective within a 3-D form. The concept was to use a

Material Carbon fibre, Polished resin DimensionS 2m H x 0.9m W x 0.6m D Location England, UK

familiar shape which is why a face profile was chosen because it is recognizable to almost everyone. By repeating the face in two different scales, they could then be joined up through a series of lines, the initial 2-D face outline is transformed into a stunning almost abstract 3-D form. The perspective used within the sculpture draws the viewers gaze right into and through the piece, making this a perfect focal point to be put within a landscape if the viewers attention is desired to be lead in a specific direction.

Commissioned for a private client in England in 2011, Focused is made from a carbon fibre composite with a polished resin surface and it is mounted on a wooden oak plinth. The sculpture measures 200cm high, 90cm wide and 60cm deep.

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Focused 专注 Artist Thomas Joynes

《专注》的设计使用了 3D 视角，是一次新的尝试。该设计的理念是使用一种熟悉的外形，这就是其 采用脸部剪影的原因，因为脸部剪影易于为大众所识别。通过将脸复制成两个不同的尺寸，再将这两个脸 合在一起并压以数条线条，原来的 2D 脸部轮廓就变成了一件令人称奇的、近乎抽象派的 3D 雕塑。3D 视 角的使用让欣赏者们的目光聚集在雕塑上，并且可以穿透这件艺术品。若要说观众们的注意力不由自主地 被吸引到某个特定的方向的话，这件雕塑就是这片风景里最完美的焦点。 《专注》是 2011 年受一位英格兰的私人客户的委托而制作的，材料为碳纤维复合物，外层用树脂抛 光。《专注》被固定在一个橡木底座上，雕塑本身长 90 厘米，宽 60 厘米，高 200 厘米。

"Focused" was designed as an experimentation into the use of perspective within a 3-D form. The concept was to use a

Material Carbon fibre, Polished resin DimensionS 2m H x 0.9m W x 0.6m D Location England, UK

familiar shape which is why a face profile was chosen because it is recognizable to almost everyone. By repeating the face in two different scales, they could then be joined up through a series of lines, the initial 2-D face outline is transformed into a stunning almost abstract 3-D form. The perspective used within the sculpture draws the viewers gaze right into and through the piece, making this a perfect focal point to be put within a landscape if the viewers attention is desired to be lead in a specific direction.

Commissioned for a private client in England in 2011, Focused is made from a carbon fibre composite with a polished resin surface and it is mounted on a wooden oak plinth. The sculpture measures 200cm high, 90cm wide and 60cm deep.

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Passage is a public art project for the San Francisco Art Commission at Moscone Recreational Park. Elements include a 7.6m long stainless steel boat shape that seems to be cruising thru the park site. To enhance this

Passage

idea a ship "wake" is formed by concrete pavers flush with the grass surface

起航

boats and vessels of commercial interest can be seen on the bay. Also the

Artist Kent Roberts

sculpture can be thought of as a metaphor for the means that the many

Material Stainless steel location San Francisco, USA

behind and to the side of the ship and a bow wake cast of concrete at the bow. There are many levels of references. From this site both pleasure

《起航》是旧金山艺术委员会的公共艺术项目，位于莫斯科尼休闲公园。这座 7.6 米长 的不锈钢船，似乎刚离开泊位，即将开启巡航之旅。为突显“起航”这一主题，混凝土材料 铺砌的波纹在船头划出优美的弧线，再从船身两侧向后荡开，在船尾汇成“尾波”，与后面 的草坪处在同一直线上。该设计参照了多层因素。这里的海湾能看见满载商业利益的游艇和 游乐船只。这艘船也被看成一种象征，象征着多种文化进入旧金山的交通工具。这座城市的 居民大多从海上乘船来到这里，从最初乘坐小船的原住民，到西班牙人、亚洲人，甚至是美洲人， 都是通过海路而非陆路抵达的。 《起航》作为一种雕塑艺术被安放在了预定位置，为公园环境增添了一抹亮色。

cultures came to the San Francisco. From the sea the city’s residents arrived by ship starting with the indigenous peoples in small boats, the Spanish, the many cultures from Asia and even the Americans came mostly by sea not overland.

Finally the "ship" is a sculptural element that works with the selected site and adds to the park setting.

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Passage is a public art project for the San Francisco Art Commission at Moscone Recreational Park. Elements include a 7.6m long stainless steel boat shape that seems to be cruising thru the park site. To enhance this

Passage

idea a ship "wake" is formed by concrete pavers flush with the grass surface

起航

boats and vessels of commercial interest can be seen on the bay. Also the

Artist Kent Roberts

sculpture can be thought of as a metaphor for the means that the many

Material Stainless steel location San Francisco, USA

behind and to the side of the ship and a bow wake cast of concrete at the bow. There are many levels of references. From this site both pleasure

《起航》是旧金山艺术委员会的公共艺术项目，位于莫斯科尼休闲公园。这座 7.6 米长 的不锈钢船，似乎刚离开泊位，即将开启巡航之旅。为突显“起航”这一主题，混凝土材料 铺砌的波纹在船头划出优美的弧线，再从船身两侧向后荡开，在船尾汇成“尾波”，与后面 的草坪处在同一直线上。该设计参照了多层因素。这里的海湾能看见满载商业利益的游艇和 游乐船只。这艘船也被看成一种象征，象征着多种文化进入旧金山的交通工具。这座城市的 居民大多从海上乘船来到这里，从最初乘坐小船的原住民，到西班牙人、亚洲人，甚至是美洲人， 都是通过海路而非陆路抵达的。 《起航》作为一种雕塑艺术被安放在了预定位置，为公园环境增添了一抹亮色。

cultures came to the San Francisco. From the sea the city’s residents arrived by ship starting with the indigenous peoples in small boats, the Spanish, the many cultures from Asia and even the Americans came mostly by sea not overland.

Finally the "ship" is a sculptural element that works with the selected site and adds to the park setting.

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Arria 阿里亚 Artist Andy Scott

Associate Graeme Gilmour Commissioned Campsies centre Cumbernauld Ltd. Illumination Lightfolio Poetry Jim Carruth Structural Engineering Evolve Engineers Photographer Steve Lindridge

10-meter-high sculpture made of galvanized steel. Sited beside the M80 motorway at Cumbernauld in central Scotland. The design is based on the original name of the town, in Scottish Gaelic “cumer nan allt”: the coming together of the waters. The two arcs of steel represents local streams which come together in the town, unified by the female figure.

She also reaches out towards the town center to become a significant landmark.

The name “Arria” was suggested by local schoolgirls, and also connects the sculpture to ancient Roman settlers in the area. The sculpture took ten months to create and is made of thousands of small sections of steel welded together, and incorporates a poem welded to the surface, by renowned Scottish poet, Jim Carruth. It was unveiled by HRH Princess Anne in early 2011.

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Arria 阿里亚 Artist Andy Scott

Associate Graeme Gilmour Commissioned Campsies centre Cumbernauld Ltd. Illumination Lightfolio Poetry Jim Carruth Structural Engineering Evolve Engineers Photographer Steve Lindridge

10-meter-high sculpture made of galvanized steel. Sited beside the M80 motorway at Cumbernauld in central Scotland. The design is based on the original name of the town, in Scottish Gaelic “cumer nan allt”: the coming together of the waters. The two arcs of steel represents local streams which come together in the town, unified by the female figure.

She also reaches out towards the town center to become a significant landmark.

The name “Arria” was suggested by local schoolgirls, and also connects the sculpture to ancient Roman settlers in the area. The sculpture took ten months to create and is made of thousands of small sections of steel welded together, and incorporates a poem welded to the surface, by renowned Scottish poet, Jim Carruth. It was unveiled by HRH Princess Anne in early 2011.

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这件 10 米高的钢铁雕塑外层镀锌，坐落于苏格兰中部小镇坎伯诺尔德的 M80 高速公路旁。其设 计理念基于小镇的原名，用苏格兰盖尔语说就是“cumer nan allt”，意为“水流的汇聚”。雕塑上的 两个弧形代表了当地的河流，它们汇集到这座小镇，最终化身为一位女性的形象。 她向小镇中心方向展开了双臂，成为当地一个显著的地标。 《阿里亚》的起名参考了当地女学生的建议，它同时也将雕塑和该地区的古罗马移民者联系到了 一起。雕塑的建造花费了 10 个月，由数千个小钢铁部件焊接而成，底座上还刻着一首由著名的苏格兰 诗人吉姆·卡鲁斯题写的诗。该雕塑于 2011 年初由安妮公主殿下揭幕。

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这件 10 米高的钢铁雕塑外层镀锌，坐落于苏格兰中部小镇坎伯诺尔德的 M80 高速公路旁。其设 计理念基于小镇的原名，用苏格兰盖尔语说就是“cumer nan allt”，意为“水流的汇聚”。雕塑上的 两个弧形代表了当地的河流，它们汇集到这座小镇，最终化身为一位女性的形象。 她向小镇中心方向展开了双臂，成为当地一个显著的地标。 《阿里亚》的起名参考了当地女学生的建议，它同时也将雕塑和该地区的古罗马移民者联系到了 一起。雕塑的建造花费了 10 个月，由数千个小钢铁部件焊接而成，底座上还刻着一首由著名的苏格兰 诗人吉姆·卡鲁斯题写的诗。该雕塑于 2011 年初由安妮公主殿下揭幕。

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Stride 勇士 Artist Andy Scott

material Galvanized welded steel

雕塑《勇士》矗立在苏格兰中部阿洛厄镇和斯特灵镇之间的环形交通枢纽上， 是当地出资打造的六个大型雕塑之一。他双眼直视着前方的奥克尔山和斯特灵城堡， 象征着自然对人类过度开发的反抗。勇士是神话中的巨人，双手和头发由树叶制成， 现已成为当地非常著名的地标性雕塑。

location Scotland Photographer John Lamont

Stride is mounted on a roundabout between the towns of Alloa and Stirling in central Scotland, and is one of a series of six large scale sculptures commissioned in the area. He looks towards the nearby Ochil Hills and Stirling castle, and symbolizes the idea of nature pushing back against man’s over-development of the landscape. He is a kind of mythical giant with his hands and hair made of tree leaves, and has become a very popular local landmark.

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Stride 勇士 Artist Andy Scott

material Galvanized welded steel

雕塑《勇士》矗立在苏格兰中部阿洛厄镇和斯特灵镇之间的环形交通枢纽上， 是当地出资打造的六个大型雕塑之一。他双眼直视着前方的奥克尔山和斯特灵城堡， 象征着自然对人类过度开发的反抗。勇士是神话中的巨人，双手和头发由树叶制成， 现已成为当地非常著名的地标性雕塑。

location Scotland Photographer John Lamont

Stride is mounted on a roundabout between the towns of Alloa and Stirling in central Scotland, and is one of a series of six large scale sculptures commissioned in the area. He looks towards the nearby Ochil Hills and Stirling castle, and symbolizes the idea of nature pushing back against man’s over-development of the landscape. He is a kind of mythical giant with his hands and hair made of tree leaves, and has become a very popular local landmark.

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Response 回应 Artist Angela Conner

Material Painted wood, Stainless steel (versions available in perspex or stainless steel) location Ragley Hall, UK

雕塑外形优雅安宁，竖直的面板可随风起舞。该艺术家的作品几乎都以自然力量为驱动，例如水能、风能、 太阳能等。垂直面不断变换着方向，光影交织，变幻万千。应杰伍德基金会的要求，雕塑《回应》矗立在拉格 利宅邸中一个雅致庭院的中心位置。拉格利宅邸属于哈特福德侯爵夫妇，这里每年都有很多来访者。《回应》 由木材所制，未来还将制成金属版本的。

DIMENSIONS Approx 3 meters high edition 6

Maquettes

Photographer Claire Burns, Angela Conner

This is a peaceful and elegant shape. The vertical pieces are moved by the wind. The artist's work is always driven by natural forces, water, wind, sun, etc. The shifting vertical elements create shadows and light that are constantly changing.

The piece was asked for by The Jerwood Foundation to stand in the center of an elegant courtyard at Ragley Hall which is used by both visitors and the owners, The Marquess and Marchioness of Hertford. This version is in wood.

A metal version is envisaged to be made in the future.

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Response 回应 Artist Angela Conner

Material Painted wood, Stainless steel (versions available in perspex or stainless steel) location Ragley Hall, UK

雕塑外形优雅安宁，竖直的面板可随风起舞。该艺术家的作品几乎都以自然力量为驱动，例如水能、风能、 太阳能等。垂直面不断变换着方向，光影交织，变幻万千。应杰伍德基金会的要求，雕塑《回应》矗立在拉格 利宅邸中一个雅致庭院的中心位置。拉格利宅邸属于哈特福德侯爵夫妇，这里每年都有很多来访者。《回应》 由木材所制，未来还将制成金属版本的。

DIMENSIONS Approx 3 meters high edition 6

Maquettes

Photographer Claire Burns, Angela Conner

This is a peaceful and elegant shape. The vertical pieces are moved by the wind. The artist's work is always driven by natural forces, water, wind, sun, etc. The shifting vertical elements create shadows and light that are constantly changing.

The piece was asked for by The Jerwood Foundation to stand in the center of an elegant courtyard at Ragley Hall which is used by both visitors and the owners, The Marquess and Marchioness of Hertford. This version is in wood.

A metal version is envisaged to be made in the future.

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Tabula Tabula Artist Steinunn Thórarinsdóttir

Material Stainless steel, Aluminum Location Liechtenstein

主体雕塑的造型让我们联想到被揉成一团的 纸。其镜面不锈钢的反光材质，将其光影特点展露 无遗。周围的景致、侧旁的人物雕像以及观赏者都 映在雕塑表面上，呈现出趣味感十足的效果。雕塑 的侧旁站立着一个铝制的人物雕像，其尺寸与真人 相仿。整个雕塑的设计理念在于强调知识的重要性 以及蕴藏其中的神奇魔力，向我们展示出万事万物 揭开谜底前那静谧的一瞬间。雕塑周围山峦的影像 也会映射其中，山顶的积雪、山上的泥土、山体形 态与纹理都隐约可见。 主体雕塑高 2.3 米，旁边的人物雕像大小与真 人相仿。

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The work shows a form which reminds of a piece of paper that has been crumpled together into a ball. It is made of a reflective mirror stainless steel sheet so the play of light and shadow is a very strong feature. The form also reflects the viewer and figure and surrounding area in a special playful way. Next to the form stands a life size figure in aluminum. The idea emphasizes the importance of knowledge and the magic that is often hidden. It shows a static moment before something is opened or unveiled. The form also hints at the shape and texture of the surrounding mountains in the area with their pattern of snow and earth.

The figure is life size and the form is 230 cm high.

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171

Tabula Tabula Artist Steinunn Thórarinsdóttir

Material Stainless steel, Aluminum Location Liechtenstein

主体雕塑的造型让我们联想到被揉成一团的 纸。其镜面不锈钢的反光材质，将其光影特点展露 无遗。周围的景致、侧旁的人物雕像以及观赏者都 映在雕塑表面上，呈现出趣味感十足的效果。雕塑 的侧旁站立着一个铝制的人物雕像，其尺寸与真人 相仿。整个雕塑的设计理念在于强调知识的重要性 以及蕴藏其中的神奇魔力，向我们展示出万事万物 揭开谜底前那静谧的一瞬间。雕塑周围山峦的影像 也会映射其中，山顶的积雪、山上的泥土、山体形 态与纹理都隐约可见。 主体雕塑高 2.3 米，旁边的人物雕像大小与真 人相仿。

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The work shows a form which reminds of a piece of paper that has been crumpled together into a ball. It is made of a reflective mirror stainless steel sheet so the play of light and shadow is a very strong feature. The form also reflects the viewer and figure and surrounding area in a special playful way. Next to the form stands a life size figure in aluminum. The idea emphasizes the importance of knowledge and the magic that is often hidden. It shows a static moment before something is opened or unveiled. The form also hints at the shape and texture of the surrounding mountains in the area with their pattern of snow and earth.

The figure is life size and the form is 230 cm high.

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Crystal was designed for a client in the UK in 2011.

Crystal

The clients brief consisted of a Life size seated fairy/sprite, looking into a crystal ball in an endeavour to see the future.

水晶雕塑

The client commissioned the sculpture for her husband who was suffering from

Artist Derek Kinzett

an illness that effected his muscles and bones making it difficult for him to walk.

The medical profession was struggling to provide a diagnosis for her husband’s

Material Galvanised wire mesh, Zinc, Acrylic Aluminium spray

illness, so nobody knew what the future would hold.

Location UK

her husband could see it when he sat and looked out across their garden.

The sculpture was installed in the client’s rear garden, visible from the house so

The sculpture was designed to give her husband hope for the future and to date his illness has not progressed in a negative way. 水晶雕塑是在 2011 年为一位英国客户设计的。 客户的主要设计思想是：一位与人类一般大小的仙子或是精灵，正坐在那里盯着一个 水晶球，努力地想看到未来。 该雕塑是委托人为她的丈夫建造的，他正饱受疾病的折磨，疾病影响了他的肌肉和骨 骼的功能，使他行走困难。 医生一直努力想找出她丈夫的救治方法，所以未来充满未知，无人知晓。 雕塑被安装在客户的后花园里，这样每当她丈夫在屋里向外面的花园望去时，就可以 看到它了。 客户希望通过雕塑让丈夫对未来充满希望，而且希望他的病情随着时间的流逝不会继 续恶化。

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181

Crystal was designed for a client in the UK in 2011.

Crystal

The clients brief consisted of a Life size seated fairy/sprite, looking into a crystal ball in an endeavour to see the future.

水晶雕塑

The client commissioned the sculpture for her husband who was suffering from

Artist Derek Kinzett

an illness that effected his muscles and bones making it difficult for him to walk.

The medical profession was struggling to provide a diagnosis for her husband’s

Material Galvanised wire mesh, Zinc, Acrylic Aluminium spray

illness, so nobody knew what the future would hold.

Location UK

her husband could see it when he sat and looked out across their garden.

The sculpture was installed in the client’s rear garden, visible from the house so

The sculpture was designed to give her husband hope for the future and to date his illness has not progressed in a negative way. 水晶雕塑是在 2011 年为一位英国客户设计的。 客户的主要设计思想是：一位与人类一般大小的仙子或是精灵，正坐在那里盯着一个 水晶球，努力地想看到未来。 该雕塑是委托人为她的丈夫建造的，他正饱受疾病的折磨，疾病影响了他的肌肉和骨 骼的功能，使他行走困难。 医生一直努力想找出她丈夫的救治方法，所以未来充满未知，无人知晓。 雕塑被安装在客户的后花园里，这样每当她丈夫在屋里向外面的花园望去时，就可以 看到它了。 客户希望通过雕塑让丈夫对未来充满希望，而且希望他的病情随着时间的流逝不会继 续恶化。

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One of Us on a Tricycle 一个骑三轮脚踏车的同胞 Artist Steven Gregory

Material Bronze

Gregory's work is often marked by his play on acerbic wit and one's childish sensibilities and, very

DimensionS 5m x 2.3m x 3.5m

can still be understood by way of its body language and truncated physical form. The ability to create

often, the nature of postmodernity. Despite the subject's lack of facial features, its earnest expression credible monumental sculpture that is suffused with comedy is no mean feat and is seldom realized on this scale.

As Damien Hirst has said of Gregory, “in these visually bombarding and morally conflicting times, seemingly effortlessly he creates art that prods, and pokes, ignores and strokes and slaps us into submission.” Unnervingly humorous and wonderfully kitsch, "One of us on Tricycle" does just this. (©Courtesy Cass Sculpture Foundation)

格雷戈里的作品往往充满 了尖酸的智慧与孩童般的感情， 并以运用后现代主义手法见长。 尽管主人公缺少脸部特征，但 通过肢体语言及截面身体构造， 我们依然能够感受到他认真的 神情。创造充斥着喜剧效果的 伟大雕塑作品十分不易，尤其 是这种尺寸的更是难上加难。 格雷戈里正如达米恩·赫 斯特所说的那样，“在爆炸性 视觉冲击和道德冲突的时代， 他似乎正毫不费力地进行着艺 术创作，其作品大胆、尖锐， 对大众产生强烈的冲击，刺激 着人们，直到投降”。其作品 幽默诙谐，却又叫人紧张不安， 粗劣的外形下隐藏着精妙。《一 个骑三轮脚踏车的同胞》正是 如此。(© 卡斯雕塑基金会 )

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One of Us on a Tricycle 一个骑三轮脚踏车的同胞 Artist Steven Gregory

Material Bronze

Gregory's work is often marked by his play on acerbic wit and one's childish sensibilities and, very

DimensionS 5m x 2.3m x 3.5m

can still be understood by way of its body language and truncated physical form. The ability to create

often, the nature of postmodernity. Despite the subject's lack of facial features, its earnest expression credible monumental sculpture that is suffused with comedy is no mean feat and is seldom realized on this scale.

As Damien Hirst has said of Gregory, “in these visually bombarding and morally conflicting times, seemingly effortlessly he creates art that prods, and pokes, ignores and strokes and slaps us into submission.” Unnervingly humorous and wonderfully kitsch, "One of us on Tricycle" does just this. (©Courtesy Cass Sculpture Foundation)

格雷戈里的作品往往充满 了尖酸的智慧与孩童般的感情， 并以运用后现代主义手法见长。 尽管主人公缺少脸部特征，但 通过肢体语言及截面身体构造， 我们依然能够感受到他认真的 神情。创造充斥着喜剧效果的 伟大雕塑作品十分不易，尤其 是这种尺寸的更是难上加难。 格雷戈里正如达米恩·赫 斯特所说的那样，“在爆炸性 视觉冲击和道德冲突的时代， 他似乎正毫不费力地进行着艺 术创作，其作品大胆、尖锐， 对大众产生强烈的冲击，刺激 着人们，直到投降”。其作品 幽默诙谐，却又叫人紧张不安， 粗劣的外形下隐藏着精妙。《一 个骑三轮脚踏车的同胞》正是 如此。(© 卡斯雕塑基金会 )

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公共景观雕塑

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公共景观雕塑

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Artist Curator Guppy & Associates

Float 浮伞 Artist Susan Milne and Greg Stonehouse

Client UrbanGrowth Location The Ponds, NSW, Australia

随着人们对气候变化意识的增强，水已经由一种可以随意支取的资 源变成了一种宝贵的资源。在这片区域，小溪蜿蜒地延伸在各池塘之间， 它们滋养着这里的生命，给这片土地带来生机。干旱的时候，这些池塘 会将剩下的水蓄起来并耐心地等待雨水的降临。与贪婪地追求虚拟速度 和百万像素相反，这件作品关注的是古代季节变换的规律。 这些倒着的伞像是天空里绽放的花朵，它们盘旋在空中，功能已由 遮阳挡雨转变为吸光蓄水。 夜晚，这些伞布和伞架被 LED 灯光照射得格外通透，如此设计的目 的是让《浮伞》根据季节和空气的变化、色彩选择、时间安排的要求作 出相应的变换。下雨天，《浮伞》会以轻舞回应，庆祝水流的回归和池 塘水位的上涨。

With the awareness of climate change, the element of water has been transformed from an anticipated resource to a precious spring. In this area creeks meandered between ponds, invigorating the land and nourishing life. In dry times, the ponds stored the remaining water and waited patiently for rain. This artwork focuses upon the archaic rhythms of season in contrast to an insatiable thirst for virtual speed and megapixels.

The umbrellas open upside down like flowers to the sky. As a colony of sculptures in the roundabout, their inverted form transforms their function from sunshade and rain shelter to light receptor and water collector.

At night the umbrella skins and skeletal frames are made transparent by internal LED lights, which are programmed to run a number of stories depending upon season, atmosphere, color choice and timing. When it rains, the umbrellas respond with a light dance in celebration of the return of water flow and the swelling of the ponds.

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Artist Curator Guppy & Associates

Float 浮伞 Artist Susan Milne and Greg Stonehouse

Client UrbanGrowth Location The Ponds, NSW, Australia

随着人们对气候变化意识的增强，水已经由一种可以随意支取的资 源变成了一种宝贵的资源。在这片区域，小溪蜿蜒地延伸在各池塘之间， 它们滋养着这里的生命，给这片土地带来生机。干旱的时候，这些池塘 会将剩下的水蓄起来并耐心地等待雨水的降临。与贪婪地追求虚拟速度 和百万像素相反，这件作品关注的是古代季节变换的规律。 这些倒着的伞像是天空里绽放的花朵，它们盘旋在空中，功能已由 遮阳挡雨转变为吸光蓄水。 夜晚，这些伞布和伞架被 LED 灯光照射得格外通透，如此设计的目 的是让《浮伞》根据季节和空气的变化、色彩选择、时间安排的要求作 出相应的变换。下雨天，《浮伞》会以轻舞回应，庆祝水流的回归和池 塘水位的上涨。

With the awareness of climate change, the element of water has been transformed from an anticipated resource to a precious spring. In this area creeks meandered between ponds, invigorating the land and nourishing life. In dry times, the ponds stored the remaining water and waited patiently for rain. This artwork focuses upon the archaic rhythms of season in contrast to an insatiable thirst for virtual speed and megapixels.

The umbrellas open upside down like flowers to the sky. As a colony of sculptures in the roundabout, their inverted form transforms their function from sunshade and rain shelter to light receptor and water collector.

At night the umbrella skins and skeletal frames are made transparent by internal LED lights, which are programmed to run a number of stories depending upon season, atmosphere, color choice and timing. When it rains, the umbrellas respond with a light dance in celebration of the return of water flow and the swelling of the ponds.

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The construction of sculptural elements as one cohesive artwork

The construct

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The construction of sculptural elements as one cohesive artwork

The construct

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Tread 胎纹

CLIENT Lindsay Bennelong Developments LOCATION Rushcutters Bay, Sydney, Australia

Artist Susan Milne and Greg Stonehouse

This artwork combines tread fragments in reference to the old tyre factory with plant prints from the prior creekline. Both leave imprints, one as tyre treads and the other as fossil prints embedded in strata. At night the sculptural elements become light boxes with the internal volume stretching the patterned skin.

该艺术作品的图案类似旧轮 胎工厂的胎面花纹和原先河道的 植物残骸，一个是胎面纹理，另 一个则是嵌在岩层中的化石遗迹。 每逢夜晚降临，雕塑摇身一变成 为一个个灯箱，内部空间的点点 亮光让花纹表面饱满生动起来。

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Tread 胎纹

CLIENT Lindsay Bennelong Developments LOCATION Rushcutters Bay, Sydney, Australia

Artist Susan Milne and Greg Stonehouse

This artwork combines tread fragments in reference to the old tyre factory with plant prints from the prior creekline. Both leave imprints, one as tyre treads and the other as fossil prints embedded in strata. At night the sculptural elements become light boxes with the internal volume stretching the patterned skin.

该艺术作品的图案类似旧轮 胎工厂的胎面花纹和原先河道的 植物残骸，一个是胎面纹理，另 一个则是嵌在岩层中的化石遗迹。 每逢夜晚降临，雕塑摇身一变成 为一个个灯箱，内部空间的点点 亮光让花纹表面饱满生动起来。

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Ascendus 升腾 Artist Ed Carpenter

Engineering KPFF, Portland, OR

Glass Fabrication Haefker Studio, Glass Strategies, Portland, OR

Working drawings and renderings Oanh Tran, Curtis Pittman

Lighting Howard Brothers Electric of Charlotte, NC

Project administration Arleen Daugherty

Client Arts & Science Council of Charlotte, NC

Metal Fabrication SteelFab, Charlotte, NC

DimensionS 18.3m × 4.88m × 4.88m

Location Charlotte-Douglas International Airport, Charlotte, NC, USA

Material Galvanized mild steel, Stainless steel, Laminated glass

Custom fittings and hardware West Coast Wire Rope

Photographer Ed Carpenter, Mitchell Kearney

Ascendus suggests the excitement of flight and evocations of wings, feathers, and, especially, ascent. Rising to a height of 18.3 meters against a background of beautiful native trees and shrubs, it is a prominent icon at the turnoff to Charlotte/ Douglas International Airport and visible from several adjacent roadways. The high tech forms and materials of the sculpture are illuminated at night by fifty-four LED flood lights mounted throughout the structure. Implementation of “Ascendus” was a collaboration between Ed Carpenter Studio, Charlotte/Douglas International Airport, Arts and Science Council of Charlotte, SteelFab of Charlotte, and the consultants, suppliers, and sub contractors listed above.

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Ascendus 升腾 Artist Ed Carpenter

Engineering KPFF, Portland, OR

Glass Fabrication Haefker Studio, Glass Strategies, Portland, OR

Working drawings and renderings Oanh Tran, Curtis Pittman

Lighting Howard Brothers Electric of Charlotte, NC

Project administration Arleen Daugherty

Client Arts & Science Council of Charlotte, NC

Metal Fabrication SteelFab, Charlotte, NC

DimensionS 18.3m × 4.88m × 4.88m

Location Charlotte-Douglas International Airport, Charlotte, NC, USA

Material Galvanized mild steel, Stainless steel, Laminated glass

Custom fittings and hardware West Coast Wire Rope

Photographer Ed Carpenter, Mitchell Kearney

Ascendus suggests the excitement of flight and evocations of wings, feathers, and, especially, ascent. Rising to a height of 18.3 meters against a background of beautiful native trees and shrubs, it is a prominent icon at the turnoff to Charlotte/ Douglas International Airport and visible from several adjacent roadways. The high tech forms and materials of the sculpture are illuminated at night by fifty-four LED flood lights mounted throughout the structure. Implementation of “Ascendus” was a collaboration between Ed Carpenter Studio, Charlotte/Douglas International Airport, Arts and Science Council of Charlotte, SteelFab of Charlotte, and the consultants, suppliers, and sub contractors listed above.

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《升腾》表达了飞翔的兴奋感，是翅膀、羽毛，尤其是上升 等意象的再现。雕塑高出地面 18.3 米，其身后生长着一些美丽的 本地树种和灌木。雕塑是当地的一个显著标志，位于通往夏洛特 / 道格拉斯国际机场的岔路口上，从周围的几条道路上都可看见其身 影。雕塑的外形使用了高科技材料——周身安装了 54 盏 LED 泛光 灯，为雕塑提供照明。由下列单位和个人共同合作完成了雕塑的安 装：Ed 木工工作室，夏洛特 / 道格拉斯国际机场，夏洛特市艺术 与科学委员会，夏洛特金属加工厂、顾问、供应商、分包商。

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《升腾》表达了飞翔的兴奋感，是翅膀、羽毛，尤其是上升 等意象的再现。雕塑高出地面 18.3 米，其身后生长着一些美丽的 本地树种和灌木。雕塑是当地的一个显著标志，位于通往夏洛特 / 道格拉斯国际机场的岔路口上，从周围的几条道路上都可看见其身 影。雕塑的外形使用了高科技材料——周身安装了 54 盏 LED 泛光 灯，为雕塑提供照明。由下列单位和个人共同合作完成了雕塑的安 装：Ed 木工工作室，夏洛特 / 道格拉斯国际机场，夏洛特市艺术 与科学委员会，夏洛特金属加工厂、顾问、供应商、分包商。

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DROP is designed to articulate water in its simplest form of manifestation – a water drop. The sculpture serves as an iconic, signature marker announcing the entryway to the Prewett Family Park, in Antioch, California. At night, the semi-transparent sculpture is infused with brilliant blue LED lighting. Drop is situated in raised rings of landscaped earth; the terrestrial rippling emulating the motion of waterside and ripple, integrating the work of art within the context of the park and the natural landscape of the Sacramento River Delta.

Design Company Barbara Grygutis Sculpture LLC ©Barbara Grygutis, 2010

Drop 水滴 Artist Barbara Grygutis

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Landscape design Barbara Grygutis, Noll & Tam Architects & Planners and consultants Royston Hanamoto Alley & Abey Landscape Architects & Planners Client City of Antioch, California. Commissioned by Arts & Cultural Foundation of Antioch, California.

Fabricator Industrial Stainless International, Chaparral, New Mexico

Material Fabricated Aluminum, Light Dimensions 10m H x 3.66m W x 2.44m D Location Antioch, California, USA Photographer Spike Mafford, Barbara Grygutis, Barbara Grygutis Sculpture LLC Landscape design rendering by RHAA Landscape Architects, San Francisco, California

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DROP is designed to articulate water in its simplest form of manifestation – a water drop. The sculpture serves as an iconic, signature marker announcing the entryway to the Prewett Family Park, in Antioch, California. At night, the semi-transparent sculpture is infused with brilliant blue LED lighting. Drop is situated in raised rings of landscaped earth; the terrestrial rippling emulating the motion of waterside and ripple, integrating the work of art within the context of the park and the natural landscape of the Sacramento River Delta.

Design Company Barbara Grygutis Sculpture LLC ©Barbara Grygutis, 2010

Drop 水滴 Artist Barbara Grygutis

200 | Public Landscape Sculpture |

Landscape design Barbara Grygutis, Noll & Tam Architects & Planners and consultants Royston Hanamoto Alley & Abey Landscape Architects & Planners Client City of Antioch, California. Commissioned by Arts & Cultural Foundation of Antioch, California.

Fabricator Industrial Stainless International, Chaparral, New Mexico

Material Fabricated Aluminum, Light Dimensions 10m H x 3.66m W x 2.44m D Location Antioch, California, USA Photographer Spike Mafford, Barbara Grygutis, Barbara Grygutis Sculpture LLC Landscape design rendering by RHAA Landscape Architects, San Francisco, California

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《水滴》雕塑以其最简单的形态明确地表达了水滴的含义。《水滴》位于安提阿（加州）普利维特家庭公园的入口处， 成为了公园的显著标识。夜晚，这个半透明的雕塑注满了明亮的蓝色 LED 灯光。《水滴》位于地面景观凸起的圆形切面上， 地面的起伏提升了《水滴》雕塑的水漪和波纹的动感，使这个艺术品融入到整个公园和萨克拉门托河三角洲的自然风光中。

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《水滴》雕塑以其最简单的形态明确地表达了水滴的含义。《水滴》位于安提阿（加州）普利维特家庭公园的入口处， 成为了公园的显著标识。夜晚，这个半透明的雕塑注满了明亮的蓝色 LED 灯光。《水滴》位于地面景观凸起的圆形切面上， 地面的起伏提升了《水滴》雕塑的水漪和波纹的动感，使这个艺术品融入到整个公园和萨克拉门托河三角洲的自然风光中。

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The creation and transformation of a flower inspired this sculpture for the R.A. Bloch Cancer Survivors Park in Kansas City, MO. From the stem, to the bud, to the brilliance of a bloom, the flower is a metaphor for hope and transformation. To this end, "Transformed Flower" seeks to be a positive inspiration for transformation in the hearts of all who experience the park. The color and form of the sculpture transform from the bottom to the top, from translucent white to brilliant red and from a circle to an 8-pointed star.

Like flowers and plants twisting towards the sun, the sculpture itself makes a 45 degree rotation from bottom to top, twisting and opening towards its own source of hope and

该雕塑位于美国密苏里州堪萨斯城的 R.A. 布洛赫癌症康复 患者公园，灵感来源于花的生成与蜕变。从茎干、蓓蕾，到最 后华丽的绽放，花喻示着希望和转变。设计师希望《蜕变·花》 可以鼓舞公园里的人，赋予他们积极向上的能量。雕塑的颜色 和结构自下而上呈现出一种渐变的状态——从剔透的白到烈焰 的红，从圆形到八角星形。正如花草总是向着太阳生长《蜕变·花》 成 45 度角旋转向上，绽开笑脸，沐浴着希望与勇气的源泉，光 影跃动，生生不息。雕塑由 720 个独立小块组合而成，通过计 算机数字控制完成了碾压、钻孔、编号等一系列程序，并通过 手工组装成一个整体。

inspiration, and allowing a play of light and shadow on and within the piece. Made up of 720 parts that were individually milled, countersunk, numbered, and finished via computer numberically controlled milling, the sculpture was hand assembled on-site as a large kit of parts.

material UV-resistant high-density polyethylene (HDPE), Concrete dimensionS 2.9m dia. x 4.88m high Location Kansas City, Missouri, USA

Transformed Flower 蜕变·花 Artist Phillip K. Smith, III

208 | Public Landscape Sculpture |

| Public Landscape Sculpture | 209

The creation and transformation of a flower inspired this sculpture for the R.A. Bloch Cancer Survivors Park in Kansas City, MO. From the stem, to the bud, to the brilliance of a bloom, the flower is a metaphor for hope and transformation. To this end, "Transformed Flower" seeks to be a positive inspiration for transformation in the hearts of all who experience the park. The color and form of the sculpture transform from the bottom to the top, from translucent white to brilliant red and from a circle to an 8-pointed star.

Like flowers and plants twisting towards the sun, the sculpture itself makes a 45 degree rotation from bottom to top, twisting and opening towards its own source of hope and

该雕塑位于美国密苏里州堪萨斯城的 R.A. 布洛赫癌症康复 患者公园，灵感来源于花的生成与蜕变。从茎干、蓓蕾，到最 后华丽的绽放，花喻示着希望和转变。设计师希望《蜕变·花》 可以鼓舞公园里的人，赋予他们积极向上的能量。雕塑的颜色 和结构自下而上呈现出一种渐变的状态——从剔透的白到烈焰 的红，从圆形到八角星形。正如花草总是向着太阳生长《蜕变·花》 成 45 度角旋转向上，绽开笑脸，沐浴着希望与勇气的源泉，光 影跃动，生生不息。雕塑由 720 个独立小块组合而成，通过计 算机数字控制完成了碾压、钻孔、编号等一系列程序，并通过 手工组装成一个整体。

inspiration, and allowing a play of light and shadow on and within the piece. Made up of 720 parts that were individually milled, countersunk, numbered, and finished via computer numberically controlled milling, the sculpture was hand assembled on-site as a large kit of parts.

material UV-resistant high-density polyethylene (HDPE), Concrete dimensionS 2.9m dia. x 4.88m high Location Kansas City, Missouri, USA

Transformed Flower 蜕变·花 Artist Phillip K. Smith, III

208 | Public Landscape Sculpture |

| Public Landscape Sculpture | 209

Kelpies Kelpies Artist Andy Scott Photographer Graham Wylie, Andy Buchanan, Andy Scott

The Kelpies are 1/10th scale maquettes for a major public art project in Scotland, due for completion late 2013. These versions stand approximately 3 metres tall, and the full scale artwork will be 30 meters high.

These maquettes are made of galvanized welded steel, and represent two Clydesdale horses. The full scale artworks will be installed at the Forth & Clyde Canal in central Scotland and will incorporate internal architectural space and a visitors center.

这两匹马只是雕塑模型，真正的雕塑的规模是该模型的 10 倍，是苏格兰的一个大 型公共艺术项目，于 2013 年末竣工。这两个模型高约 3 米，建成后的雕塑有 30 米高。 雕塑模型由镀锌铁制成，代表了两匹强健的挽马（源出苏格兰 Clyde 地方所产的 名马）。雕塑完工后将会安装在苏格兰中部的福斯 & 克莱德运河里，届时还会建配套 的内部设施以及一个游客中心。

210 | Public Landscape Sculpture |

| Public Landscape Sculpture | 211

Kelpies Kelpies Artist Andy Scott Photographer Graham Wylie, Andy Buchanan, Andy Scott

The Kelpies are 1/10th scale maquettes for a major public art project in Scotland, due for completion late 2013. These versions stand approximately 3 metres tall, and the full scale artwork will be 30 meters high.

These maquettes are made of galvanized welded steel, and represent two Clydesdale horses. The full scale artworks will be installed at the Forth & Clyde Canal in central Scotland and will incorporate internal architectural space and a visitors center.

这两匹马只是雕塑模型，真正的雕塑的规模是该模型的 10 倍，是苏格兰的一个大 型公共艺术项目，于 2013 年末竣工。这两个模型高约 3 米，建成后的雕塑有 30 米高。 雕塑模型由镀锌铁制成，代表了两匹强健的挽马（源出苏格兰 Clyde 地方所产的 名马）。雕塑完工后将会安装在苏格兰中部的福斯 & 克莱德运河里，届时还会建配套 的内部设施以及一个游客中心。

210 | Public Landscape Sculpture |

| Public Landscape Sculpture | 211

21845

003 B

19117

Lotus Sculpture

Six historic Lotus Formula 1 cars were incorporated in a spectacular sculpture by artist Gerry Judah that was the centrepiece of Goodwood Festival of Speed 2012, Britain’s largest car culture event.

SECTION 9

The 28-meter-tall sculpture was the 16th created by Gerry Judah for the Festival of Speed, an

SECTION 8

annual event held in the grounds of Goodwood House in West Sussex, the family seat of the Earl

莲花雕塑

of March.

Artist Gerry Judah

The sculpture was designed to capture the essence of Lotus from its beginnings to the present.

SECTION 10

LOTUS 79

A 3-D infinity loop was designed, resembling the grandest, most ambitious Scalextric track ever photographer David Barbour

LOTUS 99T

imagined.

LOTUS 32B

The track itself is a triangular section of 6mm flat sheet metal with a “continuously variable curve

SECTION 4

SITE LAYOUT PLAN

developable” surface, which was painted white. These were engineered by Capita Symonds and fabricated by Littlehampton Welding and transported 35 kilometers to Goodwood in 11 sections by individual articulated lorries and a police escort.

21845

TEMPORARY CONNECTIONS TO BE REMOVED AFTER JOINT HAS BEEN SITE WELDED.

003 B

curves represent Lotus’s natural environment: cars that are built for cornering. The 150-meter-long

CAR LOCATION :-

LOTUS 72E

SITE WELDED FULL PEN' BUTT WELD ALL ROUND - TYPICAL

SECTION 9

19117

SECTION 3

Gerry Judah worked closely with Lord March and Lotus to determine the design. The winding

LOTUS F1 (BLACK & RED) LOTUS 32B (GREEN) LOTUS 49B (RED) LOTUS 72E (BLACK & GOLD) LOTUS 79 (BLACK & GOLD) LOTUS 99T (YELLOW)

SECTION 7

track is shaped into the shape of a half-hitch-or trefoil-knot.

SECTION 5 SECTION 8

ERECTION SEQUENCE :-

“What you see in the structure is the track, but inside it is 98% empty space,” explains Gerry

1 - BOLT SECTION 7 TO HD BOLTS AND PROP 2 - BOLT SECTION 8 TO SECTION 7 AND PROP 3 - BOLT SECTION 4 TO HD BOLTS AND PROP 4 - BOLT SECTION 5 TO HD BOLTS AND PROP 5 - BOLT SECTION 1 TO HD BOLTS AND PROP 6 - BOLT SECTION 11 TO HD BOLTS AND PROP 7 - BOLT SECTION 6 TO SECTIONS 5 & 7 8 - JOIN SECTIONS 2 & 3 TOGETHER ON THE GROUND 9 - LIFT AND FIT SECTIONS 2 & 3 10 - JOIN SECTIONS 9 & 10 TOGETHER ON THE GROUND 11 - LIFT AND FIT SECTIONS 9 & 10

SECTION 11

Judah. “In automobile terms, this would be a monocoque body, a tribute to the legendary designer

- SECTION 1 - SECTION 3 - SECTION 6 - SECTION 5 - SECTION 8 - SECTION 10

SECTION 2

SECTION 10

LOTUS F1

and Lotus founder Colin Chapman’s introduction of monocoque chassis construction to automobile LOTUS 79

racing.”

LOTUS 99T

“The monocoque structure, which is made of steel plates and joined together to create the loop, LOTUS 32B

is meant to highlight the engineering DNA of Lotus,” confirms Gerry Judah. “It’s a lightweight

LOTUS 49B

SECTION 4

SECTION 1

engineering construction and I think its form shows the Lotus psychology and culture.”

SECTION 6

B

A 003

A

PLAN

Tekla Structures

216 | Public Landscape Sculpture |

ISSUED FOR APPROVAL

REV. A

DESCRIPTION

DATE 02.05.12

CONSTRUCTION ISSUE

DATE: SECTION 3

REV.

DATE

DESCRIPTION

APPROVALS ENGINEER CONTRACTOR

TEMPORARY CONNECTIONS TO BE REMOVED AFTER JOINT HAS BEEN SITE WELDED.

ARCHITECT

OTHER

RELEASED TO SHOP FOR FABRICATION

Approved By:

Approved By:

Approved By:

Approved By:

Released By:

DATE:

DATE:

DATE:

DATE:

DATE:

NOTES:

SITE LOTUS LAYOUT PLAN CENTRAL FEATURE

PROJECT

LOCATION

GOODWOOD

TITLE

PLAN

CONTRACTOR

GERRY JUDAH

DRAWN

SH

PAINT

S.B. & PRIME

SCALE :

1:50

1:500

| Public Landscape Sculpture | 217

STEEL GRADE

UNLESS NOTED

CONTRACT NO:

5530

DRAWING NO:

002

REVISION

A

21845

003 B

19117

Lotus Sculpture

Six historic Lotus Formula 1 cars were incorporated in a spectacular sculpture by artist Gerry Judah that was the centrepiece of Goodwood Festival of Speed 2012, Britain’s largest car culture event.

SECTION 9

The 28-meter-tall sculpture was the 16th created by Gerry Judah for the Festival of Speed, an

SECTION 8

annual event held in the grounds of Goodwood House in West Sussex, the family seat of the Earl

莲花雕塑

of March.

Artist Gerry Judah

The sculpture was designed to capture the essence of Lotus from its beginnings to the present.

SECTION 10

LOTUS 79

A 3-D infinity loop was designed, resembling the grandest, most ambitious Scalextric track ever photographer David Barbour

LOTUS 99T

imagined.

LOTUS 32B

The track itself is a triangular section of 6mm flat sheet metal with a “continuously variable curve

SECTION 4

SITE LAYOUT PLAN

developable” surface, which was painted white. These were engineered by Capita Symonds and fabricated by Littlehampton Welding and transported 35 kilometers to Goodwood in 11 sections by individual articulated lorries and a police escort.

21845

TEMPORARY CONNECTIONS TO BE REMOVED AFTER JOINT HAS BEEN SITE WELDED.

003 B

curves represent Lotus’s natural environment: cars that are built for cornering. The 150-meter-long

CAR LOCATION :-

LOTUS 72E

SITE WELDED FULL PEN' BUTT WELD ALL ROUND - TYPICAL

SECTION 9

19117

SECTION 3

Gerry Judah worked closely with Lord March and Lotus to determine the design. The winding

LOTUS F1 (BLACK & RED) LOTUS 32B (GREEN) LOTUS 49B (RED) LOTUS 72E (BLACK & GOLD) LOTUS 79 (BLACK & GOLD) LOTUS 99T (YELLOW)

SECTION 7

track is shaped into the shape of a half-hitch-or trefoil-knot.

SECTION 5 SECTION 8

ERECTION SEQUENCE :-

“What you see in the structure is the track, but inside it is 98% empty space,” explains Gerry

1 - BOLT SECTION 7 TO HD BOLTS AND PROP 2 - BOLT SECTION 8 TO SECTION 7 AND PROP 3 - BOLT SECTION 4 TO HD BOLTS AND PROP 4 - BOLT SECTION 5 TO HD BOLTS AND PROP 5 - BOLT SECTION 1 TO HD BOLTS AND PROP 6 - BOLT SECTION 11 TO HD BOLTS AND PROP 7 - BOLT SECTION 6 TO SECTIONS 5 & 7 8 - JOIN SECTIONS 2 & 3 TOGETHER ON THE GROUND 9 - LIFT AND FIT SECTIONS 2 & 3 10 - JOIN SECTIONS 9 & 10 TOGETHER ON THE GROUND 11 - LIFT AND FIT SECTIONS 9 & 10

SECTION 11

Judah. “In automobile terms, this would be a monocoque body, a tribute to the legendary designer

- SECTION 1 - SECTION 3 - SECTION 6 - SECTION 5 - SECTION 8 - SECTION 10

SECTION 2

SECTION 10

LOTUS F1

and Lotus founder Colin Chapman’s introduction of monocoque chassis construction to automobile LOTUS 79

racing.”

LOTUS 99T

“The monocoque structure, which is made of steel plates and joined together to create the loop, LOTUS 32B

is meant to highlight the engineering DNA of Lotus,” confirms Gerry Judah. “It’s a lightweight

LOTUS 49B

SECTION 4

SECTION 1

engineering construction and I think its form shows the Lotus psychology and culture.”

SECTION 6

B

A 003

A

PLAN

Tekla Structures

216 | Public Landscape Sculpture |

ISSUED FOR APPROVAL

REV. A

DESCRIPTION

DATE 02.05.12

CONSTRUCTION ISSUE

DATE: SECTION 3

REV.

DATE

DESCRIPTION

APPROVALS ENGINEER CONTRACTOR

TEMPORARY CONNECTIONS TO BE REMOVED AFTER JOINT HAS BEEN SITE WELDED.

ARCHITECT

OTHER

RELEASED TO SHOP FOR FABRICATION

Approved By:

Approved By:

Approved By:

Approved By:

Released By:

DATE:

DATE:

DATE:

DATE:

DATE:

NOTES:

SITE LOTUS LAYOUT PLAN CENTRAL FEATURE

PROJECT

LOCATION

GOODWOOD

TITLE

PLAN

CONTRACTOR

GERRY JUDAH

DRAWN

SH

PAINT

S.B. & PRIME

SCALE :

1:50

1:500

| Public Landscape Sculpture | 217

STEEL GRADE

UNLESS NOTED

CONTRACT NO:

5530

DRAWING NO:

002

REVISION

A

SECTION 3

SECTION 2 SECTION 10

SECTION 3 SECTION 9

SECTION 10

SECTION 2

SECTION 9 SECTION 6

LOTUS 32B

SECTION 6

LOTUS 32B 26934

SECTION 5

LOTUS 49B SECTION 8

LOTUS 79

LOTUS 79

LOTUS 99T

LOTUS F1 LOTUS 49B

LOTUS F1

SECTION 4

SECTION 7

SECTION 8

SECTION 1

SECTION 4

SECTION 1 SECTION 7

SECTION 11

A - A 002

218 | Public Landscape Sculpture |

320

255

SECTION 11

SECTION 5

B - B 002

| Public Landscape Sculpture | 219

SECTION 3

SECTION 2 SECTION 10

SECTION 3 SECTION 9

SECTION 10

SECTION 2

SECTION 9 SECTION 6

LOTUS 32B

SECTION 6

LOTUS 32B 26934

SECTION 5

LOTUS 49B SECTION 8

LOTUS 79

LOTUS 79

LOTUS 99T

LOTUS F1 LOTUS 49B

LOTUS F1

SECTION 4

SECTION 7

SECTION 8

SECTION 1

SECTION 4

SECTION 1 SECTION 7

SECTION 11

A - A 002

218 | Public Landscape Sculpture |

320

255

SECTION 11

SECTION 5

B - B 002

| Public Landscape Sculpture | 219

艺术家格里·朱达的这件伟大的雕塑作品中包 含了六辆具有历史意义的“莲花”一级方程式赛车， 成为 2012 年英国最大的汽车文化盛事“古德伍德 速度嘉年华”上最引人瞩目的作品。 这件高 28 米的雕塑是格里·朱达为“速度嘉 年华”创作的第 16 件作品，“速度嘉年华”每年 SECTION 10 都会在西萨塞克斯郡马奇伯爵的古德伍德庄园举办 一次。 SECTION 6 该雕塑意在捕捉“莲花”从过去到现在一直未 变的本质，为此设计了一个看似无穷的 3D 环形跑 道，仿造了曾经最为壮观惊艳的室内赛车模型轨道。 轨道本身是一个由厚达 6 毫米的平板金属组成 的三角结构，表面为白色的“连续多变的可延展曲 线”。由卡皮塔·西蒙兹公司监理、利特尔汉普顿·韦 尔丁公司制作的莲花雕塑被拆分成 11SECTION 个部分，用 5 几辆铰链式卡车在警察的护送下运往 35 千米外的 古德伍德。 格里·朱达与马奇伯爵和“莲花”人共同合 LOTUS 99T 作，最终确定了这一设计。作为专为弯道设计的汽 车，弯曲的线路再现了莲花跑车存在的环境。这个 49B 长 150LOTUS 米的跑道被塑造成半钩的、三叶草结似的形 状。 “这个由钢板组成的环形一体式结构意在突出 莲花跑车的工艺基因，”格里·朱达确认说，“我 SECTION 4 认为这种轻质结构代表了莲花品牌的核心价值与文 化。” “你看到的是一个跑道结构，但里面 98% 都 是空心的，”格里·朱达解释道，“用汽车术语来说， 这是一个单壳体结构，用以纪念传奇设计师兼‘莲 花’创始人科林·查普曼将一体式车架运用到赛车 中这一壮举。”

SECTION 3 SECTION 9

SECTION 2

26934

LOTUS 32B

SECTION 8

LOTUS 79

LOTUS F1

SECTION 1

SECTION 11

A - A 002

220 | Public Landscape Sculpture |

SECTION 2 SECTION 10

SECTION 9

LOTUS 32B

SECTION 6

LOTUS 49B

LOTUS 79

LOTUS F1

SECTION 4

SECTION 7

SECTION 8

SECTION 1

SECTION 11

320

255

SECTION 7

SECTION 3

SECTION 5

B - B 002

| Public Landscape Sculpture | 221

艺术家格里·朱达的这件伟大的雕塑作品中包 含了六辆具有历史意义的“莲花”一级方程式赛车， 成为 2012 年英国最大的汽车文化盛事“古德伍德 速度嘉年华”上最引人瞩目的作品。 这件高 28 米的雕塑是格里·朱达为“速度嘉 年华”创作的第 16 件作品，“速度嘉年华”每年 SECTION 10 都会在西萨塞克斯郡马奇伯爵的古德伍德庄园举办 一次。 SECTION 6 该雕塑意在捕捉“莲花”从过去到现在一直未 变的本质，为此设计了一个看似无穷的 3D 环形跑 道，仿造了曾经最为壮观惊艳的室内赛车模型轨道。 轨道本身是一个由厚达 6 毫米的平板金属组成 的三角结构，表面为白色的“连续多变的可延展曲 线”。由卡皮塔·西蒙兹公司监理、利特尔汉普顿·韦 尔丁公司制作的莲花雕塑被拆分成 11SECTION 个部分，用 5 几辆铰链式卡车在警察的护送下运往 35 千米外的 古德伍德。 格里·朱达与马奇伯爵和“莲花”人共同合 LOTUS 99T 作，最终确定了这一设计。作为专为弯道设计的汽 车，弯曲的线路再现了莲花跑车存在的环境。这个 49B 长 150LOTUS 米的跑道被塑造成半钩的、三叶草结似的形 状。 “这个由钢板组成的环形一体式结构意在突出 莲花跑车的工艺基因，”格里·朱达确认说，“我 SECTION 4 认为这种轻质结构代表了莲花品牌的核心价值与文 化。” “你看到的是一个跑道结构，但里面 98% 都 是空心的，”格里·朱达解释道，“用汽车术语来说， 这是一个单壳体结构，用以纪念传奇设计师兼‘莲 花’创始人科林·查普曼将一体式车架运用到赛车 中这一壮举。”

SECTION 3 SECTION 9

SECTION 2

26934

LOTUS 32B

SECTION 8

LOTUS 79

LOTUS F1

SECTION 1

SECTION 11

A - A 002

220 | Public Landscape Sculpture |

SECTION 2 SECTION 10

SECTION 9

LOTUS 32B

SECTION 6

LOTUS 49B

LOTUS 79

LOTUS F1

SECTION 4

SECTION 7

SECTION 8

SECTION 1

SECTION 11

320

255

SECTION 7

SECTION 3

SECTION 5

B - B 002

| Public Landscape Sculpture | 221

艺术家格里·朱达的这件伟大的雕塑作品中包 含了六辆具有历史意义的“莲花”一级方程式赛车， 成为 2012 年英国最大的汽车文化盛事“古德伍德 速度嘉年华”上最引人瞩目的作品。 这件高 28 米的雕塑是格里·朱达为“速度嘉 年华”创作的第 16 件作品，“速度嘉年华”每年 SECTION 10 都会在西萨塞克斯郡马奇伯爵的古德伍德庄园举办 一次。 SECTION 6 该雕塑意在捕捉“莲花”从过去到现在一直未 变的本质，为此设计了一个看似无穷的 3D 环形跑 道，仿造了曾经最为壮观惊艳的室内赛车模型轨道。 轨道本身是一个由厚达 6 毫米的平板金属组成 的三角结构，表面为白色的“连续多变的可延展曲 线”。由卡皮塔·西蒙兹公司监理、利特尔汉普顿·韦 尔丁公司制作的莲花雕塑被拆分成 11SECTION 个部分，用 5 几辆铰链式卡车在警察的护送下运往 35 千米外的 古德伍德。 格里·朱达与马奇伯爵和“莲花”人共同合 LOTUS 99T 作，最终确定了这一设计。作为专为弯道设计的汽 车，弯曲的线路再现了莲花跑车存在的环境。这个 49B 长 150LOTUS 米的跑道被塑造成半钩的、三叶草结似的形 状。 “这个由钢板组成的环形一体式结构意在突出 莲花跑车的工艺基因，”格里·朱达确认说，“我 SECTION 4 认为这种轻质结构代表了莲花品牌的核心价值与文 化。” “你看到的是一个跑道结构，但里面 98% 都 是空心的，”格里·朱达解释道，“用汽车术语来说， 这是一个单壳体结构，用以纪念传奇设计师兼‘莲 花’创始人科林·查普曼将一体式车架运用到赛车 中这一壮举。”

SECTION 3 SECTION 9

SECTION 2

26934

LOTUS 32B

SECTION 8

LOTUS 79

LOTUS F1

SECTION 1

SECTION 11

A - A 002

220 | Public Landscape Sculpture |

SECTION 2 SECTION 10

SECTION 9

LOTUS 32B

SECTION 6

LOTUS 49B

LOTUS 79

LOTUS F1

SECTION 4

SECTION 7

SECTION 8

SECTION 1

SECTION 11

320

255

SECTION 7

SECTION 3

SECTION 5

B - B 002

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艺术家格里·朱达的这件伟大的雕塑作品中包 含了六辆具有历史意义的“莲花”一级方程式赛车， 成为 2012 年英国最大的汽车文化盛事“古德伍德 速度嘉年华”上最引人瞩目的作品。 这件高 28 米的雕塑是格里·朱达为“速度嘉 年华”创作的第 16 件作品，“速度嘉年华”每年 SECTION 10 都会在西萨塞克斯郡马奇伯爵的古德伍德庄园举办 一次。 SECTION 6 该雕塑意在捕捉“莲花”从过去到现在一直未 变的本质，为此设计了一个看似无穷的 3D 环形跑 道，仿造了曾经最为壮观惊艳的室内赛车模型轨道。 轨道本身是一个由厚达 6 毫米的平板金属组成 的三角结构，表面为白色的“连续多变的可延展曲 线”。由卡皮塔·西蒙兹公司监理、利特尔汉普顿·韦 尔丁公司制作的莲花雕塑被拆分成 11SECTION 个部分，用 5 几辆铰链式卡车在警察的护送下运往 35 千米外的 古德伍德。 格里·朱达与马奇伯爵和“莲花”人共同合 LOTUS 99T 作，最终确定了这一设计。作为专为弯道设计的汽 车，弯曲的线路再现了莲花跑车存在的环境。这个 49B 长 150LOTUS 米的跑道被塑造成半钩的、三叶草结似的形 状。 “这个由钢板组成的环形一体式结构意在突出 莲花跑车的工艺基因，”格里·朱达确认说，“我 SECTION 4 认为这种轻质结构代表了莲花品牌的核心价值与文 化。” “你看到的是一个跑道结构，但里面 98% 都 是空心的，”格里·朱达解释道，“用汽车术语来说， 这是一个单壳体结构，用以纪念传奇设计师兼‘莲 花’创始人科林·查普曼将一体式车架运用到赛车 中这一壮举。”

SECTION 3 SECTION 9

SECTION 2

26934

LOTUS 32B

SECTION 8

LOTUS 79

LOTUS F1

SECTION 1

SECTION 11

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SECTION 2 SECTION 10

SECTION 9

LOTUS 32B

SECTION 6

LOTUS 49B

LOTUS 79

LOTUS F1

SECTION 4

SECTION 7

SECTION 8

SECTION 1

SECTION 11

320

255

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B - B 002

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Structural Engineer Arup

Prism Supplier Yangzhou Huasheng Optical Instrument Factory

Fabricator Mike Smith Studio

Material 3mm thick Stainless Steel plates; equilateral triangular prisms; lights

Lighting Supplier iGuzzini Illuminazione UK Ltd Client Burnley Borough Council

location Princess Way, Burnley, Lancashire, England Area 61 m2

Three perforate arches form a gate that welcomes people from three directions, where

Rain Bow Gate

three routes converge. A strong three-dimensional form constructed from flat, lasercut, 3mm steel sheets, the geometrically-stiff, ultra-light structure minimizes weight and wastage, demonstrating the Shell Lace Structure’s principles pioneered by Tonkin Liu and engineers at Arup. With beams of sunlight, 133 glass prism inserts cast rainbowcolored light, whilst projecting colored light into the mist at night. Rain Bow Gate

彩虹门

embraces cutting-edge digital design, engineering, and fabrication tools, appropriately

Design Company Tonkin Liu Ltd.

sited here in front of a sixth form college in Burnley, the center of excellence in advanced

228 | Public Landscape Sculpture |

manufacturing.

| Public Landscape Sculpture | 229

Structural Engineer Arup

Prism Supplier Yangzhou Huasheng Optical Instrument Factory

Fabricator Mike Smith Studio

Material 3mm thick Stainless Steel plates; equilateral triangular prisms; lights

Lighting Supplier iGuzzini Illuminazione UK Ltd Client Burnley Borough Council

location Princess Way, Burnley, Lancashire, England Area 61 m2

Three perforate arches form a gate that welcomes people from three directions, where

Rain Bow Gate

three routes converge. A strong three-dimensional form constructed from flat, lasercut, 3mm steel sheets, the geometrically-stiff, ultra-light structure minimizes weight and wastage, demonstrating the Shell Lace Structure’s principles pioneered by Tonkin Liu and engineers at Arup. With beams of sunlight, 133 glass prism inserts cast rainbowcolored light, whilst projecting colored light into the mist at night. Rain Bow Gate

彩虹门

embraces cutting-edge digital design, engineering, and fabrication tools, appropriately

Design Company Tonkin Liu Ltd.

sited here in front of a sixth form college in Burnley, the center of excellence in advanced

228 | Public Landscape Sculpture |

manufacturing.

| Public Landscape Sculpture | 229

Structural Engineer Arup

Prism Supplier Yangzhou Huasheng Optical Instrument Factory

Fabricator Mike Smith Studio

Material 3mm thick Stainless Steel plates; equilateral triangular prisms; lights

Lighting Supplier iGuzzini Illuminazione UK Ltd Client Burnley Borough Council

location Princess Way, Burnley, Lancashire, England Area 61 m2

Three perforate arches form a gate that welcomes people from three directions, where

Rain Bow Gate

three routes converge. A strong three-dimensional form constructed from flat, lasercut, 3mm steel sheets, the geometrically-stiff, ultra-light structure minimizes weight and wastage, demonstrating the Shell Lace Structure’s principles pioneered by Tonkin Liu and engineers at Arup. With beams of sunlight, 133 glass prism inserts cast rainbowcolored light, whilst projecting colored light into the mist at night. Rain Bow Gate

彩虹门

embraces cutting-edge digital design, engineering, and fabrication tools, appropriately

Design Company Tonkin Liu Ltd.

sited here in front of a sixth form college in Burnley, the center of excellence in advanced

228 | Public Landscape Sculpture |

manufacturing.

| Public Landscape Sculpture | 229

Structural Engineer Arup

Prism Supplier Yangzhou Huasheng Optical Instrument Factory

Fabricator Mike Smith Studio

Material 3mm thick Stainless Steel plates; equilateral triangular prisms; lights

Lighting Supplier iGuzzini Illuminazione UK Ltd Client Burnley Borough Council

location Princess Way, Burnley, Lancashire, England Area 61 m2

Three perforate arches form a gate that welcomes people from three directions, where

Rain Bow Gate

three routes converge. A strong three-dimensional form constructed from flat, lasercut, 3mm steel sheets, the geometrically-stiff, ultra-light structure minimizes weight and wastage, demonstrating the Shell Lace Structure’s principles pioneered by Tonkin Liu and engineers at Arup. With beams of sunlight, 133 glass prism inserts cast rainbowcolored light, whilst projecting colored light into the mist at night. Rain Bow Gate

彩虹门

embraces cutting-edge digital design, engineering, and fabrication tools, appropriately

Design Company Tonkin Liu Ltd.

sited here in front of a sixth form college in Burnley, the center of excellence in advanced

228 | Public Landscape Sculpture |

manufacturing.

| Public Landscape Sculpture | 229

cutting plan

site plan

《彩虹门》由三个带孔的拱组成，面朝三个方向，三条小径交会于此，迎接着来往的人群。三维立 体感极强的《彩虹门》由激光切割的 3 毫米钢板构成，并运用精密的几何学知识，采用轻质材料，减轻 重量的同时也降低了损耗，再次证明了同金·刘事务所和奥雅纳公司工程师们开创的“贝壳花边结构” 理论的高效性。白天，133 块玻璃棱镜汇聚阳光，发出五彩的光芒；夜晚，棱镜被下方的灯光点亮，在 薄雾中投射出一道彩虹。《彩虹门》集尖端的数码设计、前沿的工程学原理和精良的制作工具于一身。 雕塑被精准地安装在伯恩利的第六工程学院的正前方，先进制造业的中心。

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cutting plan

site plan

《彩虹门》由三个带孔的拱组成，面朝三个方向，三条小径交会于此，迎接着来往的人群。三维立 体感极强的《彩虹门》由激光切割的 3 毫米钢板构成，并运用精密的几何学知识，采用轻质材料，减轻 重量的同时也降低了损耗，再次证明了同金·刘事务所和奥雅纳公司工程师们开创的“贝壳花边结构” 理论的高效性。白天，133 块玻璃棱镜汇聚阳光，发出五彩的光芒；夜晚，棱镜被下方的灯光点亮，在 薄雾中投射出一道彩虹。《彩虹门》集尖端的数码设计、前沿的工程学原理和精良的制作工具于一身。 雕塑被精准地安装在伯恩利的第六工程学院的正前方，先进制造业的中心。

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| Public Landscape Sculpture | 231

structural analysis

RAWSOME! ç‚Ťäš?

Artist Ronald A. Westerhuis

Material Stainless steel dimensions 4m diameter Location Sculpture Garden at Nijenhuis Castle, the Netherlands Photographer Paul Remmelts

Museum de Fundatie and Mojo Concerts, organizer of the LowLands Music Festival, purchased the sculpture entitled RAWSOME! The sculpture can be seen at the next three editions of LowLands and will be given a permanent home in the sculpture garden at Nijenhuis castle in the Dutch province of Overijssel. The 4-meter wide ball with its concave mirrored surfaces enchants visitors to the LowLands Festival and Museum de Fundatie. The sculpture garden at Nijenhuis welcomes more than 50,000 visitors a year.

From 15 April to 18 September 2011, the model was exhibited along with several other works by Westerhuis in the Palace on the Blijmarkt in Zwolle, situated in the Netherlands.

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structural analysis

RAWSOME! ç‚Ťäš?

Artist Ronald A. Westerhuis

Material Stainless steel dimensions 4m diameter Location Sculpture Garden at Nijenhuis Castle, the Netherlands Photographer Paul Remmelts

Museum de Fundatie and Mojo Concerts, organizer of the LowLands Music Festival, purchased the sculpture entitled RAWSOME! The sculpture can be seen at the next three editions of LowLands and will be given a permanent home in the sculpture garden at Nijenhuis castle in the Dutch province of Overijssel. The 4-meter wide ball with its concave mirrored surfaces enchants visitors to the LowLands Festival and Museum de Fundatie. The sculpture garden at Nijenhuis welcomes more than 50,000 visitors a year.

From 15 April to 18 September 2011, the model was exhibited along with several other works by Westerhuis in the Palace on the Blijmarkt in Zwolle, situated in the Netherlands.

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| Public Landscape Sculpture | 233

作为低地音乐节的主办方，Fundatie 博物馆和 Mojo 音乐会出资购买了这座 名为《炫乐》的雕塑。该作品在三场低地音乐节中展出，之后在荷兰 Overijsse 省 Nijenhuis 城堡的雕塑公园安家落户。这个直径达 4 米、表面嵌有凹透镜的球体让 低地音乐节和 Fundatie 博物馆的游客为之着迷。Nijenhuis 城堡的雕塑公园每年接 待超过 5 万名游客。 2011 年 4 月 15 日至 9 月 18 日，该雕塑和韦斯特豪斯的一些其他作品在荷兰 滋沃勒的 Blijmarkt 的王宫被连续展出。

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| Public Landscape Sculpture | 235

作为低地音乐节的主办方，Fundatie 博物馆和 Mojo 音乐会出资购买了这座 名为《炫乐》的雕塑。该作品在三场低地音乐节中展出，之后在荷兰 Overijsse 省 Nijenhuis 城堡的雕塑公园安家落户。这个直径达 4 米、表面嵌有凹透镜的球体让 低地音乐节和 Fundatie 博物馆的游客为之着迷。Nijenhuis 城堡的雕塑公园每年接 待超过 5 万名游客。 2011 年 4 月 15 日至 9 月 18 日，该雕塑和韦斯特豪斯的一些其他作品在荷兰 滋沃勒的 Blijmarkt 的王宫被连续展出。

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| Public Landscape Sculpture | 235

Angel of the West 西方天使 Artist Julian Voss-Andreae

Project partner Walter P. Moore Engineering, KPFF Consulting Engineers, Zeidler Partnerships Architect Hydrochem, Weitz Construction Commissioning agency The Scripps Research Institute

Material Stainless steel DimensionS 3.7m x 3.7m x 1.2m Location Florida, USA

"Angel of the West" was inspired by the structure of the human immune system’s key molecule, the antibody. Like tiny guardian angels, legions of antibodies constantly protect people from illness and disease. The sculpture plays on the striking similarity of both proportion and function of the antibody molecule to the human body. A stylized representation of the antibody molecule is surrounded by a ring evocative of Leonardo’s Renaissance icon "Vitruvian Man" (1490).

Commissioned as the signature piece for the new Florida campus of the prestigious Scripps Institute, the sculpture symbolizes the application of Western science to the art of healing.

《西方天使》的设计灵感源自人体免疫系统中重要的分子——抗体。就像是一个个小小的 守护天使，人体内众多的抗体分子保护人们免受疾病的侵扰。该雕塑极真实地再现了抗体分子 和人体的比例，并精确地刻画了其功能。抗体分子按人体的结构分布，其四周环绕着一个圆圈， 这让人联想到了列奥纳多·达·芬奇的一幅文艺复兴时期的画像《维特鲁威人》 （作于 1490 年）。 作为著名的斯克利普斯研究所佛罗里达新校区的经典之作，它代表了西方科学在医术中的运用。

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| Public Landscape Sculpture | 239

Angel of the West 西方天使 Artist Julian Voss-Andreae

Project partner Walter P. Moore Engineering, KPFF Consulting Engineers, Zeidler Partnerships Architect Hydrochem, Weitz Construction Commissioning agency The Scripps Research Institute

Material Stainless steel DimensionS 3.7m x 3.7m x 1.2m Location Florida, USA

"Angel of the West" was inspired by the structure of the human immune system’s key molecule, the antibody. Like tiny guardian angels, legions of antibodies constantly protect people from illness and disease. The sculpture plays on the striking similarity of both proportion and function of the antibody molecule to the human body. A stylized representation of the antibody molecule is surrounded by a ring evocative of Leonardo’s Renaissance icon "Vitruvian Man" (1490).

Commissioned as the signature piece for the new Florida campus of the prestigious Scripps Institute, the sculpture symbolizes the application of Western science to the art of healing.

《西方天使》的设计灵感源自人体免疫系统中重要的分子——抗体。就像是一个个小小的 守护天使，人体内众多的抗体分子保护人们免受疾病的侵扰。该雕塑极真实地再现了抗体分子 和人体的比例，并精确地刻画了其功能。抗体分子按人体的结构分布，其四周环绕着一个圆圈， 这让人联想到了列奥纳多·达·芬奇的一幅文艺复兴时期的画像《维特鲁威人》 （作于 1490 年）。 作为著名的斯克利普斯研究所佛罗里达新校区的经典之作，它代表了西方科学在医术中的运用。

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| Public Landscape Sculpture | 239

Alfa Romeo Sculpture 阿尔法·罗密欧雕塑 Artist Gerry Judah

Material steel tubing Photographer David Barbour

The Alfa Romeo legend has grown on the back of sporting victories that have been a constant feature of the Italian marque’s 100-year history. The iconic P2 Grand Prix two-seater featured Alfa’s first eight-cylinder in-line engine, and sealed Alfa Romeo’s place in motor sport history by winning the first ever World Championship in 1925. This sculpture made of steel tubing by Gerry Judah embodies the spirit of the marque in style and racing history with simple clean lines and dynamic forms.

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Alfa Romeo Sculpture 阿尔法·罗密欧雕塑 Artist Gerry Judah

Material steel tubing Photographer David Barbour

The Alfa Romeo legend has grown on the back of sporting victories that have been a constant feature of the Italian marque’s 100-year history. The iconic P2 Grand Prix two-seater featured Alfa’s first eight-cylinder in-line engine, and sealed Alfa Romeo’s place in motor sport history by winning the first ever World Championship in 1925. This sculpture made of steel tubing by Gerry Judah embodies the spirit of the marque in style and racing history with simple clean lines and dynamic forms.

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| Public Landscape Sculpture | 247

有着一百年历史的意大 利汽车品牌阿尔法·罗密欧在 跑 车 领 域 获 得 了 无 数 成 功， 现又推出了另一力作——阿尔 法· 罗 密 欧 神 话。 经 典 的 P2 （GP）双座跑车首次配置了 直列八缸引擎，并于 1925 年 获得了首届世界杯汽车大奖赛 的 冠 军， 该 殊 荣 奠 定 了 阿 尔 法·罗密欧在跑车历史上的地 位。这件钢管建成的雕塑由格 里·朱达设计，它以简洁的线 条和动态的造型彰显出了阿尔 法·罗密欧在风格和跑车历史 上的品牌精神。

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| Public Landscape Sculpture | 249

有着一百年历史的意大 利汽车品牌阿尔法·罗密欧在 跑 车 领 域 获 得 了 无 数 成 功， 现又推出了另一力作——阿尔 法· 罗 密 欧 神 话。 经 典 的 P2 （GP）双座跑车首次配置了 直列八缸引擎，并于 1925 年 获得了首届世界杯汽车大奖赛 的 冠 军， 该 殊 荣 奠 定 了 阿 尔 法·罗密欧在跑车历史上的地 位。这件钢管建成的雕塑由格 里·朱达设计，它以简洁的线 条和动态的造型彰显出了阿尔 法·罗密欧在风格和跑车历史 上的品牌精神。

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| Public Landscape Sculpture | 249

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| Public Landscape Sculpture | 251

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Fabricated P.F. Copeland steel fabricators / Beltane Studios bronze foundry Structural Engineering Kirk McClure Morton Photographer Paul Smyth, Leo Murray

The Thanksgiving Square Beacon was commissioned to create a monument to peace and reconciliation in the center of the city of Belfast in Northern Ireland. It stands 20 meters tall and is made of stainless steel tube and cast bronze.

It was fabricated by local company P.F. Copeland in Newtonabbey, based on designs and 1/10th scale maquettes created by Andy Scott. It combines several themes, all relevant to the location beside the River Lagan and it has become a very successful icon for the city and wider area.

Belfast 贝尔法斯特 Artist Andy Scott

委托建造这座感恩广场灯塔的目的是：在北爱尔兰的贝尔法斯特市中 心建立一座纪念和平与和谐的雕塑。雕塑高 20 米，底部是一个浇铸而成 的铜球，上部由不锈钢钢管建成。 该雕塑是纽敦阿比市当地的金属制造商科普兰公司根据安迪·斯科特 设计的雕塑模型建造的，模型的大小只有雕塑尺寸的十分之一。雕塑融合 了多个主题，这些主题均与其地理位置——拉干河旁相关，该雕塑已成为 该市乃至更广阔区域内的一个十分成功的标志。

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Fabricated P.F. Copeland steel fabricators / Beltane Studios bronze foundry Structural Engineering Kirk McClure Morton Photographer Paul Smyth, Leo Murray

The Thanksgiving Square Beacon was commissioned to create a monument to peace and reconciliation in the center of the city of Belfast in Northern Ireland. It stands 20 meters tall and is made of stainless steel tube and cast bronze.

It was fabricated by local company P.F. Copeland in Newtonabbey, based on designs and 1/10th scale maquettes created by Andy Scott. It combines several themes, all relevant to the location beside the River Lagan and it has become a very successful icon for the city and wider area.

Belfast 贝尔法斯特 Artist Andy Scott

委托建造这座感恩广场灯塔的目的是：在北爱尔兰的贝尔法斯特市中 心建立一座纪念和平与和谐的雕塑。雕塑高 20 米，底部是一个浇铸而成 的铜球，上部由不锈钢钢管建成。 该雕塑是纽敦阿比市当地的金属制造商科普兰公司根据安迪·斯科特 设计的雕塑模型建造的，模型的大小只有雕塑尺寸的十分之一。雕塑融合 了多个主题，这些主题均与其地理位置——拉干河旁相关，该雕塑已成为 该市乃至更广阔区域内的一个十分成功的标志。

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| Public Landscape Sculpture | 253

Perception and Reality 1 感知与现实 1 Artist Andrew Rogers

《感知与现实 1》高 7.5 米，重 3.8 吨。最初的设计模型高 68 厘米，于 1993 年创作完成，接着在 2004 年还创作了一个 1.7 米高的版本。 最早的模型用黏土制成，是艺术家在墨尔本的工作室根据一个真人模特创 作完成的。 该方案是由位于堪培拉的澳大利亚国家机场从安德鲁·罗杰斯过去 23 年 间创作的近 150 个雕塑作品中挑选出来的。 该雕塑在澳大利亚机场中独一无二。雕塑坐落在航站大楼内的庭院中，并 成为从庭院主入口进入堪培拉机场的焦点。 《感知与现实 1》是至今为止在澳大利亚创作的最大的浇铸青铜人物雕像， 由 65 块独立的片状部件焊接而成。

Commissioner Canberra Airport Pty Ltd., Canberra, ACT, Australia

“Perception and Reality 1” measures 7.5m high and weighs 3.8 tons. The original maquette is

Architect Hal Guida, Guida Moseley Brown architects, Canberra, ACT, Australia

The original clay sculpture was created in the artist’s studio in Melbourne from a live model.

68cm high and was created in 1993. A larger scale edition of 1.7m was created in 2004.

This work was selected by the Australian National Airport in Canberra from approximately 150 sculptures that Andrew Rogers has created over the last 23 years.

This is a unique work in the context of Australian airports; it is located in a courtyard inside the terminal itself and is a focus of the major courtyard entrance to Canberra Airport.

“Perception and Reality 1” is the largest cast bronze figure to have been created in Australia – cast in 65 separate pieces and welded together.

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Perception and Reality 1 感知与现实 1 Artist Andrew Rogers

《感知与现实 1》高 7.5 米，重 3.8 吨。最初的设计模型高 68 厘米，于 1993 年创作完成，接着在 2004 年还创作了一个 1.7 米高的版本。 最早的模型用黏土制成，是艺术家在墨尔本的工作室根据一个真人模特创 作完成的。 该方案是由位于堪培拉的澳大利亚国家机场从安德鲁·罗杰斯过去 23 年 间创作的近 150 个雕塑作品中挑选出来的。 该雕塑在澳大利亚机场中独一无二。雕塑坐落在航站大楼内的庭院中，并 成为从庭院主入口进入堪培拉机场的焦点。 《感知与现实 1》是至今为止在澳大利亚创作的最大的浇铸青铜人物雕像， 由 65 块独立的片状部件焊接而成。

Commissioner Canberra Airport Pty Ltd., Canberra, ACT, Australia

“Perception and Reality 1” measures 7.5m high and weighs 3.8 tons. The original maquette is

Architect Hal Guida, Guida Moseley Brown architects, Canberra, ACT, Australia

The original clay sculpture was created in the artist’s studio in Melbourne from a live model.

68cm high and was created in 1993. A larger scale edition of 1.7m was created in 2004.

This work was selected by the Australian National Airport in Canberra from approximately 150 sculptures that Andrew Rogers has created over the last 23 years.

This is a unique work in the context of Australian airports; it is located in a courtyard inside the terminal itself and is a focus of the major courtyard entrance to Canberra Airport.

“Perception and Reality 1” is the largest cast bronze figure to have been created in Australia – cast in 65 separate pieces and welded together.

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Waves 海浪

Artist Steinunn Thórarinsdóttir

Client Sports Village of the University of Aberdeen Material Stainless steel, Aluminum, Granite Dimensions 9m x 2.5m x 6m Location Aberdeen, UK

The work is composed of two columns of mirror stainless steel standing on concrete bases covered with granite slabs. On top of one of the columns is a figure of aluminum. Another figure of the same cast stands on the ground in front of the other identical column and is reflected in it. That figure can be approached on the same level as the viewer. The shape of the columns is connected in a vertical way to the roof line of the Sports Village complex which characterizes the building.

The columns and the shape of them also remind us of the waves of the North Sea close by. The shape of the columns hints at movement and a dynamic feeling of continuity. They tilt slightly forward giving them more edge and dynamism. The surface of the columns is reflective and gives the feeling of stream, water and air which rhymes with the building itself. Because of the height of the column it reflects the sky but also the earth because of it´s inward curve on one side. The figures, one soaring high up in the air and the other firmly standing on the ground also gives the feeling of movement from one place to another. It emphasizes progress, evolution and a journey of discovery.

The height of the piece is the same as the height of the entrance building which is 9 meters.

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Waves 海浪

Artist Steinunn Thórarinsdóttir

Client Sports Village of the University of Aberdeen Material Stainless steel, Aluminum, Granite Dimensions 9m x 2.5m x 6m Location Aberdeen, UK

The work is composed of two columns of mirror stainless steel standing on concrete bases covered with granite slabs. On top of one of the columns is a figure of aluminum. Another figure of the same cast stands on the ground in front of the other identical column and is reflected in it. That figure can be approached on the same level as the viewer. The shape of the columns is connected in a vertical way to the roof line of the Sports Village complex which characterizes the building.

The columns and the shape of them also remind us of the waves of the North Sea close by. The shape of the columns hints at movement and a dynamic feeling of continuity. They tilt slightly forward giving them more edge and dynamism. The surface of the columns is reflective and gives the feeling of stream, water and air which rhymes with the building itself. Because of the height of the column it reflects the sky but also the earth because of it´s inward curve on one side. The figures, one soaring high up in the air and the other firmly standing on the ground also gives the feeling of movement from one place to another. It emphasizes progress, evolution and a journey of discovery.

The height of the piece is the same as the height of the entrance building which is 9 meters.

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该作品由两个相同的镜面不锈钢柱 组成，下面是铺设了花岗岩板的混凝土 基石。其中一个钢柱在顶端竖立了一个 铝制人像，另一个则于基石上竖立了一 个铝制人像，人影反射在柱面上。观赏 者可走近该人像，并与之站在同一水平 面上。该雕塑高高耸立，与运动村综合 建筑的屋檐线相垂直，屋檐线是该建筑 的标志性特色。雕塑的镜面不锈钢柱及 其外形不禁让我们联想起这附近的北海。 其外形象征着运动以及动态的连续性。 两柱微微向前倾斜，使自身线条更加柔 和，极富动态之美。柱子表面具有反光 性，给人以流水潺潺、水天相接之感， 与建筑共同谱写出一支和谐的曲调。柱 子的高度足以将天空的影像收纳入怀， 而微微向内弯曲的构造亦使大地的美景 跃然其上。两处人像雕塑，一个在高处 昂首挺立，另一个则坚毅地站立于基石 上，营造出由下而上的跨越感。《海浪》 象征着进步、发展和探索之旅。 该雕塑高 9 米，与入口处建筑的高 度一致。

Material Stainless steel, Power system

Park Chan Girl expressed the intense

Dimensions 3.2m x 1.2m x 0.6m

from the work of the ancient Greece

Location ADAMAS gallery, Korea

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movement of masculine body adapting sculptor Myron. 本雕塑是朴赞女根据希腊雕刻家米隆的作 品设计的，朴赞女表达了男性身体剧烈运动时 的一种美。

Discobolus 掷铁饼者 Artist Park Chan Girl

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该作品由两个相同的镜面不锈钢柱 组成，下面是铺设了花岗岩板的混凝土 基石。其中一个钢柱在顶端竖立了一个 铝制人像，另一个则于基石上竖立了一 个铝制人像，人影反射在柱面上。观赏 者可走近该人像，并与之站在同一水平 面上。该雕塑高高耸立，与运动村综合 建筑的屋檐线相垂直，屋檐线是该建筑 的标志性特色。雕塑的镜面不锈钢柱及 其外形不禁让我们联想起这附近的北海。 其外形象征着运动以及动态的连续性。 两柱微微向前倾斜，使自身线条更加柔 和，极富动态之美。柱子表面具有反光 性，给人以流水潺潺、水天相接之感， 与建筑共同谱写出一支和谐的曲调。柱 子的高度足以将天空的影像收纳入怀， 而微微向内弯曲的构造亦使大地的美景 跃然其上。两处人像雕塑，一个在高处 昂首挺立，另一个则坚毅地站立于基石 上，营造出由下而上的跨越感。《海浪》 象征着进步、发展和探索之旅。 该雕塑高 9 米，与入口处建筑的高 度一致。

Material Stainless steel, Power system

Park Chan Girl expressed the intense

Dimensions 3.2m x 1.2m x 0.6m

from the work of the ancient Greece

Location ADAMAS gallery, Korea

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movement of masculine body adapting sculptor Myron. 本雕塑是朴赞女根据希腊雕刻家米隆的作 品设计的，朴赞女表达了男性身体剧烈运动时 的一种美。

Discobolus 掷铁饼者 Artist Park Chan Girl

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Gymnast Monument Sculpture 体操运动员纪念雕塑 Artist Eleanor Cardozo

Material Fibre glass, Epoxy resin, Polyurethane, Stainless steel Location Geneva, Switzerland Photographer Michel Rouèche

The 3-meter gymnast monument at Westminster Abbey was created to

carbon fibre extends from the finger tips (these are solid carbon fibre) along

celebrate the grace, beauty and skill of the rhythmic gymnast. As a former

the top edge of each arm and down to the mid-point of the body. This was

gymnast herself, Eleanor not only has a love and admiration for the sport but

to ensure maximum strength and rigidity at the top of the leaver. A stainless

also first hand experience of the discipline and dedication required. At a time

steel armature, heavily laminated to the surface of the sculpture was fitted

where government funding for British Rhythmic Gymnastics has been cut,

throughout. The globe is a hollow sphere, made from stainless steel, with the

and with the Houses of Parliament a stone's throw from Westminster Abbey,

countries sandblasted and then painted gold. The steel structure inside the

Eleanor's aim was to raise awareness for one of the Olympic Game's most

globe base was designed to take two weights of 150kg each, making a total

elegant sports. In celebrating the magnificence of the human being and the

base weight of over 300kg.

spirit within, she also hoped to inspire the public through beauty and grace.

"It was very important to make the sculpture as strong and resistent to all

Eleanor carved the original sculpture from blocks of polyurethane at Opus

weather conditions as possible, but equally simple to transport and install."

Studio in Somerset, UK. The mould was made in multiple pieces with

Eleanor Cardozo. The gymnast monument now still looks as perfectly new

silicone rubber and fibre glass support cases and the final piece was cast in

today as the day she was made.

a high-tech epoxy resin, in composite with both glass and carbon fibre. The

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Gymnast Monument Sculpture 体操运动员纪念雕塑 Artist Eleanor Cardozo

Material Fibre glass, Epoxy resin, Polyurethane, Stainless steel Location Geneva, Switzerland Photographer Michel Rouèche

The 3-meter gymnast monument at Westminster Abbey was created to

carbon fibre extends from the finger tips (these are solid carbon fibre) along

celebrate the grace, beauty and skill of the rhythmic gymnast. As a former

the top edge of each arm and down to the mid-point of the body. This was

gymnast herself, Eleanor not only has a love and admiration for the sport but

to ensure maximum strength and rigidity at the top of the leaver. A stainless

also first hand experience of the discipline and dedication required. At a time

steel armature, heavily laminated to the surface of the sculpture was fitted

where government funding for British Rhythmic Gymnastics has been cut,

throughout. The globe is a hollow sphere, made from stainless steel, with the

and with the Houses of Parliament a stone's throw from Westminster Abbey,

countries sandblasted and then painted gold. The steel structure inside the

Eleanor's aim was to raise awareness for one of the Olympic Game's most

globe base was designed to take two weights of 150kg each, making a total

elegant sports. In celebrating the magnificence of the human being and the

base weight of over 300kg.

spirit within, she also hoped to inspire the public through beauty and grace.

"It was very important to make the sculpture as strong and resistent to all

Eleanor carved the original sculpture from blocks of polyurethane at Opus

weather conditions as possible, but equally simple to transport and install."

Studio in Somerset, UK. The mould was made in multiple pieces with

Eleanor Cardozo. The gymnast monument now still looks as perfectly new

silicone rubber and fibre glass support cases and the final piece was cast in

today as the day she was made.

a high-tech epoxy resin, in composite with both glass and carbon fibre. The

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这座 3 米高的体操运动员纪念雕像， 位于威斯敏斯特教堂旁，是为歌颂韵律体 操运动员的优雅、美丽和技巧而建的。体 操运动员出身的埃莉诺不仅热爱和崇拜这 项体育运动，她还拥有该运动所需的自律 性和奉献精神。英国政府曾一度停拨英国 韵律体操队的经费，而议会大楼与威斯敏 斯特教堂只有一步之遥。埃莉诺的目的就 是要提高人们对韵律体操的认识，让人们 知道它是奥运会最优雅的体育项目之一。 除了赞美人类精神的伟大，埃莉诺还希望 通过美丽和优雅启发公众。 埃莉诺最初的雕刻是在英国萨默塞 特郡的欧普斯工作室用数块聚氨酯刻成 的。雕塑的模子由许多不同构件组合而成， 每一部分都以硅胶和纤维玻璃作为支撑材 料，最后一部分由高科技的环氧树脂浇铸 而成，同时还混合使用了玻璃以及碳纤维。 雕塑上使用碳纤维的地方很多： 从手指 （这些地方是坚固的碳纤维）一直到两条 手臂的最上端，再到身体的中点。这样做 是为了让雕塑顶部尽量保持坚实牢固。雕 塑身上的不锈钢体操服，是通过重重捶打 覆盖到雕塑表面的，整件衣服十分合身。 雕塑脚下的不锈钢球是空心的，对球面进 行选择性的喷砂处理后，再在相应的位置 喷一层金漆，这就形成了一个个国家的地 图的形状。根据设计，地球基座内部的两 个钢结构各重 150 公斤，整个基座加起 来超过 300 公斤。 “对于雕塑来讲，十分关键的一点是 要尽可能地抵抗并且适应所有的气候条 件，同样还要易于运输和安装。”埃莉诺·卡 多佐说道。这座体操运动员纪念雕塑在今 天看起来仍旧靓丽如新，宛如刚造出来一 般。

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这座 3 米高的体操运动员纪念雕像， 位于威斯敏斯特教堂旁，是为歌颂韵律体 操运动员的优雅、美丽和技巧而建的。体 操运动员出身的埃莉诺不仅热爱和崇拜这 项体育运动，她还拥有该运动所需的自律 性和奉献精神。英国政府曾一度停拨英国 韵律体操队的经费，而议会大楼与威斯敏 斯特教堂只有一步之遥。埃莉诺的目的就 是要提高人们对韵律体操的认识，让人们 知道它是奥运会最优雅的体育项目之一。 除了赞美人类精神的伟大，埃莉诺还希望 通过美丽和优雅启发公众。 埃莉诺最初的雕刻是在英国萨默塞 特郡的欧普斯工作室用数块聚氨酯刻成 的。雕塑的模子由许多不同构件组合而成， 每一部分都以硅胶和纤维玻璃作为支撑材 料，最后一部分由高科技的环氧树脂浇铸 而成，同时还混合使用了玻璃以及碳纤维。 雕塑上使用碳纤维的地方很多： 从手指 （这些地方是坚固的碳纤维）一直到两条 手臂的最上端，再到身体的中点。这样做 是为了让雕塑顶部尽量保持坚实牢固。雕 塑身上的不锈钢体操服，是通过重重捶打 覆盖到雕塑表面的，整件衣服十分合身。 雕塑脚下的不锈钢球是空心的，对球面进 行选择性的喷砂处理后，再在相应的位置 喷一层金漆，这就形成了一个个国家的地 图的形状。根据设计，地球基座内部的两 个钢结构各重 150 公斤，整个基座加起 来超过 300 公斤。 “对于雕塑来讲，十分关键的一点是 要尽可能地抵抗并且适应所有的气候条 件，同样还要易于运输和安装。”埃莉诺·卡 多佐说道。这座体操运动员纪念雕塑在今 天看起来仍旧靓丽如新，宛如刚造出来一 般。

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Audi Centenary Sculpture 奥迪百年雕塑 Artist Gerry Judah Material Stainless steel Photographer David Barbour

One of the most iconic of large-scale sculptures, this one was designed by Gerry Judah to commemorate the centenary of Audi at Goodwood Festival of Speed 2010.

This 32 meter high, 44 tonne sculpture celebrates Audi's achievements in motor sport with the legendary 1937 Auto Union Streamliner and the recently launched R8 V10 sports car at either end of a dramatic "swoosh" of tyre tracks, as if they are driving off into the sky.

在 2010 年古德伍德赛车节上，为纪念奥迪 100 周年而建 的奥迪百年雕塑是众多巨型雕塑中最具代表性的一个。这座由格 里·朱达设计的雕塑的主题是庆祝奥迪在跑车领域内的成就。在 这座高 32 米、重 44 吨的雕塑上，1937 年的汽车神话奥迪 Auto Union Streamliner 和最近推出的奥迪 R8 V10 两辆跑车沿着有轮 胎印的跑道朝两个方向“疾驰而去”，仿佛要冲上云霄。

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Audi Centenary Sculpture 奥迪百年雕塑 Artist Gerry Judah Material Stainless steel Photographer David Barbour

One of the most iconic of large-scale sculptures, this one was designed by Gerry Judah to commemorate the centenary of Audi at Goodwood Festival of Speed 2010.

This 32 meter high, 44 tonne sculpture celebrates Audi's achievements in motor sport with the legendary 1937 Auto Union Streamliner and the recently launched R8 V10 sports car at either end of a dramatic "swoosh" of tyre tracks, as if they are driving off into the sky.

在 2010 年古德伍德赛车节上，为纪念奥迪 100 周年而建 的奥迪百年雕塑是众多巨型雕塑中最具代表性的一个。这座由格 里·朱达设计的雕塑的主题是庆祝奥迪在跑车领域内的成就。在 这座高 32 米、重 44 吨的雕塑上，1937 年的汽车神话奥迪 Auto Union Streamliner 和最近推出的奥迪 R8 V10 两辆跑车沿着有轮 胎印的跑道朝两个方向“疾驰而去”，仿佛要冲上云霄。

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Global Peace Energy 世界和平能量 Artist Ronald A. Westerhuis

Equus Clutha 骏马克鲁萨 Artist Andy Scott

Material Stainless steel

Material Galvanized welded steel

Dimensions 300m high

Dimensions 3.5m H x 4m Lx 1m W

Location Hardanger, Norway

Location Greenock, Scotland

Photographer Paul Remmelts

Photographer Caroline Scott, Tam Nugent

The region of Hardanger, Norway, is known as the cultural heart of the nation, in the same time it is battling a large urbanization problem. Young professionals move easily to bigger towns in search of work. In 2008 Ronald A. Westerhuis presented his ambition to create a landmark of at least 150meter high. Ronald teamed up with Netherland-based engineers company “De Grontmij”.

The sculpture “Global Peace Energy” contains three large pillars, the largest pillar reaching 300 meters high. The pillars all connected, holding a 30-meter high polished stainless steel ball which represents the earth and will function as a conference center to develop educational consciousness about our planet and the possibilities of renewable energy. The sculpture is a tribute to the power and the natural beauty of the world in general and especially to the region of Hardager.

During the design period of “Global Peace Energy” ten large art works made by Ronald A.

Equus Clutha was sited in 2010 and is in the town of Greenock near to

Westerhuis were placed at different locations throughout Hardanger to make inhabitants aware of

Glasgow in west Scotland. The horse is a landmark to commemorate all of

art. In addition to the placement of the sculptures an educational program was started to teach

the horses which once worked in the shipyards and factories of the area

children about the History of their region and identity as well as asking their opinion on having a

and the sculpture is based on a generic work horse rather than a specific

landmark in their environment.

breed. Clutha is the name Clyde in traditional Gaelic language of Scotland.

挪威的哈丹格区因其作为国家文化中心而著名，与此同时，该区也面临着一项十分艰巨的挑战——城市化 问题。有一技之长的年轻人更倾向于到更大的城市找工作。在 2008 年，罗纳德·A·韦斯特豪斯表示他有一个 宏伟的目标，他要建一座至少 150 米高的标志性建筑，与罗纳德·A·韦斯特豪斯合作的是总部位于荷兰的 De Grontmij 工程公司。 雕塑《世界和平力量》有三根大柱子，其中最高的达到 300 米。三根相连的柱子托起了一个光亮的距地 30 米高的不锈钢球，这个球代表地球，它将成为一个会议中心，供人们探讨研究人类保护地球的意识，并探讨再 生能源的利用。这件雕塑赞美的是人类的力量和自然之美，尤指哈丹格地区。 在《世界和平能量》的设计期间，罗纳德·A·韦斯特豪斯有 10 部作品被安装在哈丹格区的各个地方，让 当地居民感受艺术的气息。除了安装雕塑，哈丹格区还启动了一个教育项目，该项目将教孩子学习他们所在地 区和祖先的历史，同时还要询问他们对于在自己周围建一座标志性建筑的看法。

《骏马克鲁萨》建于 2010 年，坐落于靠近格拉斯哥的一个苏格兰西部小镇格里 诺克镇中。这匹雕塑马是一座纪念碑，用来纪念那些曾在当地造船厂和工厂工作过的 马匹，雕塑的形象采用的是一般的役马，而非某个特定品种。克鲁萨是传统的苏格兰 盖尔语里面的一个名字，翻译过来叫克莱德。

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Global Peace Energy 世界和平能量 Artist Ronald A. Westerhuis

Equus Clutha 骏马克鲁萨 Artist Andy Scott

Material Stainless steel

Material Galvanized welded steel

Dimensions 300m high

Dimensions 3.5m H x 4m Lx 1m W

Location Hardanger, Norway

Location Greenock, Scotland

Photographer Paul Remmelts

Photographer Caroline Scott, Tam Nugent

The region of Hardanger, Norway, is known as the cultural heart of the nation, in the same time it is battling a large urbanization problem. Young professionals move easily to bigger towns in search of work. In 2008 Ronald A. Westerhuis presented his ambition to create a landmark of at least 150meter high. Ronald teamed up with Netherland-based engineers company “De Grontmij”.

The sculpture “Global Peace Energy” contains three large pillars, the largest pillar reaching 300 meters high. The pillars all connected, holding a 30-meter high polished stainless steel ball which represents the earth and will function as a conference center to develop educational consciousness about our planet and the possibilities of renewable energy. The sculpture is a tribute to the power and the natural beauty of the world in general and especially to the region of Hardager.

During the design period of “Global Peace Energy” ten large art works made by Ronald A.

Equus Clutha was sited in 2010 and is in the town of Greenock near to

Westerhuis were placed at different locations throughout Hardanger to make inhabitants aware of

Glasgow in west Scotland. The horse is a landmark to commemorate all of

art. In addition to the placement of the sculptures an educational program was started to teach

the horses which once worked in the shipyards and factories of the area

children about the History of their region and identity as well as asking their opinion on having a

and the sculpture is based on a generic work horse rather than a specific

landmark in their environment.

breed. Clutha is the name Clyde in traditional Gaelic language of Scotland.

挪威的哈丹格区因其作为国家文化中心而著名，与此同时，该区也面临着一项十分艰巨的挑战——城市化 问题。有一技之长的年轻人更倾向于到更大的城市找工作。在 2008 年，罗纳德·A·韦斯特豪斯表示他有一个 宏伟的目标，他要建一座至少 150 米高的标志性建筑，与罗纳德·A·韦斯特豪斯合作的是总部位于荷兰的 De Grontmij 工程公司。 雕塑《世界和平力量》有三根大柱子，其中最高的达到 300 米。三根相连的柱子托起了一个光亮的距地 30 米高的不锈钢球，这个球代表地球，它将成为一个会议中心，供人们探讨研究人类保护地球的意识，并探讨再 生能源的利用。这件雕塑赞美的是人类的力量和自然之美，尤指哈丹格地区。 在《世界和平能量》的设计期间，罗纳德·A·韦斯特豪斯有 10 部作品被安装在哈丹格区的各个地方，让 当地居民感受艺术的气息。除了安装雕塑，哈丹格区还启动了一个教育项目，该项目将教孩子学习他们所在地 区和祖先的历史，同时还要询问他们对于在自己周围建一座标志性建筑的看法。

《骏马克鲁萨》建于 2010 年，坐落于靠近格拉斯哥的一个苏格兰西部小镇格里 诺克镇中。这匹雕塑马是一座纪念碑，用来纪念那些曾在当地造船厂和工厂工作过的 马匹，雕塑的形象采用的是一般的役马，而非某个特定品种。克鲁萨是传统的苏格兰 盖尔语里面的一个名字，翻译过来叫克莱德。

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| Public Landscape Sculpture | 283

One Voice

Installed in March, 2009, as the first

同一个声音

City of Indio, “One Voice” seeks to physically

Artist Phillip K. Smith, III Material Powder-coated steel, Brushed stainless steel, Concrete, LED lighting

commissioned public art sculpture in the represent the voice, lives, and aspirations of teens. Designed in collaboration with the Youth Advisory Council for the new Indio Teen Center, the youth discussed their desire for a seemingly chaotic, energetic form with an internal sense of tranquility. Additionally, they

dimensionS 1.68m x 2.29m x 8.24m high

wanted something abstract, spontaneous,

Location Indio, California, USA

discovery. To this end, the 8.24-meter tall

and raw with a sense of surprise and piece is comprised of a seemingly abstract mesh of 16 positive words direct from those conversations, such as "motivation", "community", and "empowerment," that are water-jet cut out of stainless steel into a raw, graffiti font. The sculpture angles out 18 degrees towards the street, inviting viewers to pass through the 8 angled steel columns to experience the “tranquil,” open center prism that extends to the sky.

284 | Public Landscape Sculpture |

该方案是印第欧市第一座公共艺术雕塑，于 2009 年 3 月完工。 《同一个声音》致力于有形地展现青少年的声音、 生活和志向。新印第欧青少年中心与青年顾问委员会合作，征求了年轻人的意见，希望这一作品看似杂乱无章， 实则朝气蓬勃，同时又能带给人内在的安宁。不仅如此，他们还要求抽象、自然、原始、给人惊喜与探索之感。 最终，这座高 8.24 米的雕塑作品诞生了。这个看似抽象的网状结构事实上是从与青少年们的对话中截取出的 16 个积极的词汇，包括“动力”、“团队”、“激励自主”等，这些词汇被打磨成原始的涂鸦字体，附着在喷水切 割的不锈钢柱上。雕塑与街面成 72°角，观赏者会不由自主地穿进这 8 根斜钢柱围成的空间，体会片刻的“宁静”， 从中间向上望去，开放的棱柱结构高高地伸向苍穹。 | Public Landscape Sculpture | 285

One Voice

Installed in March, 2009, as the first

同一个声音

City of Indio, “One Voice” seeks to physically

Artist Phillip K. Smith, III Material Powder-coated steel, Brushed stainless steel, Concrete, LED lighting

commissioned public art sculpture in the represent the voice, lives, and aspirations of teens. Designed in collaboration with the Youth Advisory Council for the new Indio Teen Center, the youth discussed their desire for a seemingly chaotic, energetic form with an internal sense of tranquility. Additionally, they

dimensionS 1.68m x 2.29m x 8.24m high

wanted something abstract, spontaneous,

Location Indio, California, USA

discovery. To this end, the 8.24-meter tall

and raw with a sense of surprise and piece is comprised of a seemingly abstract mesh of 16 positive words direct from those conversations, such as "motivation", "community", and "empowerment," that are water-jet cut out of stainless steel into a raw, graffiti font. The sculpture angles out 18 degrees towards the street, inviting viewers to pass through the 8 angled steel columns to experience the “tranquil,” open center prism that extends to the sky.

284 | Public Landscape Sculpture |

该方案是印第欧市第一座公共艺术雕塑，于 2009 年 3 月完工。 《同一个声音》致力于有形地展现青少年的声音、 生活和志向。新印第欧青少年中心与青年顾问委员会合作，征求了年轻人的意见，希望这一作品看似杂乱无章， 实则朝气蓬勃，同时又能带给人内在的安宁。不仅如此，他们还要求抽象、自然、原始、给人惊喜与探索之感。 最终，这座高 8.24 米的雕塑作品诞生了。这个看似抽象的网状结构事实上是从与青少年们的对话中截取出的 16 个积极的词汇，包括“动力”、“团队”、“激励自主”等，这些词汇被打磨成原始的涂鸦字体，附着在喷水切 割的不锈钢柱上。雕塑与街面成 72°角，观赏者会不由自主地穿进这 8 根斜钢柱围成的空间，体会片刻的“宁静”， 从中间向上望去，开放的棱柱结构高高地伸向苍穹。 | Public Landscape Sculpture | 285

Red Tail Hawk 红尾鹰

Approaching the east entrance to the Olinda Ranch Community one encounters a soaring, 6.1-meter wide, Red-tailed Hawk. Built of sheared, bronze strips welded together around a stainless steel armature, and supported by a 6.1-meter tall tapered

Artist Michael Stutz

pole, the sculpture combines twisting, woven,

material Bronze

with their potential for movement and feeling. The

Project Manager Jessica Cusick

to sparkle and dance through the sculptural space,

client the City of Brea Art in Public Places program

realms, and imparting a yielding, open quality to the

Medium Welded Bronze and Stainless steel, Steel pole dimension 9.76m x 6.1m x 3.66m Location Olinda Ranch Community, Brea, CA, USA

fluidity, with a bundled energy that recalls muscles latticed quality of the construction allows sun light shifting constantly between the internal and external large form.

"The Red Tail Hawk, an immediately recognized part of the local environment, is a majestic symbol of our close connection to the natural world, and a call to respect and protect the delicate balance with the earth that humans control." Michael Stutz.

Photographer Michael Stutz

290 | Public Landscape Sculpture |

| Public Landscape Sculpture | 291

Red Tail Hawk 红尾鹰

Approaching the east entrance to the Olinda Ranch Community one encounters a soaring, 6.1-meter wide, Red-tailed Hawk. Built of sheared, bronze strips welded together around a stainless steel armature, and supported by a 6.1-meter tall tapered

Artist Michael Stutz

pole, the sculpture combines twisting, woven,

material Bronze

with their potential for movement and feeling. The

Project Manager Jessica Cusick

to sparkle and dance through the sculptural space,

client the City of Brea Art in Public Places program

realms, and imparting a yielding, open quality to the

Medium Welded Bronze and Stainless steel, Steel pole dimension 9.76m x 6.1m x 3.66m Location Olinda Ranch Community, Brea, CA, USA

fluidity, with a bundled energy that recalls muscles latticed quality of the construction allows sun light shifting constantly between the internal and external large form.

"The Red Tail Hawk, an immediately recognized part of the local environment, is a majestic symbol of our close connection to the natural world, and a call to respect and protect the delicate balance with the earth that humans control." Michael Stutz.

Photographer Michael Stutz

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| Public Landscape Sculpture | 291

从奥林达农场社区的东门进入，一只高高翱翔于苍穹的“红尾鹰”映 入眼帘，雄鹰展翅，翼展足有 6.1 米宽。《红尾鹰》由修剪过的铜条围绕 着不锈钢支架焊接而成，栖息于 6.1 米高的锥形柱顶端，周身铜条缠绕交织， 线条流畅明快，似乎聚集了一股向上的能量，激发出其振翅高飞、遨游天 际的潜能。交叉缠绕的铜条之间形成诸多间隙，这时，阳光便精灵般地在 鹰的脊背上嬉戏耍闹起来，时而又躲进鹰的怀抱，展示了红尾鹰柔韧宽广 的胸怀。 “这只红尾鹰已成为当地显著的标志，象征着人类与自然紧密相连， 同时也是一个警示，在人类主宰的地球上，生态环境极其脆弱，需要人们 去尊重和细心呵护。”设计师 Michael Stutz 说道。

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| Public Landscape Sculpture | 293

从奥林达农场社区的东门进入，一只高高翱翔于苍穹的“红尾鹰”映 入眼帘，雄鹰展翅，翼展足有 6.1 米宽。《红尾鹰》由修剪过的铜条围绕 着不锈钢支架焊接而成，栖息于 6.1 米高的锥形柱顶端，周身铜条缠绕交织， 线条流畅明快，似乎聚集了一股向上的能量，激发出其振翅高飞、遨游天 际的潜能。交叉缠绕的铜条之间形成诸多间隙，这时，阳光便精灵般地在 鹰的脊背上嬉戏耍闹起来，时而又躲进鹰的怀抱，展示了红尾鹰柔韧宽广 的胸怀。 “这只红尾鹰已成为当地显著的标志，象征着人类与自然紧密相连， 同时也是一个警示，在人类主宰的地球上，生态环境极其脆弱，需要人们 去尊重和细心呵护。”设计师 Michael Stutz 说道。

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| Public Landscape Sculpture | 293

Rise 崛起 Artist Andy Scott material Galvanized welded steel dimensionS 6m H x 4m W x 1m D Location Glasgow, Scotland Photographer Andy Scott

Rise is sited near the River Clyde in the west of the city of Glasgow. She represents the maritime heritage of the river and where she stands was once docks and shipyards. Her wings are based on the shape of ship’s propellers and the steel is sculpted spiraling upwards to represent aspiration and hope. 《崛起》矗立于格拉斯哥城西部克莱德河的岸边。它代表着该河的航海文化，其所在位置 曾是码头和造船厂。其双翼以船的螺旋桨为原型设计，周身由呈螺旋形上升的薄钢片组成，象 征着希望的曙光。

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| Public Landscape Sculpture | 295

Rise 崛起 Artist Andy Scott material Galvanized welded steel dimensionS 6m H x 4m W x 1m D Location Glasgow, Scotland Photographer Andy Scott

Rise is sited near the River Clyde in the west of the city of Glasgow. She represents the maritime heritage of the river and where she stands was once docks and shipyards. Her wings are based on the shape of ship’s propellers and the steel is sculpted spiraling upwards to represent aspiration and hope. 《崛起》矗立于格拉斯哥城西部克莱德河的岸边。它代表着该河的航海文化，其所在位置 曾是码头和造船厂。其双翼以船的螺旋桨为原型设计，周身由呈螺旋形上升的薄钢片组成，象 征着希望的曙光。

294 | Public Landscape Sculpture |

| Public Landscape Sculpture | 295

The Cob Horse 矮脚马 Artist Andy Scott

material Galvanized welded steel

The Cob was commissioned in 2010, and is in the east of London. It represents the history and

Dimensions 5.5m T x 2m W x 5m L

of those people have now settled in that area, and the area now has Cob horses grazing in the

Location Bexley, London,UK

local landmark, and symbolizes the defiant and proud nature of the local working class people of

Photographer Andy Scott

heritage of the gypsy people who once used these horses for their transport. Many descendants fields between the buildings and factories. The sculpture is now a well known and much loved the area.

material Galvanized welded steel

Location Dumbarton, Scotland

Dimensions 6m H x 4m W x 1m D

Photographer Andy Scott

《牡鹿》位于苏格兰西部洛蒙德湖附近的一个新商业园内，洛蒙 德湖是英国最大的湖泊。开发者希望为当地的发展历程矗立一座地标， 安迪·斯科特为此雕刻了《牡鹿》—— 苏格兰的代表性动物之一，并 用钢铁材质雕刻了牡鹿的倒影。如今，它已成为当地著名的地标。

the UK. The developers wanted a landmark to represent the

The Lomondgate Stag

development, so Andy Scott sculpted the symbolic animal

牡鹿

of Scotland, the stag, with its reflection sculpted from steel

Artist Andy Scott

The Lomondgate Stag is in a new business park near to Loch Lomond in the west of Scotland, which is the largest lake in

矮脚马于 2010 年受托制作，安放在 伦敦东部。矮脚马是吉普赛人历史与传统 的代言人，曾经是他们最常用的交通工具。 如今吉普赛人的后裔很多已定居在此，一 些矮脚马在楼房与工厂之间的田野上悠闲 地散步。该雕塑象征着当地工人阶级的傲 然不羁，已成为当地著名的地标，受到大 家的欢迎。

306 | Public Landscape Sculpture |

below it. It has become a very well know landmark for the area.

| Public Landscape Sculpture | 307

The Cob Horse 矮脚马 Artist Andy Scott

material Galvanized welded steel

The Cob was commissioned in 2010, and is in the east of London. It represents the history and

Dimensions 5.5m T x 2m W x 5m L

of those people have now settled in that area, and the area now has Cob horses grazing in the

Location Bexley, London,UK

local landmark, and symbolizes the defiant and proud nature of the local working class people of

Photographer Andy Scott

heritage of the gypsy people who once used these horses for their transport. Many descendants fields between the buildings and factories. The sculpture is now a well known and much loved the area.

material Galvanized welded steel

Location Dumbarton, Scotland

Dimensions 6m H x 4m W x 1m D

Photographer Andy Scott

《牡鹿》位于苏格兰西部洛蒙德湖附近的一个新商业园内，洛蒙 德湖是英国最大的湖泊。开发者希望为当地的发展历程矗立一座地标， 安迪·斯科特为此雕刻了《牡鹿》—— 苏格兰的代表性动物之一，并 用钢铁材质雕刻了牡鹿的倒影。如今，它已成为当地著名的地标。

the UK. The developers wanted a landmark to represent the

The Lomondgate Stag

development, so Andy Scott sculpted the symbolic animal

牡鹿

of Scotland, the stag, with its reflection sculpted from steel

Artist Andy Scott

The Lomondgate Stag is in a new business park near to Loch Lomond in the west of Scotland, which is the largest lake in

矮脚马于 2010 年受托制作，安放在 伦敦东部。矮脚马是吉普赛人历史与传统 的代言人，曾经是他们最常用的交通工具。 如今吉普赛人的后裔很多已定居在此，一 些矮脚马在楼房与工厂之间的田野上悠闲 地散步。该雕塑象征着当地工人阶级的傲 然不羁，已成为当地著名的地标，受到大 家的欢迎。

306 | Public Landscape Sculpture |

below it. It has become a very well know landmark for the area.

| Public Landscape Sculpture | 307

Hehe Xiexie 和和谐谐 Artist Zhang Huan Client Tomson Group

Materials Mirror Finished Stainless Steel Specifications

Location Shanghai, China Photographer Courtesy of Zhang Huan studio

Left side 600 x 420 x 380cm Right side 600 x 426 x 390cm 孔子曰：君子和而不同。儒家的社会责任感，道家的以静致远，佛家的因果思想，都是讲的和谐思想， 讲的天人合一、和谐社会、和谐发展、和谐城市、家和万事兴的世界观。《和和谐谐》作品形象是一对怀有 梦想、正义勇敢、坚持不懈、乐观向上、宽容、慷慨的坐姿熊猫。一个叫“和和”，一个叫“谐谐”，均由 镜面不锈钢材料制成，为上海世博会永久放置公共雕塑，矗立于世博轴北侧，靠近中国馆和台北馆。

Confucius said: True gentlemen are diverse while being harmonious. The “social responsibility” of Confucianism, the Taoist precept of "achieving success through inner tranquility", and the Buddhist ideals of cause and effect, they all speak to harmony of thought, heaven and man as one, harmonious society and development, harmonious cities and families bringing prosperity to the world. Hehe Xiexie is an image of two sitting pandas with dreams in their hearts, who are righteous and courageous, persevering and optimistic, as well as tolerant, and generous. In honor of the Shanghai World Expo, this piece will be erected on the north axis of the Shanghai Expo near the China and Taiwan Pavilions, to serve as a permanent public sculpture.

308 | Public Landscape Sculpture |

| Public Landscape Sculpture | 309

Hehe Xiexie 和和谐谐 Artist Zhang Huan Client Tomson Group

Materials Mirror Finished Stainless Steel Specifications

Location Shanghai, China Photographer Courtesy of Zhang Huan studio

Left side 600 x 420 x 380cm Right side 600 x 426 x 390cm 孔子曰：君子和而不同。儒家的社会责任感，道家的以静致远，佛家的因果思想，都是讲的和谐思想， 讲的天人合一、和谐社会、和谐发展、和谐城市、家和万事兴的世界观。《和和谐谐》作品形象是一对怀有 梦想、正义勇敢、坚持不懈、乐观向上、宽容、慷慨的坐姿熊猫。一个叫“和和”，一个叫“谐谐”，均由 镜面不锈钢材料制成，为上海世博会永久放置公共雕塑，矗立于世博轴北侧，靠近中国馆和台北馆。

Confucius said: True gentlemen are diverse while being harmonious. The “social responsibility” of Confucianism, the Taoist precept of "achieving success through inner tranquility", and the Buddhist ideals of cause and effect, they all speak to harmony of thought, heaven and man as one, harmonious society and development, harmonious cities and families bringing prosperity to the world. Hehe Xiexie is an image of two sitting pandas with dreams in their hearts, who are righteous and courageous, persevering and optimistic, as well as tolerant, and generous. In honor of the Shanghai World Expo, this piece will be erected on the north axis of the Shanghai Expo near the China and Taiwan Pavilions, to serve as a permanent public sculpture.

308 | Public Landscape Sculpture |

| Public Landscape Sculpture | 309

A family of six sculptures placed throughout the plaza between the Palo Alto Main Library and Arts Center. The evolving series increases in complexity and expresses growth through a sequence. The sculptures are made up of multi-lingual phrases collected from the community, cut out of steel and welded together in threedimensional lantern-like forms.

Brilliance 光彩 Artist Joe O'Connell + Blessing Hancock Public Art

Materials stainless steel, LEDs, electronics, touch sensor Location Palo Alto,San Francisco, USA Photographer Blessing Hancock

《光彩》群雕由 6 件雕塑作品组成，位于帕罗奥多 中心图书馆和艺术中心之间的广场上。整组雕塑造型错综 复杂，按照一定的递进顺序展现出进步成长的发展过程。 雕塑由钢材经过焊接而成，造型如同一个个三维立体的空 心灯笼。作品的表面由不同的文字组成，这些文字取自于 周围社区。

316 | Public Landscape Sculpture |

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A family of six sculptures placed throughout the plaza between the Palo Alto Main Library and Arts Center. The evolving series increases in complexity and expresses growth through a sequence. The sculptures are made up of multi-lingual phrases collected from the community, cut out of steel and welded together in threedimensional lantern-like forms.

Brilliance 光彩 Artist Joe O'Connell + Blessing Hancock Public Art

Materials stainless steel, LEDs, electronics, touch sensor Location Palo Alto,San Francisco, USA Photographer Blessing Hancock

《光彩》群雕由 6 件雕塑作品组成，位于帕罗奥多 中心图书馆和艺术中心之间的广场上。整组雕塑造型错综 复杂，按照一定的递进顺序展现出进步成长的发展过程。 雕塑由钢材经过焊接而成，造型如同一个个三维立体的空 心灯笼。作品的表面由不同的文字组成，这些文字取自于 周围社区。

316 | Public Landscape Sculpture |

| Public Landscape Sculpture | 317

Cyclorama

Materials stainless steel, LEDs, custom LED fixtures

幻画

Location University of Central Florida, Orlando, FL, USA

Artist Joe O'Connell + Blessing Hancock Public Art

Photographer Kayla Hernandez

Cyclorama is a series of four sculptures placed between the Theater and Music buildings that create a contemporary stage set. Up close, the sculptures show themselves to be assembled from shapes and forms that tell archetypal stories in abstract form. At night LED lighting casts sharp colored shadows onto the trees, people, and nearby buildings.

《幻画》群雕由 4 部分构成，位于中佛罗里达大学剧院和音乐楼之间，红色的 雕塑作品呈现出一种当代舞台场景的视觉效果。近距离观察就会发现，雕塑上拼接 的图形以一种抽象的形式讲述着一个个原型故事。夜晚，LED 灯在雕塑周围的树木、 房屋和来往的行人身上，投射出一片片斑驳的光影。

318 | Public Landscape Sculpture |

| Public Landscape Sculpture | 319

Cyclorama

Materials stainless steel, LEDs, custom LED fixtures

幻画

Location University of Central Florida, Orlando, FL, USA

Artist Joe O'Connell + Blessing Hancock Public Art

Photographer Kayla Hernandez

Cyclorama is a series of four sculptures placed between the Theater and Music buildings that create a contemporary stage set. Up close, the sculptures show themselves to be assembled from shapes and forms that tell archetypal stories in abstract form. At night LED lighting casts sharp colored shadows onto the trees, people, and nearby buildings.

《幻画》群雕由 4 部分构成，位于中佛罗里达大学剧院和音乐楼之间，红色的 雕塑作品呈现出一种当代舞台场景的视觉效果。近距离观察就会发现，雕塑上拼接 的图形以一种抽象的形式讲述着一个个原型故事。夜晚，LED 灯在雕塑周围的树木、 房屋和来往的行人身上，投射出一片片斑驳的光影。

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Jaguar E-Type Sculpture 捷豹 E 系车雕塑 Designer Gerry Judah

。

Structural engineering Capita Symonds Fabrication and installation Littlehampton Welding

历史上很少有汽车能够与捷豹 E 系车的魅力相媲美。Malcolm Sayer 的绝妙设计、每小时 150 迈的速度、常胜冠 军的骄人战绩使捷豹 E 系车集完美的外形、激情的速度与安全可靠的性能于一身。1961 年 E 系车在日内瓦车展上一夜 爆红。尽管时尚更替，时光流逝，今天我们对于 E 系车的着迷一如 50 年前般强烈，那些优美流畅的线条仍然令人惊叹， 一如当年 Enzo Ferrari 对它的描述“有史以来最美的汽车”。 这座由 Gerry Judah 设计的雕塑高达 28 米，重量超过 175 吨——相当于 135 辆 E 系车，建造时使用的钢管长达 500 米，直径为 1200 毫米（12 米）。这座雕塑传递着人们对真正意义上的汽车偶像的崇高敬意。

Photographer David Barbour

Very few cars in history have matched the allure of the Jaguar E-Type. The sensational Malcolm Sayer design, 150 mph performance and race-winning heritage gave it a unique combination of beauty, speed and credibility. The E-Type was an overnight sensation when it was unveiled at the Geneva Motor Show in 1961. Despite changing fashions and the passage of time, our fascination with the E-Type is as strong today as it was 50 years ago, and those swooping curves are still as breathtaking as they were when Enzo Ferrari described it as “the most beautiful car ever made."

Constructed using half a kilometre of 1200mm diameter steel tube, this sculpture by Gerry Judah stands 28 metres tall and weighs over 175 tonnes – the equivalent to 135 E-types! A striking tribute to a true motoring icon.

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Jaguar E-Type Sculpture 捷豹 E 系车雕塑 Designer Gerry Judah

。

Structural engineering Capita Symonds Fabrication and installation Littlehampton Welding

历史上很少有汽车能够与捷豹 E 系车的魅力相媲美。Malcolm Sayer 的绝妙设计、每小时 150 迈的速度、常胜冠 军的骄人战绩使捷豹 E 系车集完美的外形、激情的速度与安全可靠的性能于一身。1961 年 E 系车在日内瓦车展上一夜 爆红。尽管时尚更替，时光流逝，今天我们对于 E 系车的着迷一如 50 年前般强烈，那些优美流畅的线条仍然令人惊叹， 一如当年 Enzo Ferrari 对它的描述“有史以来最美的汽车”。 这座由 Gerry Judah 设计的雕塑高达 28 米，重量超过 175 吨——相当于 135 辆 E 系车，建造时使用的钢管长达 500 米，直径为 1200 毫米（12 米）。这座雕塑传递着人们对真正意义上的汽车偶像的崇高敬意。

Photographer David Barbour

Very few cars in history have matched the allure of the Jaguar E-Type. The sensational Malcolm Sayer design, 150 mph performance and race-winning heritage gave it a unique combination of beauty, speed and credibility. The E-Type was an overnight sensation when it was unveiled at the Geneva Motor Show in 1961. Despite changing fashions and the passage of time, our fascination with the E-Type is as strong today as it was 50 years ago, and those swooping curves are still as breathtaking as they were when Enzo Ferrari described it as “the most beautiful car ever made."

Constructed using half a kilometre of 1200mm diameter steel tube, this sculpture by Gerry Judah stands 28 metres tall and weighs over 175 tonnes – the equivalent to 135 E-types! A striking tribute to a true motoring icon.

326 | Public Landscape Sculpture |

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Landscape architect Brian Clark + Associates Client Iowa State Worker's Monument Committee, State of Iowa Medium Bronze, stainless steel Dimensions 11' x 2' x 10.5 ' Location Des Moines Iowa, State capital grounds Photographer Michael Stutz

Iowa State Worker's Monument 爱荷华州工人纪念碑 Artist Michael Stutz

The open interior space of the sculpture frames a direct view of the Iowa State Capital building. Plantings, benches, and tables establish a park space, where workers and visitors relax, eat lunch, or work. On the open ends of the sculpture’s arms bronze letters spell the words “Diligence” and “Dignity” celebrating Iowans’ renown work ethic.

透过雕塑镂空的内部空间可以将爱荷华州政府大厦的景色尽收眼底。花圃、 长椅以及桌台等构成了一个公园，工人和游客们可以在此放松休息、进餐或者 工作。在雕塑手臂的尾端以青铜字母拼写的“勤奋”与“尊严”两个词颂扬着 爱荷华州人备受尊敬的职业道德。

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Landscape architect Brian Clark + Associates Client Iowa State Worker's Monument Committee, State of Iowa Medium Bronze, stainless steel Dimensions 11' x 2' x 10.5 ' Location Des Moines Iowa, State capital grounds Photographer Michael Stutz

Iowa State Worker's Monument 爱荷华州工人纪念碑 Artist Michael Stutz

The open interior space of the sculpture frames a direct view of the Iowa State Capital building. Plantings, benches, and tables establish a park space, where workers and visitors relax, eat lunch, or work. On the open ends of the sculpture’s arms bronze letters spell the words “Diligence” and “Dignity” celebrating Iowans’ renown work ethic.

透过雕塑镂空的内部空间可以将爱荷华州政府大厦的景色尽收眼底。花圃、 长椅以及桌台等构成了一个公园，工人和游客们可以在此放松休息、进餐或者 工作。在雕塑手臂的尾端以青铜字母拼写的“勤奋”与“尊严”两个词颂扬着 爱荷华州人备受尊敬的职业道德。

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| Public Landscape Sculpture | 329

Wolf Plaza 狼雕广场 Artist Michael Stutz

Client North Carolina State University at Raleigh Medium Welded Silicon Bronze Dimensions 5.5 - 8' tall, 3' wide, 9-12.5' long'

The Wolf Plaza at North Carolina State University is amidst a bustling space, an intersection of student life. Three 5.5 feet tall woven bronze wolf sculptures are seen walking in a steady procession across the plaza. One wolf has stopped to howl, expressing it’s voice and presence in the environment. Another wolf turns mid-stride to observe it’s speaking companion. The third determinedly prowls ahead.

The wolves play between order and transgression. They are arranged in a triangular plan that echoes the area’s classically formal landscaping, and the roof lines of the historic dormitory buildings that frame the site. Yet they reflect a “wild” spirit by choosing their own paths. The sculptures are over-scaled but exist on a non-heroic pedestrian level.

Wolf Plaza is about the journey as the destination. Those who pass through the site are exploring paths, expressing their goals, and pursuing their aspirations as North Carolina State University Students have done for generations.

Location North Carolina State University, Raliegh, NC Photographer Michael Stutz

位于北卡罗来纳州立大学的狼雕广场坐落在一个熙熙攘攘的校园中，是学生来来往往都要经过的地方。 3 个 1.68 米高，由青铜编织而成的狼看起来正稳步行进穿过广场。其中一只狼停下，仰天长啸，表达自己 的声音，证明着它的存在；另一只狼放慢脚步，半转身去观察它仰天长啸的同伴。第三只狼断然在前领路。 狼群在是与非之间游走。这三只狼的位置呈三角形，它们与这片区域的经典景观相互辉映，同时也和 环绕这片区域的历史悠久的宿舍楼的屋檐线相映成趣。这几匹狼自由地选择前行的道路，折射出一种桀骜 不驯的“野性”。 这些狼雕塑个头很大，但行进的步伐却不很威武，没有给人以骁勇善战的感觉。 狼雕广场就像一段走向终点的旅程。穿越这个广场的人都在探索前行的道路，表达他们心中的目标， 追求自己的理想，正如北卡罗来纳州立大学一代又一代的学生们所追求的。

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Wolf Plaza 狼雕广场 Artist Michael Stutz

Client North Carolina State University at Raleigh Medium Welded Silicon Bronze Dimensions 5.5 - 8' tall, 3' wide, 9-12.5' long'

The Wolf Plaza at North Carolina State University is amidst a bustling space, an intersection of student life. Three 5.5 feet tall woven bronze wolf sculptures are seen walking in a steady procession across the plaza. One wolf has stopped to howl, expressing it’s voice and presence in the environment. Another wolf turns mid-stride to observe it’s speaking companion. The third determinedly prowls ahead.

The wolves play between order and transgression. They are arranged in a triangular plan that echoes the area’s classically formal landscaping, and the roof lines of the historic dormitory buildings that frame the site. Yet they reflect a “wild” spirit by choosing their own paths. The sculptures are over-scaled but exist on a non-heroic pedestrian level.

Wolf Plaza is about the journey as the destination. Those who pass through the site are exploring paths, expressing their goals, and pursuing their aspirations as North Carolina State University Students have done for generations.

Location North Carolina State University, Raliegh, NC Photographer Michael Stutz

位于北卡罗来纳州立大学的狼雕广场坐落在一个熙熙攘攘的校园中，是学生来来往往都要经过的地方。 3 个 1.68 米高，由青铜编织而成的狼看起来正稳步行进穿过广场。其中一只狼停下，仰天长啸，表达自己 的声音，证明着它的存在；另一只狼放慢脚步，半转身去观察它仰天长啸的同伴。第三只狼断然在前领路。 狼群在是与非之间游走。这三只狼的位置呈三角形，它们与这片区域的经典景观相互辉映，同时也和 环绕这片区域的历史悠久的宿舍楼的屋檐线相映成趣。这几匹狼自由地选择前行的道路，折射出一种桀骜 不驯的“野性”。 这些狼雕塑个头很大，但行进的步伐却不很威武，没有给人以骁勇善战的感觉。 狼雕广场就像一段走向终点的旅程。穿越这个广场的人都在探索前行的道路，表达他们心中的目标， 追求自己的理想，正如北卡罗来纳州立大学一代又一代的学生们所追求的。

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| Public Landscape Sculpture | 335

Bronze Sculpture 铜雕塑 Artist Gianfranco Meggiato

Location Pietrasanta, Lucca, Italy Photographer Alessandro Calzolaro

By taking into account the reflections of this artist on Gianfranco Meggiato’s work, first of all, one element has to be pointed out: the relationship between the internal and the external which Meggiato offers us. Here, it is not just the contrast between empty and full, or between concave and convex surfaces, lights and shadows. It is rather a psychological map to be followed. By following his hands, from the surface, it is necessary to penetrate the inner cavities, looking for a central nucleus, scouring the microcosm of a planetary system, and of a contracting orbital movement. But these intro sculptures by Meggiato leave no room to indefiniteness; and if their way to talk about man looking for himself is questioning and dramatic, they nevertheless know how to occupy and contain space in an authoritative, significant and complete way. 考虑到詹弗兰科 • 梅加托（Gianfranco Meggiato）作品的设计思想，首先要指出的是： 梅加托为我们呈现出了事物内、外部之间的关系。这里指的并不仅仅是空心和实心的对比， 也不是凹面和凸面的对比，更不是光线和影子的对比，而是人们追随的心灵轨迹。跟随着设 计师的双手，这件雕塑值得我们透过表面穿到内部进行一次探索，去寻找核心，在这个缩小 的行星系里漫游，探索这个小宇宙的运行轨道。但是，梅加托的这件内凹雕塑的轨迹并非无 迹可循。倘若说这条关于人类寻找自我的轨迹是未知的或戏剧的，那么这件雕塑就知道如何 坚定、有效，并且充分地利用和分布空间。

Ratto D'Europa 牛背上的欧罗巴 Artist Fernando Botero

Location Pietrasanta, Lucca, Italy Photographer Alessandro Calzolaro

The art of Botero reveals a universe more complex than it may appear at first superficial view : it is much more than a successful stylistic , the opulence of his figures . Fernando Botero’s art is not just the story or representation, but carries with it the force of an inner vision , reveals the existence of an archetype , a first model of reference: that his work is crossed by the idea of repetition, investigation continues behind the appearance of a figure of expression .

博特罗的艺术作品所展示的远比第一眼给你的直观印象复杂得多：其作品 并不局限于成功的构图和丰富的人物形象。费尔南多·博特罗的艺术不仅仅是 阐述故事或作单一展示那么简单，这其中还裹挟着一种力量，引人遐想，突出 了神话原型的存在感，这是关于该传说的第一个雕塑模型。他的作品中多处运 用反复手法，每件雕塑作品都是不断深入探究的成果。

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| Public Landscape Sculpture | 339

Bronze Sculpture 铜雕塑 Artist Gianfranco Meggiato

Location Pietrasanta, Lucca, Italy Photographer Alessandro Calzolaro

By taking into account the reflections of this artist on Gianfranco Meggiato’s work, first of all, one element has to be pointed out: the relationship between the internal and the external which Meggiato offers us. Here, it is not just the contrast between empty and full, or between concave and convex surfaces, lights and shadows. It is rather a psychological map to be followed. By following his hands, from the surface, it is necessary to penetrate the inner cavities, looking for a central nucleus, scouring the microcosm of a planetary system, and of a contracting orbital movement. But these intro sculptures by Meggiato leave no room to indefiniteness; and if their way to talk about man looking for himself is questioning and dramatic, they nevertheless know how to occupy and contain space in an authoritative, significant and complete way. 考虑到詹弗兰科 • 梅加托（Gianfranco Meggiato）作品的设计思想，首先要指出的是： 梅加托为我们呈现出了事物内、外部之间的关系。这里指的并不仅仅是空心和实心的对比， 也不是凹面和凸面的对比，更不是光线和影子的对比，而是人们追随的心灵轨迹。跟随着设 计师的双手，这件雕塑值得我们透过表面穿到内部进行一次探索，去寻找核心，在这个缩小 的行星系里漫游，探索这个小宇宙的运行轨道。但是，梅加托的这件内凹雕塑的轨迹并非无 迹可循。倘若说这条关于人类寻找自我的轨迹是未知的或戏剧的，那么这件雕塑就知道如何 坚定、有效，并且充分地利用和分布空间。

Ratto D'Europa 牛背上的欧罗巴 Artist Fernando Botero

Location Pietrasanta, Lucca, Italy Photographer Alessandro Calzolaro

The art of Botero reveals a universe more complex than it may appear at first superficial view : it is much more than a successful stylistic , the opulence of his figures . Fernando Botero’s art is not just the story or representation, but carries with it the force of an inner vision , reveals the existence of an archetype , a first model of reference: that his work is crossed by the idea of repetition, investigation continues behind the appearance of a figure of expression .

博特罗的艺术作品所展示的远比第一眼给你的直观印象复杂得多：其作品 并不局限于成功的构图和丰富的人物形象。费尔南多·博特罗的艺术不仅仅是 阐述故事或作单一展示那么简单，这其中还裹挟着一种力量，引人遐想，突出 了神话原型的存在感，这是关于该传说的第一个雕塑模型。他的作品中多处运 用反复手法，每件雕塑作品都是不断深入探究的成果。

338 | Public Landscape Sculpture |

| Public Landscape Sculpture | 339

Time Chasers

2010 年，里雄莱锡安市（以色列中部一座城市）决定重新设计位于城市大工 业区入口的园景区，旨在通过景观规划与开发，将该工业区与城市空间紧密联系 起来，使其外观与城市其他区域融为一体。 这块可用于雕塑的区域面积大约长 150 米，宽 30 米。该区与通往工业区的 干道平行，根据新的规划图，这里将铺上草坪，种上棕榈树。

时间的追逐者 Artist Uri Dushy

Location Ra'anana,Israel

In the year 2010, the Municipality of Rishon

various structures of clocks and gears. The

Le'zion (a city in central Israel) decided to

sculptures emphasize the race to get things

redesign landscaped areas at the entrance to

done, in which the targets keep receding and

the city's large industrial zone.

leave us unsatisfied. However, the idea is

The objective was to link the industrial area to

The integration of human figures and

and landscaping, thus integrating its

gears can also be seen as reflecting the

appearance with that of the rest of the city.

link between the industrial zone and the

340 | Public Landscape Sculpture |

该雕塑系列整体采用暖色系，不仅色调与周围景观和谐相融，同时还为奔跑 的人物形象增添了一丝生机与趣味。 总之，这三件雕塑都是为整个项目打造的，每件雕塑大约高 3.5 米，长 5 米。

commercial/residential areas of the city.

was about 150 meters long by 30 meters

Colors of a warm palette were chosen for the

wide. The area was located parallel to the

sculptures, integrating with the landscape and

access road to the industrial zone, and - in

adding a sense of playfulness to the running

accordance with the new plan - was to be

figures.

planted with grass and palm trees.

人物雕塑和齿轮的咬合也可看作是工业区和城市商业 / 住宅区联系的象征。

presented with a forgiving smile.

the city’s urban space through development

The size of the area assigned for sculptures

为这片区域创作的雕塑系列被命名为《时间的追逐者》，展现的是不同的人 物塑像在各异的时钟和齿轮结构中奔跑的状态。雕塑强调了完成任务的速度，其中，

目标人物一直处于追赶的状态，结果永远不能让我们满意。然而，该雕塑的设计 思想却是想对之报以宽容的微笑。

In total, three works were created for this

The works created for this space are called

project, each sculpture measuring about 3.5

"Time Chasers", with figures running inside

meters high and 5 meters in length.

| Public Landscape Sculpture | 341

Time Chasers

2010 年，里雄莱锡安市（以色列中部一座城市）决定重新设计位于城市大工 业区入口的园景区，旨在通过景观规划与开发，将该工业区与城市空间紧密联系 起来，使其外观与城市其他区域融为一体。 这块可用于雕塑的区域面积大约长 150 米，宽 30 米。该区与通往工业区的 干道平行，根据新的规划图，这里将铺上草坪，种上棕榈树。

时间的追逐者 Artist Uri Dushy

Location Ra'anana,Israel

In the year 2010, the Municipality of Rishon

various structures of clocks and gears. The

Le'zion (a city in central Israel) decided to

sculptures emphasize the race to get things

redesign landscaped areas at the entrance to

done, in which the targets keep receding and

the city's large industrial zone.

leave us unsatisfied. However, the idea is

The objective was to link the industrial area to

The integration of human figures and

and landscaping, thus integrating its

gears can also be seen as reflecting the

appearance with that of the rest of the city.

link between the industrial zone and the

340 | Public Landscape Sculpture |

该雕塑系列整体采用暖色系，不仅色调与周围景观和谐相融，同时还为奔跑 的人物形象增添了一丝生机与趣味。 总之，这三件雕塑都是为整个项目打造的，每件雕塑大约高 3.5 米，长 5 米。

commercial/residential areas of the city.

was about 150 meters long by 30 meters

Colors of a warm palette were chosen for the

wide. The area was located parallel to the

sculptures, integrating with the landscape and

access road to the industrial zone, and - in

adding a sense of playfulness to the running

accordance with the new plan - was to be

figures.

planted with grass and palm trees.

人物雕塑和齿轮的咬合也可看作是工业区和城市商业 / 住宅区联系的象征。

presented with a forgiving smile.

the city’s urban space through development

The size of the area assigned for sculptures

为这片区域创作的雕塑系列被命名为《时间的追逐者》，展现的是不同的人 物塑像在各异的时钟和齿轮结构中奔跑的状态。雕塑强调了完成任务的速度，其中，

目标人物一直处于追赶的状态，结果永远不能让我们满意。然而，该雕塑的设计 思想却是想对之报以宽容的微笑。

In total, three works were created for this

The works created for this space are called

project, each sculpture measuring about 3.5

"Time Chasers", with figures running inside

meters high and 5 meters in length.

| Public Landscape Sculpture | 341

Location Ra'anana,Israel

New Jersey Devils Hockey Sculpture 新泽西魔鬼队雕塑 Artist Jon Krawczyk

“The New Jersey Devils Hockey sculpture was a project that I conceived of in 2005. The idea was to create a monumental sculpture that the average sports fan could experience and appreciate. How does one bring the abstract forms that I use and meld them with the human figure to create a sports icon. The monumental faceted stainless sculpture brought the two together. It gives the viewers a sense of awe and excitement and allows them to experience the world of abstract sculpture on their way to see the warriors of hockey do battle. It is visited by approximately 1 million people each year and is the focal point of the Prudential Centers Championship

2005 年 我 就 考 虑 过 新 泽 西 魔 鬼队雕塑项目的设计。当初的设计 意图是想建立一座能让普通冰球爱 好者体验和欣赏的纪念雕塑。如何 将我想表达的抽象概念具体地表达 出来？又如何将它们融合进一个人 物形象中以建立一座标志性运动雕 塑？这座经过啄面处理的不锈钢雕 塑完美地将上述两点结合到了一起。 雕塑让游客心生一种敬畏和激动之 情。使得人们在去欣赏冰球勇士作 战之前就能体验到雕塑想要表达的 这一抽象意境。这座雕塑的年访问 量接近 100 万，已经成为保诚中心 （Prudential Centers） 冠 军 广 场 （Championship plaza）上的焦点。 ——乔恩·克拉夫契可

plaza. ”Jon Krawczyk

342 | Public Landscape Sculpture |

| Public Landscape Sculpture | 343

Location Ra'anana,Israel

New Jersey Devils Hockey Sculpture 新泽西魔鬼队雕塑 Artist Jon Krawczyk

“The New Jersey Devils Hockey sculpture was a project that I conceived of in 2005. The idea was to create a monumental sculpture that the average sports fan could experience and appreciate. How does one bring the abstract forms that I use and meld them with the human figure to create a sports icon. The monumental faceted stainless sculpture brought the two together. It gives the viewers a sense of awe and excitement and allows them to experience the world of abstract sculpture on their way to see the warriors of hockey do battle. It is visited by approximately 1 million people each year and is the focal point of the Prudential Centers Championship

2005 年 我 就 考 虑 过 新 泽 西 魔 鬼队雕塑项目的设计。当初的设计 意图是想建立一座能让普通冰球爱 好者体验和欣赏的纪念雕塑。如何 将我想表达的抽象概念具体地表达 出来？又如何将它们融合进一个人 物形象中以建立一座标志性运动雕 塑？这座经过啄面处理的不锈钢雕 塑完美地将上述两点结合到了一起。 雕塑让游客心生一种敬畏和激动之 情。使得人们在去欣赏冰球勇士作 战之前就能体验到雕塑想要表达的 这一抽象意境。这座雕塑的年访问 量接近 100 万，已经成为保诚中心 （Prudential Centers） 冠 军 广 场 （Championship plaza）上的焦点。 ——乔恩·克拉夫契可

plaza. ”Jon Krawczyk

342 | Public Landscape Sculpture |

| Public Landscape Sculpture | 343

index 索引

Andy Scott Andy Scott is one of the UK’s leading public artists. He graduated from Glasgow School of Art in 1986 with a B.A. (Hons) Fine Art Sculpture and Post Grad Diploma and is an Associate of the Royal British Society of Sculptors.

The Glasgow-based practice is based on the creation of recognizable objects, rooted firmly in the realm of figurative art. He strives to create works which operate on varying levels of interpretation, from immediate © Graham Wylie appreciation to the considered appraisal and ownership of frequent viewers and local residents.

The artworks reflect strands of narrative suggested by place, people and their position. In many instances the artworks have become synonymous with areas, creating a powerful sense of identity to the communities which the artworks address and the broader public audience.

Many projects involve close collaboration with those communities in the design process.

The portfolio combines traditional sculptural dexterity with contemporary fabrication techniques, a reliance on three-dimensional draughtsmanship and the challenge of creating recognizable sculpture which displays intellectual rigour and research.

David Černý

ANNABAU architektur und landschaft

choriner str. 55 10435 berlin mail@annabau.com www.annabau.com

ANNABAU Architecture and Landscape ANNABAU is a young interdisciplinary office for architecture and landscape architecture based in Berlin. Office partners are landscape architect Sofia Petersson and architect Moritz Schloten.

Sofia Petersson was born in Karlshamn, Sweden in 1977. She received her Master of Landscape Architecture from the Swedish University of Agricultural Sciences in Malmö.

Since 2001 she is living in Berlin, where she has worked for renowned landscape architecture offices like TOPOTEK1 and Büro Kiefer before joining ANNABAU as a partner.

Moritz Schloten was born in Mühlheim a.d. Ruhr in 1971. He completed his architectural studies at the Berlin University of the Arts. After working in various offices in New York and Berlin he taught at the chair for Architecture Design at the Technical University of Dresden.

During his teaching assignment he founded the architecture office ANNABAU, which he now runs together with Sofia Petersson as ANNABAU Architektur und Landschaft.

ANNABAU is an office planning projects with a high demand on design and on spatial solution issues. High-quality execution, compliance with budget and schedule as well as flexibility are important to the company.

In addition to architecture projects in the private and public sectors ANNABAU designs gardens, parks, public squares and playgrounds. Extensive experience in energy planning and energy efficiency makes sustainability an integral part of the projects.

Born in 1967 in Prague, Czech Republic Studies and stipends 1995-1996 Whitney Museum Independent Study Program, New York, USA 1994-1995 P.S.I. artists residence, New York, USA 1991 Sculptor's residency grant Swiss government in Boswil, Switzerland 1988-1994 Academy of Applied Arts, Prof. Kurt Gebauer, Prague Grants and awards 2000 Chalupecky Prize, National prize for young artist, Czech Republic 1996 Pollock Krasner Foundation Grant, USA 1990 Special Prize in the Biennale of Kortrijk, Belgium Permanent installations since 2011 “Crychloids”, Celadna, Czech Republic since 2010 “Golem”, Poznan, Poland since 2008 “Embryo" theatre Na zabradli, Prague since 2006 “Metalmorphosis” fountain, Charlotte, USA, since 2005 “bus stop-stil-life” Liberec, Czech Republic since 2004 “three babies” Middelkerke, Belgium since 2004 “Streams” Hergetova Cihelna, Prague, Czech Republic since 2003 “Sochy / Brownnosers” Futura Gallery, Prague, Czech Republic since 2001 “10 Dkg Tanku / A Hundred Grams of Tank”, Lázne Bohdanec, Czech Republic since 2001 “Mimina / Babies”, TV tower, Prague, Czech Republic since 2000 “Czech native sceen”, autostadt Wolfsburg, Germany since 1999 “Saint Wenceslav”, Lucerna Passage, Prague, Czech Republic since 1994 “Pink Tank”, Vojenske Museum (Military Technical Museum), Lesany, Czech Republic since 1990 “Quo Vadis”, German ambassy Prague, Czech Republic

Heike Mutter and Ulrich Genth Heike Mutter and Ulrich Genth create together artistic projects in public space and exhibition venues since eight years. Their works are sitespecifically and contextually developed and reflect in a manifold way the conditions of publicness. Since 2007 the artist duo lives and works in Hamburg where Heike Mutter holds professorship at the Hochschule für bildende Künste.

344 | Index |

Rob Mulholland Rob Mulholland was born in 1961 in Glasgow, Scotland. He studied at Edinburgh College of Art and graduated with a BA [Hon ] degree in 1986. Since his emergence in the early 1990's Rob Mulholland has created thought provoking, conceptual art installations such as "Green Man"1991, Glasgow which was over 91.4-meter-long and made from over 300,000 re-cycled drinks cans. His current series of mirrored, reflective sculpted figures absorb their environment and reflect the constant flux of movement day by day.

His work explores the human relationship with the wider environment. His approach is not judgmental, more reflective and questioning about the ever-changing world around us.

The human desire to leave a trace of ones-self for future generations has always intrigued him. Each new installation adds to his visual dialogue. The themes of "sense of place" and "ancestry " persist in many of the works. In recent studio based installations Rob as introduced projected images over the figures. This new development in his work reflects his interest in the passing of time as the images projected are in slow motion.

May & Watkins Design May & Watkins Design creates large-scale public art projects, as well as interpretive exhibits for general audiences and for children. Their work includes indoor and outdoor sculpture, kinetic sculpture, mosaics, murals, set designs, interactive exhibits and private commissions. They are a turnkey design and fabrication company that can take a project from concept to completed installation.

Every installation they create is a unique, site-specific art work. They carefully consider the needs of the client and the community in their designs. They have worked closely with building and landscape architects and engineers. Their artworks can also be signature pieces for the institution, and can include amenities like drinking fountains, bollards, or seating.

Their interactive components are multi-media constructs that often incorporate light, sound and movement, as well as tactile and visual stimuli. They invite multi-age level participation and are safe, child-friendly and attractive.

Their services include narrative statements, thumbnails, bubble plans, artist’s renderings, floor plans, elevations, models and construction drawings and final fabrication. The client is fully informed throughout the process, and participates in the design process.

Park, Chan-girl Educational Background - B.F.A in Sculpture Chungnam National Univ. Korea - M.F.A in Fine art KyungHee Univ. Korea Solo Exhibitions & Art Fair (Year, Title, Venue) (City and Country if held overseas) 2012 Seoul International Sculpture FESTA (Hangaram Art museum) 2012 Chairman with Artist Park Chan-girl (Hangaram Art museum) 2012 COAS exhibition by Misulsegae (Insa art center) 2012 Outdoor exhibitions Invited by Daemyungresort 2012 Tongyung Artfair 2011-2012 KIAF/11 Korea International Art Fair (Hall A&B.COEX.Seoul) 2007-2011 Manif International Artfair (Hangaram Art museum) 2007 Dusan new artist Festival 2007 (Dusan art center) 2006 Daejeon International Art Festival 2006 (Daejeon museum of art) 2003 Solo Exhibition (Dongho gally) Group Exhibitions

Enrico Taranta The internationally-oriented team is led by Enrico Taranta. Before opening his own office in 2007 in Shanghai, he worked at Massilimiliano Fuksas and SMC Alsop. For Massilimiliano Fuksas, Taranta was involved in the design development of the Rome congress center “the cloud”, which almost finished construction. For SMC Alsop he worked on the design of the Shanghai “Bei Wai Tan” international Cruise terminal. He has been collaborating with designers from Copenhagen, New York, Miami, Shanghai and Nigeria. He collaborated with PTW Architects for the design of the “Water-cube” Beijing Olympic swimming center. His recent projects include Shanghai Tower Observatory Deck and China Ceramics Industry Headquarters. At a wide range of universities around China Enrico Taranta has been invited to give a lecture and he was a permanent lecturer at the interior design faculty of Donghua University RDI Shanghai. Enrico Taranta himself received his master diploma at the faculty of architecture in Rome.

Francisco Aires Mateus& Manuel Aires Mateus Steven Gregory Steven Gregory was born in South Africa in 1952 but grew up in London.

He studied sculpture at Central Saint Martins College of Art and Design, London.

Gregory’s determination to engage with tools and to learn traditional skills led him to complete a full stonemason’s apprenticeship, in which capacity he subsequently worked on Westminster Abbey and many other notable historic buildings.

His body of work combines a variety of materials, from electronic parts to semi– precious stones, to monumental bronzes. Gregory manages to be moving and wryly amusing at the same time, producing pieces that are intricately detailed and beautiful to look at.

Steven Gregory currently lives and works in London. (Photograph: Courtesy the Artist and Cass Sculpture Foundation)

Cezary Stulgis Born in Poland and currently based in Australia, Cezary Stulgis’ is a sculptor, painter and designer whose highly distinctive work fuses "nextlevel" aesthetics with classical craftsmanship – a reflection of his artistic roots in the street art movement of the mid-eighties and formal training as a sculptor and painter at the renowned Jan Matejko Academy of Fine Arts in Poland.

Cezary’s unique style and interdisciplinary skill-set has earned him a reputation internationally as a creative and technically proficient professional artist where he specialises in the development and implementation of public artworks, from design to installation. His versatility finds him equally at home working with architects on large urban landscape sculpture projects or in a studio with graphic designers. He has successfully completed numerous public art commissions in Australia, Poland and the United Kingdom and continues to exhibit extensively.

Mariana Martin Mariana was born in Buenos Aires, Argentina. She was first trained as an architect, completing a Masters degree at the "Universidad Politecnica de Madrid" in Spain. Later, she continued studying fine arts at the "Escuela Nacional de Bellas Artes Prilidiano Pueyrredon" in Buenos Aires gaining a teacher degree in sculpture.

She emigrated to Australia in 2007 and became an artist-in-residence at the Bundanon Trust in southern NSW. In 2011 her art installation "Journey Music" was displayed at "Sculpture by the Sea" at Cottesloe beach in Western Australia and at the "Swell Sculpture Festival" at Currumbin beach on the Gold Coast.

Francisco Aires Mateus Born in Lisbon, Portugal in 1964; Graduates as an architect F.A./U.T.L., Lisbon Portugal in 1987; Collaboration with architect Gonçalo Byrne since 1985; Collaboration with architect Manuel Aires Mateus since 1988.

Teaching Visiting professor at Oslo School of Architectura, Oslo 2009; Visiting professor at Graduate School of Design, Harvard University, USA, in 2005; Professor at Accademia di Architettura, Mendrisio, Università della Svizzera Italiana, since 2001; Professor at Universidade Autónoma in Lisbon since 1998; Invited Teacher for seminaries in Portugal, Spain, Italy, Switzerland, Argentina, England, Brazil, Mexico, Norway, Chile, Brazil, USA, Slovenia, Croatia, Canada, USA and Japan.

Manuel Aires Mateus Born in Lisbon, Portugal in 1963.

Graduates as an architect in F.A./U.T.L., Lisbon Portugal in 1986.

Collaboration with architect Gonçalo Byrne since 1983.

Collaboration with architect Francisco Aires Mateus since 1988.

Teaching Visiting professor at Graduate School of Design, Harvard University, USA, in 2002 and 2005; Visiting professor at Fakulteta za Arhitekturo,Universa v Ljubljani, Ljubljana, Slovenia in 2003/2004; Professor at Accademia di Architectura, Mendrisio, Switzerland, since 2001; Professor at Universidade Autónoma, Lisbon, since 1998; Professor at Universidade Lusíada, Lisbon, since 1997; Invited teacher for several seminars and conferences in: Argentina, Austria, Belgium, Brazil, Canada, Chile, Croatia, England, Germany, Ireland, Italy, Japan, Mexico, Norway, Portugal, Slovenia, Spain, Sweden, Switzerland and USA.

Patrick Dougherty Patrick Dougherty was born in Oklahoma, but grew up in North Carolina, where he roamed the woods as a child. As an adult, he combined his carpentry skills with his love of nature and began to learn about primitive techniques of building and to experiment with tree saplings as construction material. Beginning about 1980 with small works, fashioned in his backyard, he quickly moved from single pieces on conventional pedestals to monumental site-specific installations that require sticks by the truckload. To date he has built over two hundred and thirty such massive sculptures all over the world.

His home is his handmade house of log outside Chapel Hill, NC where he lives with his wife Linda and son Sam.

| Index |

345

index 索引

Andy Scott Andy Scott is one of the UK’s leading public artists. He graduated from Glasgow School of Art in 1986 with a B.A. (Hons) Fine Art Sculpture and Post Grad Diploma and is an Associate of the Royal British Society of Sculptors.

The Glasgow-based practice is based on the creation of recognizable objects, rooted firmly in the realm of figurative art. He strives to create works which operate on varying levels of interpretation, from immediate © Graham Wylie appreciation to the considered appraisal and ownership of frequent viewers and local residents.

The artworks reflect strands of narrative suggested by place, people and their position. In many instances the artworks have become synonymous with areas, creating a powerful sense of identity to the communities which the artworks address and the broader public audience.

Many projects involve close collaboration with those communities in the design process.

The portfolio combines traditional sculptural dexterity with contemporary fabrication techniques, a reliance on three-dimensional draughtsmanship and the challenge of creating recognizable sculpture which displays intellectual rigour and research.

David Černý

ANNABAU architektur und landschaft

choriner str. 55 10435 berlin mail@annabau.com www.annabau.com

ANNABAU Architecture and Landscape ANNABAU is a young interdisciplinary office for architecture and landscape architecture based in Berlin. Office partners are landscape architect Sofia Petersson and architect Moritz Schloten.

Sofia Petersson was born in Karlshamn, Sweden in 1977. She received her Master of Landscape Architecture from the Swedish University of Agricultural Sciences in Malmö.

Since 2001 she is living in Berlin, where she has worked for renowned landscape architecture offices like TOPOTEK1 and Büro Kiefer before joining ANNABAU as a partner.

Moritz Schloten was born in Mühlheim a.d. Ruhr in 1971. He completed his architectural studies at the Berlin University of the Arts. After working in various offices in New York and Berlin he taught at the chair for Architecture Design at the Technical University of Dresden.

During his teaching assignment he founded the architecture office ANNABAU, which he now runs together with Sofia Petersson as ANNABAU Architektur und Landschaft.

ANNABAU is an office planning projects with a high demand on design and on spatial solution issues. High-quality execution, compliance with budget and schedule as well as flexibility are important to the company.

In addition to architecture projects in the private and public sectors ANNABAU designs gardens, parks, public squares and playgrounds. Extensive experience in energy planning and energy efficiency makes sustainability an integral part of the projects.

Born in 1967 in Prague, Czech Republic Studies and stipends 1995-1996 Whitney Museum Independent Study Program, New York, USA 1994-1995 P.S.I. artists residence, New York, USA 1991 Sculptor's residency grant Swiss government in Boswil, Switzerland 1988-1994 Academy of Applied Arts, Prof. Kurt Gebauer, Prague Grants and awards 2000 Chalupecky Prize, National prize for young artist, Czech Republic 1996 Pollock Krasner Foundation Grant, USA 1990 Special Prize in the Biennale of Kortrijk, Belgium Permanent installations since 2011 “Crychloids”, Celadna, Czech Republic since 2010 “Golem”, Poznan, Poland since 2008 “Embryo" theatre Na zabradli, Prague since 2006 “Metalmorphosis” fountain, Charlotte, USA, since 2005 “bus stop-stil-life” Liberec, Czech Republic since 2004 “three babies” Middelkerke, Belgium since 2004 “Streams” Hergetova Cihelna, Prague, Czech Republic since 2003 “Sochy / Brownnosers” Futura Gallery, Prague, Czech Republic since 2001 “10 Dkg Tanku / A Hundred Grams of Tank”, Lázne Bohdanec, Czech Republic since 2001 “Mimina / Babies”, TV tower, Prague, Czech Republic since 2000 “Czech native sceen”, autostadt Wolfsburg, Germany since 1999 “Saint Wenceslav”, Lucerna Passage, Prague, Czech Republic since 1994 “Pink Tank”, Vojenske Museum (Military Technical Museum), Lesany, Czech Republic since 1990 “Quo Vadis”, German ambassy Prague, Czech Republic

Heike Mutter and Ulrich Genth Heike Mutter and Ulrich Genth create together artistic projects in public space and exhibition venues since eight years. Their works are sitespecifically and contextually developed and reflect in a manifold way the conditions of publicness. Since 2007 the artist duo lives and works in Hamburg where Heike Mutter holds professorship at the Hochschule für bildende Künste.

344 | Index |

Rob Mulholland Rob Mulholland was born in 1961 in Glasgow, Scotland. He studied at Edinburgh College of Art and graduated with a BA [Hon ] degree in 1986. Since his emergence in the early 1990's Rob Mulholland has created thought provoking, conceptual art installations such as "Green Man"1991, Glasgow which was over 91.4-meter-long and made from over 300,000 re-cycled drinks cans. His current series of mirrored, reflective sculpted figures absorb their environment and reflect the constant flux of movement day by day.

His work explores the human relationship with the wider environment. His approach is not judgmental, more reflective and questioning about the ever-changing world around us.

The human desire to leave a trace of ones-self for future generations has always intrigued him. Each new installation adds to his visual dialogue. The themes of "sense of place" and "ancestry " persist in many of the works. In recent studio based installations Rob as introduced projected images over the figures. This new development in his work reflects his interest in the passing of time as the images projected are in slow motion.

May & Watkins Design May & Watkins Design creates large-scale public art projects, as well as interpretive exhibits for general audiences and for children. Their work includes indoor and outdoor sculpture, kinetic sculpture, mosaics, murals, set designs, interactive exhibits and private commissions. They are a turnkey design and fabrication company that can take a project from concept to completed installation.

Every installation they create is a unique, site-specific art work. They carefully consider the needs of the client and the community in their designs. They have worked closely with building and landscape architects and engineers. Their artworks can also be signature pieces for the institution, and can include amenities like drinking fountains, bollards, or seating.

Their interactive components are multi-media constructs that often incorporate light, sound and movement, as well as tactile and visual stimuli. They invite multi-age level participation and are safe, child-friendly and attractive.

Their services include narrative statements, thumbnails, bubble plans, artist’s renderings, floor plans, elevations, models and construction drawings and final fabrication. The client is fully informed throughout the process, and participates in the design process.

Park, Chan-girl Educational Background - B.F.A in Sculpture Chungnam National Univ. Korea - M.F.A in Fine art KyungHee Univ. Korea Solo Exhibitions & Art Fair (Year, Title, Venue) (City and Country if held overseas) 2012 Seoul International Sculpture FESTA (Hangaram Art museum) 2012 Chairman with Artist Park Chan-girl (Hangaram Art museum) 2012 COAS exhibition by Misulsegae (Insa art center) 2012 Outdoor exhibitions Invited by Daemyungresort 2012 Tongyung Artfair 2011-2012 KIAF/11 Korea International Art Fair (Hall A&B.COEX.Seoul) 2007-2011 Manif International Artfair (Hangaram Art museum) 2007 Dusan new artist Festival 2007 (Dusan art center) 2006 Daejeon International Art Festival 2006 (Daejeon museum of art) 2003 Solo Exhibition (Dongho gally) Group Exhibitions

Enrico Taranta The internationally-oriented team is led by Enrico Taranta. Before opening his own office in 2007 in Shanghai, he worked at Massilimiliano Fuksas and SMC Alsop. For Massilimiliano Fuksas, Taranta was involved in the design development of the Rome congress center “the cloud”, which almost finished construction. For SMC Alsop he worked on the design of the Shanghai “Bei Wai Tan” international Cruise terminal. He has been collaborating with designers from Copenhagen, New York, Miami, Shanghai and Nigeria. He collaborated with PTW Architects for the design of the “Water-cube” Beijing Olympic swimming center. His recent projects include Shanghai Tower Observatory Deck and China Ceramics Industry Headquarters. At a wide range of universities around China Enrico Taranta has been invited to give a lecture and he was a permanent lecturer at the interior design faculty of Donghua University RDI Shanghai. Enrico Taranta himself received his master diploma at the faculty of architecture in Rome.

Francisco Aires Mateus& Manuel Aires Mateus Steven Gregory Steven Gregory was born in South Africa in 1952 but grew up in London.

He studied sculpture at Central Saint Martins College of Art and Design, London.

Gregory’s determination to engage with tools and to learn traditional skills led him to complete a full stonemason’s apprenticeship, in which capacity he subsequently worked on Westminster Abbey and many other notable historic buildings.

His body of work combines a variety of materials, from electronic parts to semi– precious stones, to monumental bronzes. Gregory manages to be moving and wryly amusing at the same time, producing pieces that are intricately detailed and beautiful to look at.

Steven Gregory currently lives and works in London. (Photograph: Courtesy the Artist and Cass Sculpture Foundation)

Cezary Stulgis Born in Poland and currently based in Australia, Cezary Stulgis’ is a sculptor, painter and designer whose highly distinctive work fuses "nextlevel" aesthetics with classical craftsmanship – a reflection of his artistic roots in the street art movement of the mid-eighties and formal training as a sculptor and painter at the renowned Jan Matejko Academy of Fine Arts in Poland.

Cezary’s unique style and interdisciplinary skill-set has earned him a reputation internationally as a creative and technically proficient professional artist where he specialises in the development and implementation of public artworks, from design to installation. His versatility finds him equally at home working with architects on large urban landscape sculpture projects or in a studio with graphic designers. He has successfully completed numerous public art commissions in Australia, Poland and the United Kingdom and continues to exhibit extensively.

Mariana Martin Mariana was born in Buenos Aires, Argentina. She was first trained as an architect, completing a Masters degree at the "Universidad Politecnica de Madrid" in Spain. Later, she continued studying fine arts at the "Escuela Nacional de Bellas Artes Prilidiano Pueyrredon" in Buenos Aires gaining a teacher degree in sculpture.

She emigrated to Australia in 2007 and became an artist-in-residence at the Bundanon Trust in southern NSW. In 2011 her art installation "Journey Music" was displayed at "Sculpture by the Sea" at Cottesloe beach in Western Australia and at the "Swell Sculpture Festival" at Currumbin beach on the Gold Coast.

Francisco Aires Mateus Born in Lisbon, Portugal in 1964; Graduates as an architect F.A./U.T.L., Lisbon Portugal in 1987; Collaboration with architect Gonçalo Byrne since 1985; Collaboration with architect Manuel Aires Mateus since 1988.

Teaching Visiting professor at Oslo School of Architectura, Oslo 2009; Visiting professor at Graduate School of Design, Harvard University, USA, in 2005; Professor at Accademia di Architettura, Mendrisio, Università della Svizzera Italiana, since 2001; Professor at Universidade Autónoma in Lisbon since 1998; Invited Teacher for seminaries in Portugal, Spain, Italy, Switzerland, Argentina, England, Brazil, Mexico, Norway, Chile, Brazil, USA, Slovenia, Croatia, Canada, USA and Japan.

Manuel Aires Mateus Born in Lisbon, Portugal in 1963.

Graduates as an architect in F.A./U.T.L., Lisbon Portugal in 1986.

Collaboration with architect Gonçalo Byrne since 1983.

Collaboration with architect Francisco Aires Mateus since 1988.

Teaching Visiting professor at Graduate School of Design, Harvard University, USA, in 2002 and 2005; Visiting professor at Fakulteta za Arhitekturo,Universa v Ljubljani, Ljubljana, Slovenia in 2003/2004; Professor at Accademia di Architectura, Mendrisio, Switzerland, since 2001; Professor at Universidade Autónoma, Lisbon, since 1998; Professor at Universidade Lusíada, Lisbon, since 1997; Invited teacher for several seminars and conferences in: Argentina, Austria, Belgium, Brazil, Canada, Chile, Croatia, England, Germany, Ireland, Italy, Japan, Mexico, Norway, Portugal, Slovenia, Spain, Sweden, Switzerland and USA.

Patrick Dougherty Patrick Dougherty was born in Oklahoma, but grew up in North Carolina, where he roamed the woods as a child. As an adult, he combined his carpentry skills with his love of nature and began to learn about primitive techniques of building and to experiment with tree saplings as construction material. Beginning about 1980 with small works, fashioned in his backyard, he quickly moved from single pieces on conventional pedestals to monumental site-specific installations that require sticks by the truckload. To date he has built over two hundred and thirty such massive sculptures all over the world.

His home is his handmade house of log outside Chapel Hill, NC where he lives with his wife Linda and son Sam.

| Index |

345

Barbara Grygutis

Andrew Rogers Marco Cianfanelli Marco Cianfanelli is an artist who works across the public and private realms, engaging the world in terms of systems rather than discrete objects or fenced off territories. He is constantly looking to realize art where one doesn’t expect to find it and testing the possibilities for artistic intervention in the public realm. In so doing, he has been involved in a wide range of projects involving art, architecture and public space.

Cianfanelli’s work embodies a vast variety of media and materials, from laser cut materials, masked glass and digital imaging and branding to burnt mielie skins and sculpted sea sand.

Although he uses computer-aided design and technology in the production of his work, he often engages with the more visceral organic aspects of the material he works with. Marrying the application of data to more expressive gestural acts, he aims to set up a tension or dialogue between the controlled accuracies of the digital realm and the uncontrollable realities of being human.

Oyler Wu Collaborative D w a y n e O y l e r a n d J e n n y Wu e s t a b l i s h e d t h e architecture and design firm of Oyler Wu Collaborative in Los Angeles in 2004. The office has been published globally and is recognized for its experimentation in design, material research, and fabrication. Their recent projects include reALIze, an art installation based on the face of Muhammad Ali (designed in collaboration with Michael Kalish), Screenplay, the featured architectural installation at Dwell on Design 2012 made with 13,716 meters of rope, Netscape, a temporary pavilion for SciArc graduation constructed of 9 miles of knitted rope, and a 16-storey residential tower in Taipei, Taiwan, China. Dwayne Oyler and Jenny Wu are members of the design faculty at SCIArc and received Master of Architecture degrees from Harvard University. In 2012, the office received the AIA LA Presidential Awards for Emerging Practice as well as the Emerging Voices Award from the Architectural League, which spotlights firms with distinct design voices and the potential to influence the disciplines of architecture.

Yong-Ho Ji 1978 Born in Jun 30 in Chuncheon, Korea 1998 Moves to Seoul to start studies in Sculpture at Hongik University where he start to work with tires for the first time to create animals called Mutant

2005 2008 2009 2010

2011

After receiving B.F.A. moves to New York to start M.F.A program at New York University Solo exhibition, Mutant Mythos, Gana Art Gallery, New York Moves to seoul Solo exhibition, Mutant Color, Soca Art Center, Taipei, China His Art is My World - Encounter of the Two Worlds: Nam-Pyo Kim &Yong-Ho Ji Two Men Show,Gana Art Center, Seoul In Between Imagination and Reality: Yong-Ho Ji & Hwan-Kwon Yi Two Men Show, Times Square, Hong Kong, China Solo exhibition, Mutation, Canvas international art, Amsterdam

Kent Roberts Education San Francisco Art Institute, MFA, 1976 San Francisco Art Institute, BFA, 1974 University of New Mexico, BS Mechanical Engineering, 1969 Professional Experience San Francisco Museum of Modern Art -1979- to present Exhibition Design Manager, 1999 to present Operations/Installation Manager, 1992-1997 Installation Department Manager, 1985-1992,1997-98 Museum Technician, 1979-1985 Preparator, Hansen Fuller Gallery, 1976-1979 Public Commissions Palo Alto Housing Development – "Tree House", Palo Alto, California, 2011 San Francisco Art Commission –"Passage", Moscone recreation Center, 2010 San Jose Art Commission – "Souring Flight", Montgomery Monument, 2008 ETEC Systems, Portland, 1999 San Francisco City College Library – lobby benches , 1996 The Home Federal Loan Bank of San Francisco –"Three Bridges", 1992 Awards National Endowment for the Arts – grant,1980

346 | Index |

Andrew Rogers is a distinguished and internationally recognized artist.

International exhibits are frequent and his critically acclaimed sculptures and photographs are in numerous private and prominent public collections in Australia, South East Asia, the Middle East, Europe, the United States of America. He receives many international commissions and has created “Rhythms of Life”, the largest contemporary land art undertaking in the world, forming a chain of 48 massive stone sculptures, or Geoglyphs, around the globe. The project has involved over 7,000 people in 13 countries across 7 continents.

Solo Exhibitions 2013 City of New York, Dag Hammarskjold Plaza, New York, USA: Individuals 2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: The Winding Path, the Search for Truth 2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: Time and Space: Rhythms of Life 2012 Mossgreen Gallery, Victoria, Australia: Molten Concepts 2012 Wriston Art Galleries, Lawrence University, Wisconsin, USA: Andrew Rogers: Rhythms of Life 2012 Center for Contemporary Arts Santa Fe, New Mexico, USA: Rhythms of Life 2012 Aidekman Arts Center, Tufts University Art Gallery, Massachusetts, USA: Global Land Art: Projects by Andrew Rogers 2012 hammer gallery, Zurich, Switzerland: Rhythms of Life 2012 Nevada Museum of Art, Nevada, USA: Andrew Rogers Contemporary Geoglyphs 2011 Art Gallery, Istanbul, Turkey: Andrew Rogers Time and Space 2011 Momentum, Berlin, Germany: Time and Space: Drawing on the Earth 2011 18th Street Arts Center, Santa Monica, USA: Time and Space 2009 White Box Gallery, New York, USA: Andrew Rogers: Odysseys and Sitings (1998-2008)

Barbara Grygutis is an award-winning, US based sculptor and public artist whose work is in permanent public art collections throughout the United States and beyond, including Palm Beach County, Florida; Philadelphia, Pennsylvania; New York City; Washington DC; Denver, Colorado; Seattle, Washington; Columbus, Ohio; St. Paul, Minnesota; Calgary, Alberta, Canada; Phoenix, Arizona, and in Tucson, Arizona, where she lives and works. Light, natural daylight and artificial light, is integral to much of Barbara Grygutis’ work. With her formal training in architecture and fine art and an on-going love of historic preservation, public art combines her passions. The artist’s interest in nature is evident, and though the natural world provides the genesis of her working vocabulary, such forms are significantly altered through concept development, scale, and materials. Her works of art create a place of reflection, where the beauty of the natural world can be seen in the built environment.

Gijs Van Vaerenbergh Gijs Van Vaerenbergh is a partnership founded by Pieterjan Gijs (Leuven, 1983) and Arnout Van Vaerenbergh (Leuven, 1983), who have been creating projects together since 2007. Their work consists of site-specific interventions, installations and constructions that generate a mutual reaction with their environment. This results in an artistic practice devoted to a research into the fundaments of constructing itself and their impact on the spectator. Next to these experimental projects, Gijs Van Vaerenbergh also creates architectural projects in which they make use of the results of their experimental works. As such, they follow a trajectory in two directions: from experiment to architecture, and the other way around.

Julian Voss-Andreae Julian Voss-Andreae is a German sculptor based in Portland, Oregon.

Starting out as a painter he later changed course and studied physics, mathematics, and philosophy at the Universities of Berlin, Edinburgh and Vienna. Voss-Andreae pursued his graduate research in quantum physics, participating in a seminal experiment considered one of the modern milestones of unifying our everyday intuition with the famously bizarre world of quantum physics. He moved to the United States to study Sculpture at the Pacific Northwest College of Art from where he graduated in 2004.

Voss-Andreae’s work has quickly gained critical attention. His sculpture, often inspired by his background in science, has captured the attention of multiple institutions and collectors in the United States and abroad. Recent institutional commissions include large-scale outdoor monuments for the University of Minnesota and Rutgers University (New Jersey). VossAndreae's work has been featured in print and broadcast media worldwide.

Steinunn Thórarinsdóttir Steinunn Thórarinsdóttir is an Icelandic sculptor born in Reykjavik, Iceland in 1955. She lived in England and Italy where she got her training as a sculptor.

Steinunn has exhibited widely and her works are in many prominent private, public and corporate collections worldwide.

Steinunn has been working on figurative sculpture from the beginning of her career 35 years ago. Her figures are androgynous symbols of humanity, organic and explosive in their texture and formation. She utilizes many different materials to serve the ideas for her artistic expression. Her works engage and confront the viewer in a direct and physical way but also encourage private discourse and interaction. Steinunn has throughout her 35 year career made many monumental works, that incorporate abstract shapes which reflect specific ideas relevant to the concept of the work.

Apart from her studio work Steinunn has through the years done numerous public and private commissions both indoor in specific spaces as well as site specific outdoor works.

Derek Kinzett Contemporary Artist & Wire Sculptor Derek Kinzett was born in 1966, who completed his studies in Art & Design in 1984, majoring in wire sculpture and three-dimensional design.

In 2004 he launched "The Inner Spirit Collection" of hand crafted life size wire sculptures, which has continued to grow in size and content.

2012 "Inner Spirit" Solo Sculpture Exhibition for The National Trust, Lacock Abbey, Wiltshire, England.

Featured British Artist, The Daily Mail England.

Featured British Artist, TechMagazine China.

Featured British Artist, DifMagazine Portugal.

Featured British Artist, George Smith Design Chelsea. 587-589 The Kings Road London. SW6 2EH England.

Invited Tender: Solo exhibition Al Hamra Tower Kuwait.

2011 Selected as one of three British sculptors for The International Sculpture Symposium, South Korea.

Invited tender: Sports Sculpture for the 2012 Olympic Games London.LOCOG/GLA. Thirteen Sculptures from "The Inner Spirit Collection" published in two separate international Art Books, "Masters Of Landscape And Public Sculpture" published by Tainjin Ifeng Space Media Co China, and "Bike Art, Bicycles In Art Around The World", published by Publikat, Athens, Greece.

2010 Winner of The Showborough House Sculpture Exhibition, Gloucestershire, England.

"Peoples Prize".

2009 Featured British Artist, The Guardian.

Awarded Artist In Residence, Newstead Abbey, Nottinghamshire, England, with four commissioned sculptures for the Abbey's Rose Garden.

Michael Stutz Michael Stutz’s sculptures, whether playful, heroic, or natural… are always a response to their environment. His work is excessively crafted, expressive, and human. From disposable recycled cardboard, to ultra permanent bronze and steel, content is tied to the materials utilized, and often reflects the ideals of protecting and respecting the natural world.

Stutz uses the latest in technology, but is grounded in the warmth and soul of analog production, where perfection is relative and even the most ordered system can create unexpected surprises.

The California based artist’s seasoning as a painter, prop builder, and Mardi Gras parade float builder eventually culminated in San Francisco in 2000, when he installed his first permanent sculpture, a 30 foot long bronze, reclining nude atop the W Hotel. He has not stopped, since completing more than 20 large scale public and private commissions, and numerous gallery and museum shows. He is a coordinator, collaborator, and visioneer. His latest projects utilize flowing forms, projected light, and architectural space to create immersive spaces. “Public life is a theater of common experiences, art expands our shared stage.”

artists MILNE STONEHOUSE

Susan Milne and Greg Stonehouse

Susan Milne and Greg Stonehouse have been practicing artists for 20 years, in both the public domain and galleries. Their interdisciplinary approach enables them to respond to diverse environs, to develop artworks, which can be site specific, integrated and yet also intervene meaningfully to reinforce and build upon the cultural layers of the locale.

They have extensive experience in the process of collaboration with communities, architects, Councils, engineers and fabricators, are highly committed, and have achieved a high quality outcome for all projects.

Eleanor Cardozo "An appreciation for beauty is simply a stirring of the soul – seat of the deepest emotions, the soul is nurtured by beauty" Eleanor Cardozo.

Renowned for the finesse and precision of her bronze sculptures, her private and corporate commissions, including a Polo Player for Cartier and a Golfer for Volvo, range in size from miniatures to monuments.

Eleanor has been creating bronze sculptures for International Fine Art Collectors for over 20 years and has exhibited her works in St Tropez, Monaco, Paris, Gstaad, Geneva, Lausanne, Dubai, and London. Influenced from a young age by the Great Masters, Leonardo Da Vinci, Michelangelo, Donatello and later Rodin and Camille Claudel, Eleanor's biggest inspiration of all is the human being; its outer and inner beauty, its spirit, its intelligence and its limitless capabilities. "Beyond the beauty of the external form, there is something ineffable, some deep inner holy essence". She celebrates the beauty of figurative sculpture and considers the human form the greatest artistic challenge.

Eleanor believes that artists have a duty within society to raise the quality of artistic skill and subject matter, to inspire, and speak to our capacity for delight and wonder. For a thousand years art has been one of our great civilizing forces; the art of a nation reflects its society, which is why the role of the creative artist matters so much.

Eleanor lives and works in Geneva and her sculptures are among some of the most beautiful, intricate and meticulously conceived sculptures on the market today. Her work can be found in private collections and on public display throughout the World.

Ed Carpenter Ed Carpenter is an artist specializing in large-scale public installations ranging from architectural sculpture to infrastructure design. Since 1973 he has completed scores of projects for public, corporate, and ecclesiastical clients. Working internationally from his studio in Portland, Oregon, USA, Carpenter collaborates with a variety of expert consultants, subcontractors, and studio assistants. He personally oversees every step of each commission, and installs them himself with a crew of long-time helpers, except in the case of the largest objects, such as bridges.

While an interest in light has been fundamental to virtually all of Carpenter's work, he also embraces commissions that require new approaches and skills. This openness has led to increasing variety in his commissions and a wide range of sites and materials. Recent projects include interior and exterior sculptures, bridges, towers, and gateways. His use of glass in new configurations, programmed artificial lighting, and unusual tension structures have broken new ground in architectural art. He is known as an eager and open-minded collaborator as well as technical innovator.

Yaxi Zhang Yaxi Zhang is an Associate Professor in the Design Department of Sichuan Fine Arts Institute. She studied at the Secondary Art School attached to the Sichuan Fine Arts Institute (1982-1986) and graduated with an BFA in the Sculpture Department of the Sichuan Fine Arts Institute (1986-1991). Afterwards, she undertook her advanced studies at the Sculpture Department of the Central Fine Arts Academy of China (1993-1994). She obtained her MFA at the China Fine Arts University in the Zhejiang Province (2002-2003). In 2003, she held a three-month residency at the Cite Internationale des Arts in Paris France, with numerous visits to museums and sculpture parks in Holland, Belgium, Germany and Italy. During 2005-2006, she had fiveweek stay in England, visiting sites, sculpture parks and museums throughout London and the South-West.

She is currently pursuing her professional career as a sculptor in her own studio, executing numerous corporate and private commissions. She has participated in the national and international Sculpture conferences in China, Korea, and India and in Vietnam. Her sculpture works have been exhibited nationally and internationally and were collected by both national and international collectors. She has won numerous honors and awards in sculpture from national and international art institutions.

Tony Cragg Tony Cragg began working at a time when Minimalism and Concept Art were gaining ground.

Cragg recognized the need to produce work that developed “an alphabet of sculpture” from “all the materials and techniques that have been discovered to date.” Early works of the seventies were mostly made with found objects through which Cragg questioned and tested possibilities. Later pieces demonstrated a shift of interest to surface quality and how this could be manipulated through unlikely juxtapositions of materials such as bronze, steel, plastic, rubber, glass, wood, plaster and more. Cragg’s found works developed into a series of fabricated "vessels". These pestles and mortars, flasks, test tubes and vessels from which liquid flowed are clearly inspired by his early experience as a laboratory technician. These developed into a series entitled "Early Forms" in which Cragg’s interest was in the "container" as metaphor for the body.

His later works, known as "Rational Beings", develop this interest into a series of articulated columns, no longer concerned with the organic, but with the dynamic – as profiles emerge and disappear from their surfaces. (Photograph: Barney Hindle. Courtesy the Artist and Cass Sculpture Foundation)

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347

Barbara Grygutis

Andrew Rogers Marco Cianfanelli Marco Cianfanelli is an artist who works across the public and private realms, engaging the world in terms of systems rather than discrete objects or fenced off territories. He is constantly looking to realize art where one doesn’t expect to find it and testing the possibilities for artistic intervention in the public realm. In so doing, he has been involved in a wide range of projects involving art, architecture and public space.

Cianfanelli’s work embodies a vast variety of media and materials, from laser cut materials, masked glass and digital imaging and branding to burnt mielie skins and sculpted sea sand.

Although he uses computer-aided design and technology in the production of his work, he often engages with the more visceral organic aspects of the material he works with. Marrying the application of data to more expressive gestural acts, he aims to set up a tension or dialogue between the controlled accuracies of the digital realm and the uncontrollable realities of being human.

Oyler Wu Collaborative D w a y n e O y l e r a n d J e n n y Wu e s t a b l i s h e d t h e architecture and design firm of Oyler Wu Collaborative in Los Angeles in 2004. The office has been published globally and is recognized for its experimentation in design, material research, and fabrication. Their recent projects include reALIze, an art installation based on the face of Muhammad Ali (designed in collaboration with Michael Kalish), Screenplay, the featured architectural installation at Dwell on Design 2012 made with 13,716 meters of rope, Netscape, a temporary pavilion for SciArc graduation constructed of 9 miles of knitted rope, and a 16-storey residential tower in Taipei, Taiwan, China. Dwayne Oyler and Jenny Wu are members of the design faculty at SCIArc and received Master of Architecture degrees from Harvard University. In 2012, the office received the AIA LA Presidential Awards for Emerging Practice as well as the Emerging Voices Award from the Architectural League, which spotlights firms with distinct design voices and the potential to influence the disciplines of architecture.

Yong-Ho Ji 1978 Born in Jun 30 in Chuncheon, Korea 1998 Moves to Seoul to start studies in Sculpture at Hongik University where he start to work with tires for the first time to create animals called Mutant

2005 2008 2009 2010

2011

After receiving B.F.A. moves to New York to start M.F.A program at New York University Solo exhibition, Mutant Mythos, Gana Art Gallery, New York Moves to seoul Solo exhibition, Mutant Color, Soca Art Center, Taipei, China His Art is My World - Encounter of the Two Worlds: Nam-Pyo Kim &Yong-Ho Ji Two Men Show,Gana Art Center, Seoul In Between Imagination and Reality: Yong-Ho Ji & Hwan-Kwon Yi Two Men Show, Times Square, Hong Kong, China Solo exhibition, Mutation, Canvas international art, Amsterdam

Kent Roberts Education San Francisco Art Institute, MFA, 1976 San Francisco Art Institute, BFA, 1974 University of New Mexico, BS Mechanical Engineering, 1969 Professional Experience San Francisco Museum of Modern Art -1979- to present Exhibition Design Manager, 1999 to present Operations/Installation Manager, 1992-1997 Installation Department Manager, 1985-1992,1997-98 Museum Technician, 1979-1985 Preparator, Hansen Fuller Gallery, 1976-1979 Public Commissions Palo Alto Housing Development – "Tree House", Palo Alto, California, 2011 San Francisco Art Commission –"Passage", Moscone recreation Center, 2010 San Jose Art Commission – "Souring Flight", Montgomery Monument, 2008 ETEC Systems, Portland, 1999 San Francisco City College Library – lobby benches , 1996 The Home Federal Loan Bank of San Francisco –"Three Bridges", 1992 Awards National Endowment for the Arts – grant,1980

346 | Index |

Andrew Rogers is a distinguished and internationally recognized artist.

International exhibits are frequent and his critically acclaimed sculptures and photographs are in numerous private and prominent public collections in Australia, South East Asia, the Middle East, Europe, the United States of America. He receives many international commissions and has created “Rhythms of Life”, the largest contemporary land art undertaking in the world, forming a chain of 48 massive stone sculptures, or Geoglyphs, around the globe. The project has involved over 7,000 people in 13 countries across 7 continents.

Solo Exhibitions 2013 City of New York, Dag Hammarskjold Plaza, New York, USA: Individuals 2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: The Winding Path, the Search for Truth 2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: Time and Space: Rhythms of Life 2012 Mossgreen Gallery, Victoria, Australia: Molten Concepts 2012 Wriston Art Galleries, Lawrence University, Wisconsin, USA: Andrew Rogers: Rhythms of Life 2012 Center for Contemporary Arts Santa Fe, New Mexico, USA: Rhythms of Life 2012 Aidekman Arts Center, Tufts University Art Gallery, Massachusetts, USA: Global Land Art: Projects by Andrew Rogers 2012 hammer gallery, Zurich, Switzerland: Rhythms of Life 2012 Nevada Museum of Art, Nevada, USA: Andrew Rogers Contemporary Geoglyphs 2011 Art Gallery, Istanbul, Turkey: Andrew Rogers Time and Space 2011 Momentum, Berlin, Germany: Time and Space: Drawing on the Earth 2011 18th Street Arts Center, Santa Monica, USA: Time and Space 2009 White Box Gallery, New York, USA: Andrew Rogers: Odysseys and Sitings (1998-2008)

Barbara Grygutis is an award-winning, US based sculptor and public artist whose work is in permanent public art collections throughout the United States and beyond, including Palm Beach County, Florida; Philadelphia, Pennsylvania; New York City; Washington DC; Denver, Colorado; Seattle, Washington; Columbus, Ohio; St. Paul, Minnesota; Calgary, Alberta, Canada; Phoenix, Arizona, and in Tucson, Arizona, where she lives and works. Light, natural daylight and artificial light, is integral to much of Barbara Grygutis’ work. With her formal training in architecture and fine art and an on-going love of historic preservation, public art combines her passions. The artist’s interest in nature is evident, and though the natural world provides the genesis of her working vocabulary, such forms are significantly altered through concept development, scale, and materials. Her works of art create a place of reflection, where the beauty of the natural world can be seen in the built environment.

Gijs Van Vaerenbergh Gijs Van Vaerenbergh is a partnership founded by Pieterjan Gijs (Leuven, 1983) and Arnout Van Vaerenbergh (Leuven, 1983), who have been creating projects together since 2007. Their work consists of site-specific interventions, installations and constructions that generate a mutual reaction with their environment. This results in an artistic practice devoted to a research into the fundaments of constructing itself and their impact on the spectator. Next to these experimental projects, Gijs Van Vaerenbergh also creates architectural projects in which they make use of the results of their experimental works. As such, they follow a trajectory in two directions: from experiment to architecture, and the other way around.

Julian Voss-Andreae Julian Voss-Andreae is a German sculptor based in Portland, Oregon.

Starting out as a painter he later changed course and studied physics, mathematics, and philosophy at the Universities of Berlin, Edinburgh and Vienna. Voss-Andreae pursued his graduate research in quantum physics, participating in a seminal experiment considered one of the modern milestones of unifying our everyday intuition with the famously bizarre world of quantum physics. He moved to the United States to study Sculpture at the Pacific Northwest College of Art from where he graduated in 2004.

Voss-Andreae’s work has quickly gained critical attention. His sculpture, often inspired by his background in science, has captured the attention of multiple institutions and collectors in the United States and abroad. Recent institutional commissions include large-scale outdoor monuments for the University of Minnesota and Rutgers University (New Jersey). VossAndreae's work has been featured in print and broadcast media worldwide.

Steinunn Thórarinsdóttir Steinunn Thórarinsdóttir is an Icelandic sculptor born in Reykjavik, Iceland in 1955. She lived in England and Italy where she got her training as a sculptor.

Steinunn has exhibited widely and her works are in many prominent private, public and corporate collections worldwide.

Steinunn has been working on figurative sculpture from the beginning of her career 35 years ago. Her figures are androgynous symbols of humanity, organic and explosive in their texture and formation. She utilizes many different materials to serve the ideas for her artistic expression. Her works engage and confront the viewer in a direct and physical way but also encourage private discourse and interaction. Steinunn has throughout her 35 year career made many monumental works, that incorporate abstract shapes which reflect specific ideas relevant to the concept of the work.

Apart from her studio work Steinunn has through the years done numerous public and private commissions both indoor in specific spaces as well as site specific outdoor works.

Derek Kinzett Contemporary Artist & Wire Sculptor Derek Kinzett was born in 1966, who completed his studies in Art & Design in 1984, majoring in wire sculpture and three-dimensional design.

In 2004 he launched "The Inner Spirit Collection" of hand crafted life size wire sculptures, which has continued to grow in size and content.

2012 "Inner Spirit" Solo Sculpture Exhibition for The National Trust, Lacock Abbey, Wiltshire, England.

Featured British Artist, The Daily Mail England.

Featured British Artist, TechMagazine China.

Featured British Artist, DifMagazine Portugal.

Featured British Artist, George Smith Design Chelsea. 587-589 The Kings Road London. SW6 2EH England.

Invited Tender: Solo exhibition Al Hamra Tower Kuwait.

2011 Selected as one of three British sculptors for The International Sculpture Symposium, South Korea.

Invited tender: Sports Sculpture for the 2012 Olympic Games London.LOCOG/GLA. Thirteen Sculptures from "The Inner Spirit Collection" published in two separate international Art Books, "Masters Of Landscape And Public Sculpture" published by Tainjin Ifeng Space Media Co China, and "Bike Art, Bicycles In Art Around The World", published by Publikat, Athens, Greece.

2010 Winner of The Showborough House Sculpture Exhibition, Gloucestershire, England.

"Peoples Prize".

2009 Featured British Artist, The Guardian.

Awarded Artist In Residence, Newstead Abbey, Nottinghamshire, England, with four commissioned sculptures for the Abbey's Rose Garden.

Michael Stutz Michael Stutz’s sculptures, whether playful, heroic, or natural… are always a response to their environment. His work is excessively crafted, expressive, and human. From disposable recycled cardboard, to ultra permanent bronze and steel, content is tied to the materials utilized, and often reflects the ideals of protecting and respecting the natural world.

Stutz uses the latest in technology, but is grounded in the warmth and soul of analog production, where perfection is relative and even the most ordered system can create unexpected surprises.

The California based artist’s seasoning as a painter, prop builder, and Mardi Gras parade float builder eventually culminated in San Francisco in 2000, when he installed his first permanent sculpture, a 30 foot long bronze, reclining nude atop the W Hotel. He has not stopped, since completing more than 20 large scale public and private commissions, and numerous gallery and museum shows. He is a coordinator, collaborator, and visioneer. His latest projects utilize flowing forms, projected light, and architectural space to create immersive spaces. “Public life is a theater of common experiences, art expands our shared stage.”

artists MILNE STONEHOUSE

Susan Milne and Greg Stonehouse

Susan Milne and Greg Stonehouse have been practicing artists for 20 years, in both the public domain and galleries. Their interdisciplinary approach enables them to respond to diverse environs, to develop artworks, which can be site specific, integrated and yet also intervene meaningfully to reinforce and build upon the cultural layers of the locale.

They have extensive experience in the process of collaboration with communities, architects, Councils, engineers and fabricators, are highly committed, and have achieved a high quality outcome for all projects.

Eleanor Cardozo "An appreciation for beauty is simply a stirring of the soul – seat of the deepest emotions, the soul is nurtured by beauty" Eleanor Cardozo.

Renowned for the finesse and precision of her bronze sculptures, her private and corporate commissions, including a Polo Player for Cartier and a Golfer for Volvo, range in size from miniatures to monuments.

Eleanor has been creating bronze sculptures for International Fine Art Collectors for over 20 years and has exhibited her works in St Tropez, Monaco, Paris, Gstaad, Geneva, Lausanne, Dubai, and London. Influenced from a young age by the Great Masters, Leonardo Da Vinci, Michelangelo, Donatello and later Rodin and Camille Claudel, Eleanor's biggest inspiration of all is the human being; its outer and inner beauty, its spirit, its intelligence and its limitless capabilities. "Beyond the beauty of the external form, there is something ineffable, some deep inner holy essence". She celebrates the beauty of figurative sculpture and considers the human form the greatest artistic challenge.

Eleanor believes that artists have a duty within society to raise the quality of artistic skill and subject matter, to inspire, and speak to our capacity for delight and wonder. For a thousand years art has been one of our great civilizing forces; the art of a nation reflects its society, which is why the role of the creative artist matters so much.

Eleanor lives and works in Geneva and her sculptures are among some of the most beautiful, intricate and meticulously conceived sculptures on the market today. Her work can be found in private collections and on public display throughout the World.

Ed Carpenter Ed Carpenter is an artist specializing in large-scale public installations ranging from architectural sculpture to infrastructure design. Since 1973 he has completed scores of projects for public, corporate, and ecclesiastical clients. Working internationally from his studio in Portland, Oregon, USA, Carpenter collaborates with a variety of expert consultants, subcontractors, and studio assistants. He personally oversees every step of each commission, and installs them himself with a crew of long-time helpers, except in the case of the largest objects, such as bridges.

While an interest in light has been fundamental to virtually all of Carpenter's work, he also embraces commissions that require new approaches and skills. This openness has led to increasing variety in his commissions and a wide range of sites and materials. Recent projects include interior and exterior sculptures, bridges, towers, and gateways. His use of glass in new configurations, programmed artificial lighting, and unusual tension structures have broken new ground in architectural art. He is known as an eager and open-minded collaborator as well as technical innovator.

Yaxi Zhang Yaxi Zhang is an Associate Professor in the Design Department of Sichuan Fine Arts Institute. She studied at the Secondary Art School attached to the Sichuan Fine Arts Institute (1982-1986) and graduated with an BFA in the Sculpture Department of the Sichuan Fine Arts Institute (1986-1991). Afterwards, she undertook her advanced studies at the Sculpture Department of the Central Fine Arts Academy of China (1993-1994). She obtained her MFA at the China Fine Arts University in the Zhejiang Province (2002-2003). In 2003, she held a three-month residency at the Cite Internationale des Arts in Paris France, with numerous visits to museums and sculpture parks in Holland, Belgium, Germany and Italy. During 2005-2006, she had fiveweek stay in England, visiting sites, sculpture parks and museums throughout London and the South-West.

She is currently pursuing her professional career as a sculptor in her own studio, executing numerous corporate and private commissions. She has participated in the national and international Sculpture conferences in China, Korea, and India and in Vietnam. Her sculpture works have been exhibited nationally and internationally and were collected by both national and international collectors. She has won numerous honors and awards in sculpture from national and international art institutions.

Tony Cragg Tony Cragg began working at a time when Minimalism and Concept Art were gaining ground.

Cragg recognized the need to produce work that developed “an alphabet of sculpture” from “all the materials and techniques that have been discovered to date.” Early works of the seventies were mostly made with found objects through which Cragg questioned and tested possibilities. Later pieces demonstrated a shift of interest to surface quality and how this could be manipulated through unlikely juxtapositions of materials such as bronze, steel, plastic, rubber, glass, wood, plaster and more. Cragg’s found works developed into a series of fabricated "vessels". These pestles and mortars, flasks, test tubes and vessels from which liquid flowed are clearly inspired by his early experience as a laboratory technician. These developed into a series entitled "Early Forms" in which Cragg’s interest was in the "container" as metaphor for the body.

His later works, known as "Rational Beings", develop this interest into a series of articulated columns, no longer concerned with the organic, but with the dynamic – as profiles emerge and disappear from their surfaces. (Photograph: Barney Hindle. Courtesy the Artist and Cass Sculpture Foundation)

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347

Ronald A. Westerhuis Ronald A. Westerhuis is a Dutch artist and the creator of international land art sculpture projects and numerous monumental steel sculpture pieces for both public spaces and private collections.

After a search through the world, seven years of travel. Starting a career in the offshore world; surrounded by oilrigs, heavy structures and massive pieces of stainless steel.

Working with stainless steel, a metal as cold, hard, indestructible as vulnerable and sensitive; a medium full of character inviting to touch.

Ronald creates sculptures as elements of positive energy on its surrounding. Lines, balance, gravity, finishing and new techniques are explored in his work.

Ronald has been commissioned to create major land art projects in Hardanger, Norway (2004) and Lankhorst, Netherlands (2011) as well as public steel sculpture projects such as "Pride" created for Shell headquarters in Amsterdam (2009) and RAWSOME! created for Museum de Fundatie and Mojo Concerts, organizer of the LowLands Festival (2011).

Rick Kirby Education 1969-1970 Somerset College of Art. 1970-1973 Newport College of Art. B.A. (Fine Art) 1973-1974 Birmingham University. A.T.D Public Commissions 2012. Fulham Reach, Northbank, London.

2011. Gt. Fosters, Virginia Waters.

2009. Silver Street, Bedford, Bedfordshire.

2008. Innovation Center, Lincoln, Lincolnshire.

2008. Grand Arcade, Wigan, Lancashire.

2008. The Atrium, Camberley, Surrey.

2007. Northern Entrance, Wellingborough, Northamptonshire.

2007. Lincoln Drill Hall, Lincoln, Lincolnshire.

2005. Endeavour Park, Boston, Lincolnshire.

2005. Portishead Quays, Port Marine, North Somerset.

2005. Upper Quays, Port Marine, Portishead, North Somerset.

2005. Alexandra Park, Hastings, East Sussex.

2004. William de Ferrers Center, South Woodham Ferrers, Essex.

2004. Rouse Kent Memorial, Kings Hill, Kent. (unveiled by H.R.H. Duke of Kent) 2004. Central Spine, Port Marine, Portishead, North Somerset.

2004. Ravenswood, Ipswich, Suffolk 2003. Marlowe Theatre, Canterbury, Kent.

2002. Burghley House, Lincolnshire.

2002. Central Park, Port Marine, Portishead, North Somerset.

2002. The National Trust, Sutton Hoo, Suffolk. (unveiled by Shamus Heaney) 2001. Calne Town Center, North Wiltshire. (unveiled by Her Majesty Queen Elizabeth II) …

Awards Essex Open, 1st. Prize.; First Data Resources; Eastern Arts ; Rouse Kent Public Art Award 1998. Judging Panel Member of Rouse Kent Public Art Award 2007.

Nasser Azam Nasser Azam (born in 1963, Jhelum, Pakistan) is a London-based British contemporary artist. Azam’s reputation was established in the early 1980s, with exhibitions at galleries in Birmingham and the West Midlands including the Barber Institute of Fine Arts. He also featured in a BBC documentary. In 2007, after an extended period living and traveling in Japan, Europe and America, Azam became Artist-in-Residence at County Hall Gallery, London, mounting a series of major exhibitions of early and recent work, including the critically acclaimed Anatomica in April 2008. He began working with sculpture, and in February 2008 a monumental bronze, The Dance, was unveiled on London’s South Bank. This was followed in July 2012 by the unveiling of Athena in the London City Airport; at 12 meters it is the tallest bronze sculpture in the UK. Azam has developed his painting in a series of projects that reflect his interest in extreme working condition and also painting as a performance, from Zero Gravity (Star City, Moscow, 2008), to the freezing ice deserts of Antarctica (2010), where he completed thirteen large paintings. A six meter high sculpture Evolutionary Loop 517 was unveiled outside the new research center and library at Aberdeen University in February 2013.

Boris Tellegen Revered worldwide since his first steps on the graffiti scene in the Eighties, Boris Tellegen, also known as Delta and his unique letters, has moved from drawings, paintings and collages bursting out or morphing into the wall to sculptures and gigantic installations.

His work is contrasting tensions : between flatness and projection, stillness and virtual movement, landscapes and abstraction.

"My work is about the chaos in order, or the order in chaos. Random logic maybe... Usually I do not see things in black or white as there is more than two sides to a story" Boris Tellegen.

348 | Index |

Scott Donahue

Jaakko Pernu

Education 1982 University of California, Davis, CA, M.F.A. 1975 Sculptor’s Assistant to Juan Lombardo, Cuernavaca, Mexico 1973 Philadelphia College of Art, Philadelphia, PA, B.F.A.

Jaakko Pernu is a Finnish sculptor and environmental artist living in the city of Oulu. Since 1988 he has been working mainly with environmental, not-permanent, large-scale, sometimes long-lasting art projects located in open landscape, city surroundings or in larger buildings.

Lately, he has been working mostly abroad creating many public works around Europe and Canada. Gradually he has developed growing interest in using also other than organic materials in his art.

Public Works 2010 Touching Earth, San Francisco Richmond District Library, San Francisco, CA 2010 The Chosen, 4508 Horton Street, Emeryville, CA 2009 Water Meets Land, 1301 Pinole Valley Road, Pinole, CA 2009 Berkeley Big People, I-80 at University Avenue, Berkeley, CA 2008 Human Hellix, 4300 Hacienda Drive Pleasanton, CA 2006 The Way It Was, 389 West El Camino Real, Sunnyvale, CA 2006 Stockton Rising, Arena Way, Stockton, CA 2005 Untitled, Central Police Station, Brentwood, CA 2002 Six Figures For BART, Bay Area Rapid Transit Station, Millbrae, CA 2001 Sigamé / Follow Me, Union Point Park, Oakland, CA 2001 Lost and Found, Bollinger Crossing Shopping Center, San Ramon, CA 2000 The Discussion, City Hall, Emeryville, CA 2000 Homage to Huntington Beach, Garfield & Goldenwest Streets, Huntington Beach, CA …

Conrad Shawcross Conrad Shawcross was born in 1977 and currently lives and works in London. He has studied at the Ruskin School of Art, Oxford gaining a degree in Fine Art in 1998 and a Masters in Fine Art from the Slade School of Art in 2001.

Shawcross’ work has been exhibited within the UK, Europe and the USA, including The Nervous Systems at Entwistle, London, 2003, The New Art Gallery of Walsall, Birmingham, The Walker Art Gallery, Liverpool, Parra & Romero, Madrid, Galerie Bernd Kluser, Munich in 2004 and Location One, New York.

He has also had group exhibitions at The Saatchi Gallery, London, Camden Arts Center and Northern Center for Contemporary Art, Sunderland.

Shawcross’ interest lies in science and rational systems and has led him to create sculpture that represents anatomical systems and exoskeletons. His work, although predominantly sculptural, always uses a number of different materials and resources, from his works featuring yarn looms in his "Ropemakers" series to his use of different wood structures and compositions in "Axioms". Aspects of Shawcross’ works also rely on small mechanisms and circuits, as seen in his "Preretroscopes" from 2002 to 2009. (Photograph: Barney Hindle.

Courtesy the Artist and Cass Sculpture Foundation)

Phillip K Smith III Phillip K Smith III explores and merges the disciplines of fine art, architecture and design. Smith, an award-winning designer and artist, was born in Los Angeles and is a graduate of the Rhode Island School of Design with a Bachelor of Architecture and Bachelor of Fine Arts. His work confronts ideas of modern art and design while employing new technologies to enhance his artistic practice, based in Indio, CA. Commissioned to create more than a dozen monumental public artworks in the last 5 years in Kansas City, Nashville, Oklahoma City, Arlington, VA, Phoenix and multiple California locations, Smith's work was featured in the 2008 Annual Review in Art in America. Smith was awarded the Palm Springs Art Museum’s 2010 Artist Residency, which produced the wellreceived 7.3-meter-long LED light piece, “Aperture” “Inhale/Exhale,” Smith’s 16.8-metertall piece in La Verne, California, is featured on the cover of 500 x Art in Public, by Chris van Uffelen, published by Braun in 2011.

Massimo Iosa Ghini Born in 1959, Massimo Iosa Ghini studied architecture in Florence and then graduated from Polytechnic Institute of Milan. Today he is considered one of the best known Italian architects and designers on the international scene.

Since 1985 he participates at the avant-garde of architecture and Italian design; he founded the cultural movement Bolidism and joined the Memphis group with Ettore Sottsass.

In 1989, he opened the Iosa Ghini Associates in Milan and Bologna. Nowadays he holds conferences and lectures in various universities, including the Polytechnic Institute of Milan, the Domus Academy, the University of Rome La Sapienza, the School Elisava of Barcelona, the Design Fachhoschule of Cologne and the Hochschule fur Angewandte Kunst in Vienna.

Moreover, he teaches from 2007 at the all’MBA of Alma Graduate School of Bologna; and from 2008 he is Adjunct Professor at the Polytechnic of Hong Kong.

His works can be found in various international museums. His projects have received important international awards, including the Roscoe Award USA, 1988; the Good Design Award in 2001, 2004, 2009, 2010 and 2011 by the Chicago Athenaeum; the Red Dot Award in 2003; the iF Product Design Award in 2011 and the IAI AWARD Green Design Global Award (Shanghai, China) in 2011.

Gerry Judah Gerry Judah is one of the world's leading installation artists. After gaining a degree in Fine Art at Goldsmiths College, London University and the Slade School of Fine Art, University College London, he began to build a reputation for innovative design, working in film, television, theatre, museums and public spaces. He has created settings for institutions such as the BBC, British Museum and the Imperial War Museum and performers including Paul McCartney, Michael Jackson, The Who, Robert Plant and Jimmy Page and has worked in a number of theatre productions for the Royal Shakespeare Company, the Royal Opera House and the English National Opera as well as creating spectacular sculptures for the annual Goodwood Festival of Speed and bridges in London and Cambridge.

Amongst a number of commissions from public museums and institutions, Judah was asked by the Imperial War Museum in London to create a large model of the selection ramp in Auschwitz-Birkenau for the Holocaust Exhibition opened by the Queen which has led to a highly acclaimed body of large three-dimensional paintings exploring the devastations of war and the ravages man has made upon the environment, many of which have entered international public and private collections.

Thomas Joynes Being a highly passionate, ambitious and multifaceted arts practitioner with extensive work experience gained through education, employment, personal enterprise and networking within the industry, Thomas Joynes thrives in creative environments and loves working with and around others. Especially interest and passionate about the possibilities offered by contemporary materials, processes and technology. He is extremely adept at the implementation of ideas surrounding highly visual aesthetic forms and is concerned primarily with aesthetic qualities of an object and what the resulting effects are on the surrounding environment.

Arne Quinze Arne Quinze was born in 1971 in Belgium and lives and works in SintMartens-Latem, Belgium. In the eighties he began working as a graffiti artist but he never finished an official art education. Quinze creates large and small sculptures, drawings, paintings, and large-scale installations.

Smaller works, sketches, and drawings are the basis and research for his large installations. Recurring fundamentals in his oeuvre are the use of multiple types of wood, including salvaged wood; electrical colors in fluorescent paint; and themes referring to social interaction, communication, and urbanism. Since a while he’s doing research towards large steel installations.

What drives Quinze is the belief in the possible realization of an idealistic society where all individuals communicate and interact, aiming to bring people together and push them into a vigorous dialogue.

His sculptures generate an effect on the urban surroundings and architectural context. These works of art provide people with a framework, which can be used to pause and reflect on the identity of the place where they currently are. By means of the confrontation with public installations, people can rediscover the city and regain their sense of pride about their cities.

Tom Claassen Born in Heerlen, the Netherlands, 1964 lives and works in Holland

2006 2005 2004 2003 2002 2001 ...

Solo exhibitions 2010 Tom Claassen - Retrospectief, Kunsthal Kade, Amersfoort, the Netherlands 2009 Tom Claassen, Galerie Fons Welters, Amsterdam, the Netherlands 2007 Sabic Europe, Sittard, the Netherlands Tom Claassen, Beelden, Kunstfort, Vijfhuizen, the Netherlands Tom Claassen, Rosarium, Winschoten, the Netherlands Rocky Lumbs, Galerie Fons Welters, Amsterdam, the Netherlands Maliebeeld, Den Haag, the Netherlands Galerie Olaf Stüber, Berlin, Germany Galerie Fons Welters, Amsterdam, the Netherlands Hülle, Museum Kranenburg, Germany

Group exhibitions 2010 Beeld Hal Werk, Amsterdam Noord, the Netherlands Floor Corner Wall: Selected Work from the Rachofsky Collection, Fort Worth Contemporary Arts, Dallas, USA 2009 Art Zuid, Apollolaan, Minervalaan, Amsterdam, the Netherlands 2008 Antwerp Sculpture Show, Lokaal 01, Antwerp, Belgium Kort is de tijd, en onherroepelijk, Beeldenpark Vijversburg, Tytsjerk, the Netherlands 2007 A selection from the collection of contemporary art, Kroller Muller Museum, Otterlo, the Netherlands Group show with Gallery Artists, Galerie Fons Welters, Amsterdam, the Netherlands Veertig jaar kunstbeleid op de VU, Exposorium VU, Amsterdam, the Netherlands

James Simon “What grounds my work is the belief that art is a celebratory experience that can create joy and insight, despite adverse conditions social injustice, poverty, war.” James Simon Local, national, international, James Simon has been sculpting for over twenty years, and his work can be found worldwide. Educated in the early 80s in a private Apprenticeship in Oxford England, Simon is known for his dramatic large-scale works (such as the Liberty Avenue Musicians In Downtown Pittsburgh), and his colorful mosaic parks, and welcome signs. His work speaks to a diverse population and range from small desktop pieces to large public art commissions.

Simon works in a variety of mediums, including concrete, bronze, ceramics, and mosaics. James Simon’s dynamic and fun sculptures continue to evolve, create, and define unique spaces, city gateways, plazas, parks, and architectural facades.

Exhibitions, Awards & Commissions

Angela Conner Angela Conner is a sculptor with more than 40 years experience of making public sculptures.

Her sculptures harness the natural forces of our environment – water, wind, gravity, sun, etc.

These natural elements move and unfold the forms in her work.

Solo shows include Lincoln Centre, New York; Browse and Darby, Cork St, London; Economist Plaza, London; Hirschl Fine Art, London. Conner has exhibited at The Royal Academy; The V & A; Beaux Arts, Cork St, London; Carnegie Museum of Modern Art, USA; and others worldwide. Internationally her sculptures can be seen in many public places including, -Heinz Hall Plaza, Pittsburg, USA; Chattanooga Town Centre, USA; Park West, Dublin, Ireland; Bad Driburg Gardens, Germany.

She has been awarded the Institute of American Architects Honor Award for sculpture and codesign of Heinz Plaza, Pittsburg USA, and her 129ft sculpture Wave in Ireland was given the Allianz “Business to Arts Award”. She also won the Kinetic Art International Organization’s first Prize.

June 2012 Selected to undertake a public sculpture commission as part of a new housing development in Chelmsford Essex June 2012 Selected to undertake a public sculpture commission for the Wyre Forest District Council’s new head office building May 2012 Commissioned by Liverpool University to create two permanent works for an art trail within the campus grounds.

Feb 2012 Shortlisted for East Anglian Artists Development Prize. Shortlisted artists work exhibited at the Anteros Foundation, Norwich Oct 2011 One sculpture included in Sotheby’s – ‘Garden, Statuary and Fossil Decoration’ auction at Summers Place, Billingshurst Sept 2011 Public sculpture commission, Stonehouse Community Facility, Scotland.

Sept 2011 Group Exhibition, Mount Pleasant Gardens, Chester.

Aug 2011 Group Exhibition, Sculpture In The Sanctuary, Nottingham.

July 2011 Group exhibition, Hoveton Hall, Norfolk.

May 2011 Group exhibition, ‘In & Out Of The Garden’ – Cambridge.

May 2011 One sculpture included in Sotheby’s – ‘Garden, Statuary and Fossil Decoration’ auction at Summers Place, Billingshurst.

Florentijn Hofman The Dutch artist Florentijn Hofman (Delfzijl, 1977) likes his works large, very large. His monumental sculptures conjure up humour and sensation.

His most well known work Rubber Duck (2007), a 26-metre-high inflatable yellow rubber duck, signified his international breakthrough. The rubber duck has been travelling the world ever since. Everywhere it moors - from Auckland and São Paulo to Osaka – it is bound to cause a spectacle.

Everyday objects like a paper boat, a pictogram of an industrial zone or little plastic toy figures are at the root of Hofman’s images. These readymades are blown up to gigantic proportions, in a resemblance to the visual language of Pop Art. The Kobe Museum of Art, the Nantes Biennial, Z33 in Hasselt and SESC in São Paulo are among the institutions that have recently commissioned works by Hofman.

Florentijn Hofman was educated at the Art Academy Kampen and the Kunsthochschüle in Berlin. He lives and works in Rotterdam.

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349

Ronald A. Westerhuis Ronald A. Westerhuis is a Dutch artist and the creator of international land art sculpture projects and numerous monumental steel sculpture pieces for both public spaces and private collections.

After a search through the world, seven years of travel. Starting a career in the offshore world; surrounded by oilrigs, heavy structures and massive pieces of stainless steel.

Working with stainless steel, a metal as cold, hard, indestructible as vulnerable and sensitive; a medium full of character inviting to touch.

Ronald creates sculptures as elements of positive energy on its surrounding. Lines, balance, gravity, finishing and new techniques are explored in his work.

Ronald has been commissioned to create major land art projects in Hardanger, Norway (2004) and Lankhorst, Netherlands (2011) as well as public steel sculpture projects such as "Pride" created for Shell headquarters in Amsterdam (2009) and RAWSOME! created for Museum de Fundatie and Mojo Concerts, organizer of the LowLands Festival (2011).

Rick Kirby Education 1969-1970 Somerset College of Art. 1970-1973 Newport College of Art. B.A. (Fine Art) 1973-1974 Birmingham University. A.T.D Public Commissions 2012. Fulham Reach, Northbank, London.

2011. Gt. Fosters, Virginia Waters.

2009. Silver Street, Bedford, Bedfordshire.

2008. Innovation Center, Lincoln, Lincolnshire.

2008. Grand Arcade, Wigan, Lancashire.

2008. The Atrium, Camberley, Surrey.

2007. Northern Entrance, Wellingborough, Northamptonshire.

2007. Lincoln Drill Hall, Lincoln, Lincolnshire.

2005. Endeavour Park, Boston, Lincolnshire.

2005. Portishead Quays, Port Marine, North Somerset.

2005. Upper Quays, Port Marine, Portishead, North Somerset.

2005. Alexandra Park, Hastings, East Sussex.

2004. William de Ferrers Center, South Woodham Ferrers, Essex.

2004. Rouse Kent Memorial, Kings Hill, Kent. (unveiled by H.R.H. Duke of Kent) 2004. Central Spine, Port Marine, Portishead, North Somerset.

2004. Ravenswood, Ipswich, Suffolk 2003. Marlowe Theatre, Canterbury, Kent.

2002. Burghley House, Lincolnshire.

2002. Central Park, Port Marine, Portishead, North Somerset.

2002. The National Trust, Sutton Hoo, Suffolk. (unveiled by Shamus Heaney) 2001. Calne Town Center, North Wiltshire. (unveiled by Her Majesty Queen Elizabeth II) …

Awards Essex Open, 1st. Prize.; First Data Resources; Eastern Arts ; Rouse Kent Public Art Award 1998. Judging Panel Member of Rouse Kent Public Art Award 2007.

Nasser Azam Nasser Azam (born in 1963, Jhelum, Pakistan) is a London-based British contemporary artist. Azam’s reputation was established in the early 1980s, with exhibitions at galleries in Birmingham and the West Midlands including the Barber Institute of Fine Arts. He also featured in a BBC documentary. In 2007, after an extended period living and traveling in Japan, Europe and America, Azam became Artist-in-Residence at County Hall Gallery, London, mounting a series of major exhibitions of early and recent work, including the critically acclaimed Anatomica in April 2008. He began working with sculpture, and in February 2008 a monumental bronze, The Dance, was unveiled on London’s South Bank. This was followed in July 2012 by the unveiling of Athena in the London City Airport; at 12 meters it is the tallest bronze sculpture in the UK. Azam has developed his painting in a series of projects that reflect his interest in extreme working condition and also painting as a performance, from Zero Gravity (Star City, Moscow, 2008), to the freezing ice deserts of Antarctica (2010), where he completed thirteen large paintings. A six meter high sculpture Evolutionary Loop 517 was unveiled outside the new research center and library at Aberdeen University in February 2013.

Boris Tellegen Revered worldwide since his first steps on the graffiti scene in the Eighties, Boris Tellegen, also known as Delta and his unique letters, has moved from drawings, paintings and collages bursting out or morphing into the wall to sculptures and gigantic installations.

His work is contrasting tensions : between flatness and projection, stillness and virtual movement, landscapes and abstraction.

"My work is about the chaos in order, or the order in chaos. Random logic maybe... Usually I do not see things in black or white as there is more than two sides to a story" Boris Tellegen.

348 | Index |

Scott Donahue

Jaakko Pernu

Education 1982 University of California, Davis, CA, M.F.A. 1975 Sculptor’s Assistant to Juan Lombardo, Cuernavaca, Mexico 1973 Philadelphia College of Art, Philadelphia, PA, B.F.A.

Jaakko Pernu is a Finnish sculptor and environmental artist living in the city of Oulu. Since 1988 he has been working mainly with environmental, not-permanent, large-scale, sometimes long-lasting art projects located in open landscape, city surroundings or in larger buildings.

Lately, he has been working mostly abroad creating many public works around Europe and Canada. Gradually he has developed growing interest in using also other than organic materials in his art.

Public Works 2010 Touching Earth, San Francisco Richmond District Library, San Francisco, CA 2010 The Chosen, 4508 Horton Street, Emeryville, CA 2009 Water Meets Land, 1301 Pinole Valley Road, Pinole, CA 2009 Berkeley Big People, I-80 at University Avenue, Berkeley, CA 2008 Human Hellix, 4300 Hacienda Drive Pleasanton, CA 2006 The Way It Was, 389 West El Camino Real, Sunnyvale, CA 2006 Stockton Rising, Arena Way, Stockton, CA 2005 Untitled, Central Police Station, Brentwood, CA 2002 Six Figures For BART, Bay Area Rapid Transit Station, Millbrae, CA 2001 Sigamé / Follow Me, Union Point Park, Oakland, CA 2001 Lost and Found, Bollinger Crossing Shopping Center, San Ramon, CA 2000 The Discussion, City Hall, Emeryville, CA 2000 Homage to Huntington Beach, Garfield & Goldenwest Streets, Huntington Beach, CA …

Conrad Shawcross Conrad Shawcross was born in 1977 and currently lives and works in London. He has studied at the Ruskin School of Art, Oxford gaining a degree in Fine Art in 1998 and a Masters in Fine Art from the Slade School of Art in 2001.

Shawcross’ work has been exhibited within the UK, Europe and the USA, including The Nervous Systems at Entwistle, London, 2003, The New Art Gallery of Walsall, Birmingham, The Walker Art Gallery, Liverpool, Parra & Romero, Madrid, Galerie Bernd Kluser, Munich in 2004 and Location One, New York.

He has also had group exhibitions at The Saatchi Gallery, London, Camden Arts Center and Northern Center for Contemporary Art, Sunderland.

Shawcross’ interest lies in science and rational systems and has led him to create sculpture that represents anatomical systems and exoskeletons. His work, although predominantly sculptural, always uses a number of different materials and resources, from his works featuring yarn looms in his "Ropemakers" series to his use of different wood structures and compositions in "Axioms". Aspects of Shawcross’ works also rely on small mechanisms and circuits, as seen in his "Preretroscopes" from 2002 to 2009. (Photograph: Barney Hindle.

Courtesy the Artist and Cass Sculpture Foundation)

Phillip K Smith III Phillip K Smith III explores and merges the disciplines of fine art, architecture and design. Smith, an award-winning designer and artist, was born in Los Angeles and is a graduate of the Rhode Island School of Design with a Bachelor of Architecture and Bachelor of Fine Arts. His work confronts ideas of modern art and design while employing new technologies to enhance his artistic practice, based in Indio, CA. Commissioned to create more than a dozen monumental public artworks in the last 5 years in Kansas City, Nashville, Oklahoma City, Arlington, VA, Phoenix and multiple California locations, Smith's work was featured in the 2008 Annual Review in Art in America. Smith was awarded the Palm Springs Art Museum’s 2010 Artist Residency, which produced the wellreceived 7.3-meter-long LED light piece, “Aperture” “Inhale/Exhale,” Smith’s 16.8-metertall piece in La Verne, California, is featured on the cover of 500 x Art in Public, by Chris van Uffelen, published by Braun in 2011.

Massimo Iosa Ghini Born in 1959, Massimo Iosa Ghini studied architecture in Florence and then graduated from Polytechnic Institute of Milan. Today he is considered one of the best known Italian architects and designers on the international scene.

Since 1985 he participates at the avant-garde of architecture and Italian design; he founded the cultural movement Bolidism and joined the Memphis group with Ettore Sottsass.

In 1989, he opened the Iosa Ghini Associates in Milan and Bologna. Nowadays he holds conferences and lectures in various universities, including the Polytechnic Institute of Milan, the Domus Academy, the University of Rome La Sapienza, the School Elisava of Barcelona, the Design Fachhoschule of Cologne and the Hochschule fur Angewandte Kunst in Vienna.

Moreover, he teaches from 2007 at the all’MBA of Alma Graduate School of Bologna; and from 2008 he is Adjunct Professor at the Polytechnic of Hong Kong.

His works can be found in various international museums. His projects have received important international awards, including the Roscoe Award USA, 1988; the Good Design Award in 2001, 2004, 2009, 2010 and 2011 by the Chicago Athenaeum; the Red Dot Award in 2003; the iF Product Design Award in 2011 and the IAI AWARD Green Design Global Award (Shanghai, China) in 2011.

Gerry Judah Gerry Judah is one of the world's leading installation artists. After gaining a degree in Fine Art at Goldsmiths College, London University and the Slade School of Fine Art, University College London, he began to build a reputation for innovative design, working in film, television, theatre, museums and public spaces. He has created settings for institutions such as the BBC, British Museum and the Imperial War Museum and performers including Paul McCartney, Michael Jackson, The Who, Robert Plant and Jimmy Page and has worked in a number of theatre productions for the Royal Shakespeare Company, the Royal Opera House and the English National Opera as well as creating spectacular sculptures for the annual Goodwood Festival of Speed and bridges in London and Cambridge.

Amongst a number of commissions from public museums and institutions, Judah was asked by the Imperial War Museum in London to create a large model of the selection ramp in Auschwitz-Birkenau for the Holocaust Exhibition opened by the Queen which has led to a highly acclaimed body of large three-dimensional paintings exploring the devastations of war and the ravages man has made upon the environment, many of which have entered international public and private collections.

Thomas Joynes Being a highly passionate, ambitious and multifaceted arts practitioner with extensive work experience gained through education, employment, personal enterprise and networking within the industry, Thomas Joynes thrives in creative environments and loves working with and around others. Especially interest and passionate about the possibilities offered by contemporary materials, processes and technology. He is extremely adept at the implementation of ideas surrounding highly visual aesthetic forms and is concerned primarily with aesthetic qualities of an object and what the resulting effects are on the surrounding environment.

Arne Quinze Arne Quinze was born in 1971 in Belgium and lives and works in SintMartens-Latem, Belgium. In the eighties he began working as a graffiti artist but he never finished an official art education. Quinze creates large and small sculptures, drawings, paintings, and large-scale installations.

Smaller works, sketches, and drawings are the basis and research for his large installations. Recurring fundamentals in his oeuvre are the use of multiple types of wood, including salvaged wood; electrical colors in fluorescent paint; and themes referring to social interaction, communication, and urbanism. Since a while he’s doing research towards large steel installations.

What drives Quinze is the belief in the possible realization of an idealistic society where all individuals communicate and interact, aiming to bring people together and push them into a vigorous dialogue.

His sculptures generate an effect on the urban surroundings and architectural context. These works of art provide people with a framework, which can be used to pause and reflect on the identity of the place where they currently are. By means of the confrontation with public installations, people can rediscover the city and regain their sense of pride about their cities.

Tom Claassen Born in Heerlen, the Netherlands, 1964 lives and works in Holland

2006 2005 2004 2003 2002 2001 ...

Solo exhibitions 2010 Tom Claassen - Retrospectief, Kunsthal Kade, Amersfoort, the Netherlands 2009 Tom Claassen, Galerie Fons Welters, Amsterdam, the Netherlands 2007 Sabic Europe, Sittard, the Netherlands Tom Claassen, Beelden, Kunstfort, Vijfhuizen, the Netherlands Tom Claassen, Rosarium, Winschoten, the Netherlands Rocky Lumbs, Galerie Fons Welters, Amsterdam, the Netherlands Maliebeeld, Den Haag, the Netherlands Galerie Olaf Stüber, Berlin, Germany Galerie Fons Welters, Amsterdam, the Netherlands Hülle, Museum Kranenburg, Germany

Group exhibitions 2010 Beeld Hal Werk, Amsterdam Noord, the Netherlands Floor Corner Wall: Selected Work from the Rachofsky Collection, Fort Worth Contemporary Arts, Dallas, USA 2009 Art Zuid, Apollolaan, Minervalaan, Amsterdam, the Netherlands 2008 Antwerp Sculpture Show, Lokaal 01, Antwerp, Belgium Kort is de tijd, en onherroepelijk, Beeldenpark Vijversburg, Tytsjerk, the Netherlands 2007 A selection from the collection of contemporary art, Kroller Muller Museum, Otterlo, the Netherlands Group show with Gallery Artists, Galerie Fons Welters, Amsterdam, the Netherlands Veertig jaar kunstbeleid op de VU, Exposorium VU, Amsterdam, the Netherlands

James Simon “What grounds my work is the belief that art is a celebratory experience that can create joy and insight, despite adverse conditions social injustice, poverty, war.” James Simon Local, national, international, James Simon has been sculpting for over twenty years, and his work can be found worldwide. Educated in the early 80s in a private Apprenticeship in Oxford England, Simon is known for his dramatic large-scale works (such as the Liberty Avenue Musicians In Downtown Pittsburgh), and his colorful mosaic parks, and welcome signs. His work speaks to a diverse population and range from small desktop pieces to large public art commissions.

Simon works in a variety of mediums, including concrete, bronze, ceramics, and mosaics. James Simon’s dynamic and fun sculptures continue to evolve, create, and define unique spaces, city gateways, plazas, parks, and architectural facades.

Exhibitions, Awards & Commissions

Angela Conner Angela Conner is a sculptor with more than 40 years experience of making public sculptures.

Her sculptures harness the natural forces of our environment – water, wind, gravity, sun, etc.

These natural elements move and unfold the forms in her work.

Solo shows include Lincoln Centre, New York; Browse and Darby, Cork St, London; Economist Plaza, London; Hirschl Fine Art, London. Conner has exhibited at The Royal Academy; The V & A; Beaux Arts, Cork St, London; Carnegie Museum of Modern Art, USA; and others worldwide. Internationally her sculptures can be seen in many public places including, -Heinz Hall Plaza, Pittsburg, USA; Chattanooga Town Centre, USA; Park West, Dublin, Ireland; Bad Driburg Gardens, Germany.

She has been awarded the Institute of American Architects Honor Award for sculpture and codesign of Heinz Plaza, Pittsburg USA, and her 129ft sculpture Wave in Ireland was given the Allianz “Business to Arts Award”. She also won the Kinetic Art International Organization’s first Prize.

June 2012 Selected to undertake a public sculpture commission as part of a new housing development in Chelmsford Essex June 2012 Selected to undertake a public sculpture commission for the Wyre Forest District Council’s new head office building May 2012 Commissioned by Liverpool University to create two permanent works for an art trail within the campus grounds.

Feb 2012 Shortlisted for East Anglian Artists Development Prize. Shortlisted artists work exhibited at the Anteros Foundation, Norwich Oct 2011 One sculpture included in Sotheby’s – ‘Garden, Statuary and Fossil Decoration’ auction at Summers Place, Billingshurst Sept 2011 Public sculpture commission, Stonehouse Community Facility, Scotland.

Sept 2011 Group Exhibition, Mount Pleasant Gardens, Chester.

Aug 2011 Group Exhibition, Sculpture In The Sanctuary, Nottingham.

July 2011 Group exhibition, Hoveton Hall, Norfolk.

May 2011 Group exhibition, ‘In & Out Of The Garden’ – Cambridge.

May 2011 One sculpture included in Sotheby’s – ‘Garden, Statuary and Fossil Decoration’ auction at Summers Place, Billingshurst.

Florentijn Hofman The Dutch artist Florentijn Hofman (Delfzijl, 1977) likes his works large, very large. His monumental sculptures conjure up humour and sensation.

His most well known work Rubber Duck (2007), a 26-metre-high inflatable yellow rubber duck, signified his international breakthrough. The rubber duck has been travelling the world ever since. Everywhere it moors - from Auckland and São Paulo to Osaka – it is bound to cause a spectacle.

Everyday objects like a paper boat, a pictogram of an industrial zone or little plastic toy figures are at the root of Hofman’s images. These readymades are blown up to gigantic proportions, in a resemblance to the visual language of Pop Art. The Kobe Museum of Art, the Nantes Biennial, Z33 in Hasselt and SESC in São Paulo are among the institutions that have recently commissioned works by Hofman.

Florentijn Hofman was educated at the Art Academy Kampen and the Kunsthochschüle in Berlin. He lives and works in Rotterdam.

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349

Curt Brill Born: October 18,1952 Bronx, New York Education: BS Design Cornell University Ithaca, New York Professional Organizations Southern Arizona Clay and Glass Tucson Museum of Art Tucson Museum of Art Craft Guild Arizona Designer Craftsmen Long Island Craftman.s Guild American Craft Council Tucson Festival Society Santa Cruz Valley Art Association Dinnerware Cooperative Gallery National Sculpture Society International Sculpture Center Individual Shows 2012: Boone, North Carolina Turchin Center for the Visual Arts 2011: Tucson, Arizona Obsidian Gallery 2009: Tucson, Arizona Tucson International Airport 2009: New York, NY Kouros Gallery 2008: Tucson, Arizona Downtown Main Library Plaza 2008: Tucson, Arizona The Gallery at 6th & 6th 2006: Tucson, Arizona The Gallery at 6th & 6th 2005: Tucson, Arizona Galleria Musou …

Jinny Blom Landscape Design Based in London’s Clerkenwell on the edge of the City of London Jinny Blom Landscape Design specializes in the crafting of the highest quality landscapes and gardens. Founded by Jinny Blom in 2000 the practice has won numerous awards including a Gold Medal at Chelsea Flower Show in 2007. Her work is often featured in leading publications including Vogue, Gardens Illustrated, and House and Garden.

Jinny’s projects are based mostly within the British Isles but she has also been commissioned for projects in France and the United States. In addition to her design work Jinny has written for and appeared in a wide range of books and publications. She regularly contributes to radio and television. Jinny was co-awarded BBC Radio Broadcaster of the Year in 2002 and was twice nominated Woman of the Year, once in 2002 and again in 2007.

Cate Watkinson Cate Watkinson of Watkinson Glass Associates has over 20 years experience as an architectural glass artist, designing and fabricating architectural glass to commission for a wide variety of applications. During this period she has been instrumental in developing the potential of glass in the public realm. Her projects range from decorative glass panels for public and private buildings to street furniture and sculptural public art pieces.

Faith Bebbington Faithis a professional artist based in Liverpool for over twenty years, having studied sculpture at Winchester School of Art. Faith creates permanent and temporary artworks which are often inspired by the process of human movement, whether its simple actions like jumping or more complex sequences like swimming the butterfly. She also references the early photographic studies of Edward Muybridge, and uses dancers and athletes as models to achieve her dynamic sculptures. Her works are hand built using fibreglass resin or recycled materials. Her public and corporate sculpture commissions can be seen across the UK. Faith also leads arts projects in partnership with schools and communities.

Joe O'Connell + Blessing Hancock Public Art Joe O’Connell and Blessing Hancock began making art together in 2008.

As an artistic team, Joe and Blessing encompass a broad spectrum. Joe is a technologist with an interest in living systems; Blessing is a sculptor with an interest in machines. Their partnership spans public art, monumental sculpture, and master planning. They present a united artistic vision, and through their partnership have developed a process for synthesizing divergent ideas. This approach is useful in creating artwork for the public realm, which often demands uniting communities or a diversity of views.

Their work lies at the intersection between artistic place making, meaningful interactivity, and experimental material processes. Each sculpture is meant to be a unique reflection of its site, but also a powerful landmark on its own.

“Our goal is to create new ways to live with art—ways in which art solves problems, enriches the human experience and creates an atmosphere of participation, curiosity, and connection to community. The public doesn’t view our artwork; they inhabit it. Many of our pieces are located in harsh environments - direct sunlight, high humidity and unsupervised public access. For this reason we use materials and fabrication methods that are meant to endure.” Joe O'Connell + Blessing Hancock Public Art

Ralph Helmick Stuart Green Major Public Art Commissions: 2013-14 in progress from one to the other Large Scale Public Artwork Willetton SHS (Perth,AU) 2012-13 in progress Design Artist for New Children’s Hospital Perth Artwork Facades (Perth,AU) 2013 ‘Cumulus’ large scale sculpture Pinnacle Apartments Rhodes Town Square (Sydney,AU) 2011-13 in progress Design Artist for Great Northern Highway Realignment Port Hedland (Port Hedland,AU) 2013 Fiona Stanley Hospital Concourse sculpture commission(Perth,AU) 2012 Queens Riverside apartments wall based commission (Team leader in collaboration with Jennie Nayton)Perth,AU) 2012 ‘Droplet’ Canberra sculpture commission (ACT) 2012 Atwell Senior College Stage 2 sculpture commission (Perth,AU) 2012 Soleil flux Façade artwork (Brisbane, AU) 2012 Australian Fine China Site Redevelopment (Commissioned as design artist for project) (Perth,AU) 2009 Roydhouse Street multi-storey Development for Hillam Architects (Perth,AU) 2010 Diatom Alluvion Office Development Courtyard Artwork Perth(Perth,AU) 2009 Mitchell Freeway Extension(Commissioned as design artist for site with Simon Gauntlett)(Perth,AU) 2009 Husk, Kernel, Returning 275 George Street Brisbane(CBD sculpture commission associated with office tower development)(Brisbane,AU) 2006 Champion Lakes International Rowing Course(Bridges & Gates Artworks Armadale Redevelopment Authority)(Perth,AU) 2006 Canning Vale College Stage Two(in conjunction with Rob Muir & Dave Primmer sound artists)(Perth,AU) 2006 Koongamia Railway Park Trail Entrance (Perth,AU) 2005 Guildford Grammar School artwork commission (Perth,AU) 2005 Mount Lawley Senior High School Refurbishment(stage 3 Team leader with Michele Theunissen) (Perth,AU) 2006 Peninsula Development Burswood Lakes(consultant design artist for project with MIRVAC)(Perth,AU) ...

350 | Index |

Ralph Helmick earned a Bachelor of Arts in American Studies from the University of Michigan, attended the Skowhegan School of Painting and Sculpture in Maine, and received a Master of Fine Arts in Sculpture from the School of the Museum of Fine Arts, Boston and Tufts University, Medford, Massachusetts.

Early in his career, Helmick exhibited his work in numerous solo shows, as well as in group exhibitions in museums and galleries throughout the northeast of United States. Since committing himself to public art in the late 1980’s, he has completed over three dozen major civic commissions across the U.S. Among his many awards is a National Endowment for the Arts / New England Foundation for the Arts Fellowship and numerous design honors for his public artwork. His commissions have been included in the Americans for the Arts Public Art Network’s Annual Year in Review seven times.

Esthetically, Helmick is interested in how referential form can be broken down and subsequently re-formed anew. The approach is often paralleled by a fascination with how small three-dimensional components can collectively create a larger sculpture, forging a microcosmic/macrocosmic dynamic.

Working in the public realm, he is deeply influenced by how site and audience can help inspire a design.

Uri Dushy Uri Dushy was born in 1963 in Tel-Aviv (Israel).

An established Israeli autodidact multidisciplinary artist, his public sculptures adorn the streets of numerous cities in Israel. His artworks were repeatedly exhibited in galleries and museums worldwide, and sold to private and corporate collections.

Uri Dushy constantly experiments with new styles and techniques to create works in such varied fields as music composition, video art, metal and bronze sculptures, public art, photo collage and life-size mixed media sculptures.

Over the past two decades Uri Dushy has been investigating the origins of art, each time experimenting anew with an unfamiliar style, new techniques and artistic creation methods foreign to him. In his personal, non-compromising way, he insists upon joining and creating within artistic genres unprecedented to him, provocatively challenging, mastering and adopting technical professional production processes.

The combination of styles which characterize his works, usually merging and thus naturally constructing his work process, mark his exceptional course in the labyrinth of his highly personal art.

Tonkin Liu Tonkin Liu is an award-winning architectural practice, whose work encompasses architecture, art and landscape. They offer forwardthinking clients a design that is finely tuned to the place it is sited, the people who will occupy it, and the culture that surrounds it at the time.

This emphatic search for new beginnings is set out in their book “asking looking playing making”, published in 1999. The unique story telling methodology searches for archetypes that will inform the process of design from inception to completion, giving the project a lasting resonance.

Each project embodies the relationship to nature. Some projects celebrate changing weather and seasons, some evoke the power of nature as symbols, whilst others emulate form and performance, using lessons in nature to inspire pioneering construction techniques. Their preoccupation with nature informs the design process, whether through biomimicry or by using the elements nature generously gives human being for free.

They are interested in doing what they have not done before and their aim is always the same, to satisfy the mind and touch the heart.

Zhang Huan Zhang Huan, an internationally contemporary Chinese artist. He was born in 1965 in Anyang City, Henan Province, and currently lives and works in Shanghai. He was active in Beijing in the 1990’s, where he was considered one of the foremost avant-garde artists in the nation. From 1998 to 2005 he lived in New York where he gained international recognition.

In 2005, he returned to Shanghai and established Zhang Huan Studio, where he continued to expand his artistic works, creating new forms and exploring into new areas. The ash painting technique he created has added another method of painting to art history. Other techniques, such as sculpting in ox-hide, door carvings, and feather woodcuts, to name a few have all been pioneered by Zhang Huan.

He has had solo and group exhibitions. Collections of Zhang Huan’s art can be found in the contemporary art museums of major cities and nearly 100 art foundations and institutions all over the world.

Saint Clair Cemin Born in Brazil, 1951 Lives and works in New York Education: École Nationale Supérieure des Beaux-Arts, Paris 1975 - 1978 Solo exhibition 2012 Espejo Borroco, Centro Atlántico de Arte Moderno, Canaria, Spain.

SIX, Paul Kasmin Gallery, New York.

Saint Clair Cemin on Broadway, New York 2011 Triumfo da Razão Natural, Luciana Brito Galeria, São Paulo.

2010 Pensamentos, Bolsa de Arte, Porto Alegre.

Splendeur et Misere Galerie Daniel Templon, Paris.

2009 Retrospective at the Instituto Tomie Ohtake, São Paulo, Brazil.

2008 Witness, Sikkema Jenkins & Co., New York.

2007 The Beijing Series, Galerie Daniel Templon, Paris.

Galerie Alain Noirhomme, 17 rue de la Regence, Brussels.

2006 Galeria Brito Cimino, São Paulo, Brazil.

Galleria Paolo Curti/Annamaria Gambuzzi & Co., Milan, Italy.

2005 Galeri Baudoin Lebon, Paris.

2004 Gods of the People, Brent Sikkema, New York.

2003 Bienal Mercosul, Homage Artist, Porto Alegre, Brazil.

Bolsa de Arte, Porto Alegre, Brazil.

2002 Cheim & Read, New York.

Museo De Arte Moderno, Mexico.

2001 The Carrie Secrist Gallery, Chicago.

Casa Iteso-Clavigero, Mexico.

2000 Saint Clair Cemin Sculpture, Lever House Lobby Gallery, New York, curated by Richard Marshall.

Galeria Camargo Vilaça, Sao Paulo, Brazil.

Elmgreen & Dragset Bjørn Nørgaard Lives and works in Copenhagen, Møn and Berlin Represented by: Gallery Susanne Ottesen, Copenhagen Selected Solo Exhibitions 2012 "Beinale Socle du Monde" Heart, Herning Museum of Contemporary Art Ask Jørgen. Politikens Gallery, Copenhagen 2010 Re-Modelling the World. National Gallery of Denmark, Copenhagen Recycling Art. Horsens Art Association, Horsens Angelpussy. Gallery Susanne Ottesen,Copenhagen 2009 Myth und Morphology. Kunstsammlungen Chemnitz, Chemnitz 2007 Sisyphus Meets Confucius. The Danish Cultural Institute, Beijing, China 2006 Bjørn Nørgaard. Mickey's Opera/ Atypia. Gallery Susanne Ottesen, Copenhagen 2006 Guest Professor at CAFA, Beijing 2005 Venus mirrors mirrors Venus. Gallery Susanne Ottesen; National Gallery of Denmark, Copenhagen 2000 Unity Through Diversity/World Peace Economy/One Religion is not Enough.

DCA Gallery, New York, USA Gobelin tapestries for the queen of Denmark, Queen Margrethe II. Knight`s hall of Christiansborg Castle, Copenhagen Paradise Genetically Altered. EXPO 2000, The Danish Pavilion, Hannover, Germany 1985 Professor at the Royal Academy of Fine Arts, Copenhagen 1967 Studies at Düsseldorf Art Academy 1964 Member of the Experimental Art School, Copenhagen

Edwin Cheong Studio Edwin Cheong Studio, leads by artist Edwin Cheong (M.Architecture), endeavors to create artworks and spaces of emotive memorable experiences.

Current projects includes sculpture, sculptural architectural facade, kinetics, lightart installations, interactive lightart and lightart for built environment.

Michael Elmgreen and Ingar Dragset, based in Berlin and London, have worked together as an artist duo since 1995. They have held numerous solo exhibitions in art institutions worldwide, including Serpentine Gallery and Tate Modern in London, Museum Boijmans van Beuningen in Rotterdam, ZKM Museum of Modern Art in Karlsruhe, The Power Plant in Toronto, MUSAC in Léon, and Kunsthalle Zürich. Their work has been included in the Berlin, Sao Paulo, Gwangju, Moscow, Singapore, Istanbul and Liverpool biennials, and in 2009 they received a special mention for their exhibition “The Collectors” in the Danish and Nordic Pavilions at the 53rd Venice Biennale. Amongst their most well known works are “Prada Marfa” – a full scale replica of a Prada boutique in the middle of the Texan desert, and “Short Cut” – a car and a caravan breaking through the ground which was first shown in Milan and now resides in the collection of the Museum of Contemporary Art, Chicago. Their winning Fourth Plinth Commission "Powerless Structures, Fig. 101" – depicting a child astride his rocking horse – was on view in 2012-2013 in Trafalgar Square, London.

Art Glass Solutions Pte Ltd B. Jane Cowie established Art Glass Solutions in 2008 to specialize in the creation of site specific artworks and glassmaking educational programs. Based in Singapore, AGS works with developers, architects, interior designers and private clients creating artworks of inspiration and beauty.

Successful projects include large architectural installations for hotel lobbies and office buildings. Working with independent artists, artisans and specialist manufacturers, AGS Projects supports personal creativity, has a strong research and development culture, encourages the innovation of new materials and promotes a respect for traditional glassmaking skills.

AGS Education offers group workshops, outreach programs and an Artist in Residence Program to facilitate the growth of art glass awareness and appreciation in Singapore.

B. Jane Cowie is committed to making artworks of quality and significance, designing, making and educating. Together with her team, Art Glass Solutions is contributing to the development of art and culture within the South East Asian region.

Deedee Morrison

Jon Krawczyk Jon Krawczyk is a hard hitting neo-modernist: New York School with a contemporary twist. His work has a conceptual side, but it is also very much about the physicality of making art and the objects that result from that action, i.e. energy and matter.

Krawczyk cuts, pounds and welds sheets of bronze and stainless steel to fabricate smooth, monolithic forms that look as though they were carved by a samurai slicing modeling clay. At the same time, the craggy profiles of his current sculptures suggest raw stone yet evoke the vaporous shapes and movements of smoke. There are echoes of Noguchi in this work, as it sits at the intersection of natural and man made forms. Traces of Moore can be found in a consistent concern with volume and abstract figuration.

Deedee Morrison is a sculptor and renewable energy artist. She works in a very industrial setting that is an inspired environment for an artist to create work. Her studio is in the home of the Old Republic Steel Mill and what is now the Wade Sand and Gravel Quarry in the heart of the “Birmingham Industrial District.” The sculptor works with limestone rock that has been harvested from an area in the quarry with 600 million years of geological history. The process of harvesting the limestone brings a certain awareness and perspective to her work. The second element of influence is the backdrop of the old steel mill that brought in the industrial development of the whole region. "The sculptures inspired by this environment are intriguing because the works are created using renewable energy technologies that can answer many of the compelling energy challenges we face today – smarter, cleaner and more energy efficient as we evolve in our understanding of what serves our future and the future of our children best." Deedee Morrison.

| Index |

351

Curt Brill Born: October 18,1952 Bronx, New York Education: BS Design Cornell University Ithaca, New York Professional Organizations Southern Arizona Clay and Glass Tucson Museum of Art Tucson Museum of Art Craft Guild Arizona Designer Craftsmen Long Island Craftman.s Guild American Craft Council Tucson Festival Society Santa Cruz Valley Art Association Dinnerware Cooperative Gallery National Sculpture Society International Sculpture Center Individual Shows 2012: Boone, North Carolina Turchin Center for the Visual Arts 2011: Tucson, Arizona Obsidian Gallery 2009: Tucson, Arizona Tucson International Airport 2009: New York, NY Kouros Gallery 2008: Tucson, Arizona Downtown Main Library Plaza 2008: Tucson, Arizona The Gallery at 6th & 6th 2006: Tucson, Arizona The Gallery at 6th & 6th 2005: Tucson, Arizona Galleria Musou …

Jinny Blom Landscape Design Based in London’s Clerkenwell on the edge of the City of London Jinny Blom Landscape Design specializes in the crafting of the highest quality landscapes and gardens. Founded by Jinny Blom in 2000 the practice has won numerous awards including a Gold Medal at Chelsea Flower Show in 2007. Her work is often featured in leading publications including Vogue, Gardens Illustrated, and House and Garden.

Jinny’s projects are based mostly within the British Isles but she has also been commissioned for projects in France and the United States. In addition to her design work Jinny has written for and appeared in a wide range of books and publications. She regularly contributes to radio and television. Jinny was co-awarded BBC Radio Broadcaster of the Year in 2002 and was twice nominated Woman of the Year, once in 2002 and again in 2007.

Cate Watkinson Cate Watkinson of Watkinson Glass Associates has over 20 years experience as an architectural glass artist, designing and fabricating architectural glass to commission for a wide variety of applications. During this period she has been instrumental in developing the potential of glass in the public realm. Her projects range from decorative glass panels for public and private buildings to street furniture and sculptural public art pieces.

Faith Bebbington Faithis a professional artist based in Liverpool for over twenty years, having studied sculpture at Winchester School of Art. Faith creates permanent and temporary artworks which are often inspired by the process of human movement, whether its simple actions like jumping or more complex sequences like swimming the butterfly. She also references the early photographic studies of Edward Muybridge, and uses dancers and athletes as models to achieve her dynamic sculptures. Her works are hand built using fibreglass resin or recycled materials. Her public and corporate sculpture commissions can be seen across the UK. Faith also leads arts projects in partnership with schools and communities.

Joe O'Connell + Blessing Hancock Public Art Joe O’Connell and Blessing Hancock began making art together in 2008.

As an artistic team, Joe and Blessing encompass a broad spectrum. Joe is a technologist with an interest in living systems; Blessing is a sculptor with an interest in machines. Their partnership spans public art, monumental sculpture, and master planning. They present a united artistic vision, and through their partnership have developed a process for synthesizing divergent ideas. This approach is useful in creating artwork for the public realm, which often demands uniting communities or a diversity of views.

Their work lies at the intersection between artistic place making, meaningful interactivity, and experimental material processes. Each sculpture is meant to be a unique reflection of its site, but also a powerful landmark on its own.

“Our goal is to create new ways to live with art—ways in which art solves problems, enriches the human experience and creates an atmosphere of participation, curiosity, and connection to community. The public doesn’t view our artwork; they inhabit it. Many of our pieces are located in harsh environments - direct sunlight, high humidity and unsupervised public access. For this reason we use materials and fabrication methods that are meant to endure.” Joe O'Connell + Blessing Hancock Public Art

Ralph Helmick Stuart Green Major Public Art Commissions: 2013-14 in progress from one to the other Large Scale Public Artwork Willetton SHS (Perth,AU) 2012-13 in progress Design Artist for New Children’s Hospital Perth Artwork Facades (Perth,AU) 2013 ‘Cumulus’ large scale sculpture Pinnacle Apartments Rhodes Town Square (Sydney,AU) 2011-13 in progress Design Artist for Great Northern Highway Realignment Port Hedland (Port Hedland,AU) 2013 Fiona Stanley Hospital Concourse sculpture commission(Perth,AU) 2012 Queens Riverside apartments wall based commission (Team leader in collaboration with Jennie Nayton)Perth,AU) 2012 ‘Droplet’ Canberra sculpture commission (ACT) 2012 Atwell Senior College Stage 2 sculpture commission (Perth,AU) 2012 Soleil flux Façade artwork (Brisbane, AU) 2012 Australian Fine China Site Redevelopment (Commissioned as design artist for project) (Perth,AU) 2009 Roydhouse Street multi-storey Development for Hillam Architects (Perth,AU) 2010 Diatom Alluvion Office Development Courtyard Artwork Perth(Perth,AU) 2009 Mitchell Freeway Extension(Commissioned as design artist for site with Simon Gauntlett)(Perth,AU) 2009 Husk, Kernel, Returning 275 George Street Brisbane(CBD sculpture commission associated with office tower development)(Brisbane,AU) 2006 Champion Lakes International Rowing Course(Bridges & Gates Artworks Armadale Redevelopment Authority)(Perth,AU) 2006 Canning Vale College Stage Two(in conjunction with Rob Muir & Dave Primmer sound artists)(Perth,AU) 2006 Koongamia Railway Park Trail Entrance (Perth,AU) 2005 Guildford Grammar School artwork commission (Perth,AU) 2005 Mount Lawley Senior High School Refurbishment(stage 3 Team leader with Michele Theunissen) (Perth,AU) 2006 Peninsula Development Burswood Lakes(consultant design artist for project with MIRVAC)(Perth,AU) ...

350 | Index |

Ralph Helmick earned a Bachelor of Arts in American Studies from the University of Michigan, attended the Skowhegan School of Painting and Sculpture in Maine, and received a Master of Fine Arts in Sculpture from the School of the Museum of Fine Arts, Boston and Tufts University, Medford, Massachusetts.

Early in his career, Helmick exhibited his work in numerous solo shows, as well as in group exhibitions in museums and galleries throughout the northeast of United States. Since committing himself to public art in the late 1980’s, he has completed over three dozen major civic commissions across the U.S. Among his many awards is a National Endowment for the Arts / New England Foundation for the Arts Fellowship and numerous design honors for his public artwork. His commissions have been included in the Americans for the Arts Public Art Network’s Annual Year in Review seven times.

Esthetically, Helmick is interested in how referential form can be broken down and subsequently re-formed anew. The approach is often paralleled by a fascination with how small three-dimensional components can collectively create a larger sculpture, forging a microcosmic/macrocosmic dynamic.

Working in the public realm, he is deeply influenced by how site and audience can help inspire a design.

Uri Dushy Uri Dushy was born in 1963 in Tel-Aviv (Israel).

An established Israeli autodidact multidisciplinary artist, his public sculptures adorn the streets of numerous cities in Israel. His artworks were repeatedly exhibited in galleries and museums worldwide, and sold to private and corporate collections.

Uri Dushy constantly experiments with new styles and techniques to create works in such varied fields as music composition, video art, metal and bronze sculptures, public art, photo collage and life-size mixed media sculptures.

Over the past two decades Uri Dushy has been investigating the origins of art, each time experimenting anew with an unfamiliar style, new techniques and artistic creation methods foreign to him. In his personal, non-compromising way, he insists upon joining and creating within artistic genres unprecedented to him, provocatively challenging, mastering and adopting technical professional production processes.

The combination of styles which characterize his works, usually merging and thus naturally constructing his work process, mark his exceptional course in the labyrinth of his highly personal art.

Tonkin Liu Tonkin Liu is an award-winning architectural practice, whose work encompasses architecture, art and landscape. They offer forwardthinking clients a design that is finely tuned to the place it is sited, the people who will occupy it, and the culture that surrounds it at the time.

This emphatic search for new beginnings is set out in their book “asking looking playing making”, published in 1999. The unique story telling methodology searches for archetypes that will inform the process of design from inception to completion, giving the project a lasting resonance.

Each project embodies the relationship to nature. Some projects celebrate changing weather and seasons, some evoke the power of nature as symbols, whilst others emulate form and performance, using lessons in nature to inspire pioneering construction techniques. Their preoccupation with nature informs the design process, whether through biomimicry or by using the elements nature generously gives human being for free.

They are interested in doing what they have not done before and their aim is always the same, to satisfy the mind and touch the heart.

Zhang Huan Zhang Huan, an internationally contemporary Chinese artist. He was born in 1965 in Anyang City, Henan Province, and currently lives and works in Shanghai. He was active in Beijing in the 1990’s, where he was considered one of the foremost avant-garde artists in the nation. From 1998 to 2005 he lived in New York where he gained international recognition.

In 2005, he returned to Shanghai and established Zhang Huan Studio, where he continued to expand his artistic works, creating new forms and exploring into new areas. The ash painting technique he created has added another method of painting to art history. Other techniques, such as sculpting in ox-hide, door carvings, and feather woodcuts, to name a few have all been pioneered by Zhang Huan.

He has had solo and group exhibitions. Collections of Zhang Huan’s art can be found in the contemporary art museums of major cities and nearly 100 art foundations and institutions all over the world.

Saint Clair Cemin Born in Brazil, 1951 Lives and works in New York Education: École Nationale Supérieure des Beaux-Arts, Paris 1975 - 1978 Solo exhibition 2012 Espejo Borroco, Centro Atlántico de Arte Moderno, Canaria, Spain.

SIX, Paul Kasmin Gallery, New York.

Saint Clair Cemin on Broadway, New York 2011 Triumfo da Razão Natural, Luciana Brito Galeria, São Paulo.

2010 Pensamentos, Bolsa de Arte, Porto Alegre.

Splendeur et Misere Galerie Daniel Templon, Paris.

2009 Retrospective at the Instituto Tomie Ohtake, São Paulo, Brazil.

2008 Witness, Sikkema Jenkins & Co., New York.

2007 The Beijing Series, Galerie Daniel Templon, Paris.

Galerie Alain Noirhomme, 17 rue de la Regence, Brussels.

2006 Galeria Brito Cimino, São Paulo, Brazil.

Galleria Paolo Curti/Annamaria Gambuzzi & Co., Milan, Italy.

2005 Galeri Baudoin Lebon, Paris.

2004 Gods of the People, Brent Sikkema, New York.

2003 Bienal Mercosul, Homage Artist, Porto Alegre, Brazil.

Bolsa de Arte, Porto Alegre, Brazil.

2002 Cheim & Read, New York.

Museo De Arte Moderno, Mexico.

2001 The Carrie Secrist Gallery, Chicago.

Casa Iteso-Clavigero, Mexico.

2000 Saint Clair Cemin Sculpture, Lever House Lobby Gallery, New York, curated by Richard Marshall.

Galeria Camargo Vilaça, Sao Paulo, Brazil.

Elmgreen & Dragset Bjørn Nørgaard Lives and works in Copenhagen, Møn and Berlin Represented by: Gallery Susanne Ottesen, Copenhagen Selected Solo Exhibitions 2012 "Beinale Socle du Monde" Heart, Herning Museum of Contemporary Art Ask Jørgen. Politikens Gallery, Copenhagen 2010 Re-Modelling the World. National Gallery of Denmark, Copenhagen Recycling Art. Horsens Art Association, Horsens Angelpussy. Gallery Susanne Ottesen,Copenhagen 2009 Myth und Morphology. Kunstsammlungen Chemnitz, Chemnitz 2007 Sisyphus Meets Confucius. The Danish Cultural Institute, Beijing, China 2006 Bjørn Nørgaard. Mickey's Opera/ Atypia. Gallery Susanne Ottesen, Copenhagen 2006 Guest Professor at CAFA, Beijing 2005 Venus mirrors mirrors Venus. Gallery Susanne Ottesen; National Gallery of Denmark, Copenhagen 2000 Unity Through Diversity/World Peace Economy/One Religion is not Enough.

DCA Gallery, New York, USA Gobelin tapestries for the queen of Denmark, Queen Margrethe II. Knight`s hall of Christiansborg Castle, Copenhagen Paradise Genetically Altered. EXPO 2000, The Danish Pavilion, Hannover, Germany 1985 Professor at the Royal Academy of Fine Arts, Copenhagen 1967 Studies at Düsseldorf Art Academy 1964 Member of the Experimental Art School, Copenhagen

Edwin Cheong Studio Edwin Cheong Studio, leads by artist Edwin Cheong (M.Architecture), endeavors to create artworks and spaces of emotive memorable experiences.

Current projects includes sculpture, sculptural architectural facade, kinetics, lightart installations, interactive lightart and lightart for built environment.

Michael Elmgreen and Ingar Dragset, based in Berlin and London, have worked together as an artist duo since 1995. They have held numerous solo exhibitions in art institutions worldwide, including Serpentine Gallery and Tate Modern in London, Museum Boijmans van Beuningen in Rotterdam, ZKM Museum of Modern Art in Karlsruhe, The Power Plant in Toronto, MUSAC in Léon, and Kunsthalle Zürich. Their work has been included in the Berlin, Sao Paulo, Gwangju, Moscow, Singapore, Istanbul and Liverpool biennials, and in 2009 they received a special mention for their exhibition “The Collectors” in the Danish and Nordic Pavilions at the 53rd Venice Biennale. Amongst their most well known works are “Prada Marfa” – a full scale replica of a Prada boutique in the middle of the Texan desert, and “Short Cut” – a car and a caravan breaking through the ground which was first shown in Milan and now resides in the collection of the Museum of Contemporary Art, Chicago. Their winning Fourth Plinth Commission "Powerless Structures, Fig. 101" – depicting a child astride his rocking horse – was on view in 2012-2013 in Trafalgar Square, London.

Art Glass Solutions Pte Ltd B. Jane Cowie established Art Glass Solutions in 2008 to specialize in the creation of site specific artworks and glassmaking educational programs. Based in Singapore, AGS works with developers, architects, interior designers and private clients creating artworks of inspiration and beauty.

Successful projects include large architectural installations for hotel lobbies and office buildings. Working with independent artists, artisans and specialist manufacturers, AGS Projects supports personal creativity, has a strong research and development culture, encourages the innovation of new materials and promotes a respect for traditional glassmaking skills.

AGS Education offers group workshops, outreach programs and an Artist in Residence Program to facilitate the growth of art glass awareness and appreciation in Singapore.

B. Jane Cowie is committed to making artworks of quality and significance, designing, making and educating. Together with her team, Art Glass Solutions is contributing to the development of art and culture within the South East Asian region.

Deedee Morrison

Jon Krawczyk Jon Krawczyk is a hard hitting neo-modernist: New York School with a contemporary twist. His work has a conceptual side, but it is also very much about the physicality of making art and the objects that result from that action, i.e. energy and matter.

Krawczyk cuts, pounds and welds sheets of bronze and stainless steel to fabricate smooth, monolithic forms that look as though they were carved by a samurai slicing modeling clay. At the same time, the craggy profiles of his current sculptures suggest raw stone yet evoke the vaporous shapes and movements of smoke. There are echoes of Noguchi in this work, as it sits at the intersection of natural and man made forms. Traces of Moore can be found in a consistent concern with volume and abstract figuration.

Deedee Morrison is a sculptor and renewable energy artist. She works in a very industrial setting that is an inspired environment for an artist to create work. Her studio is in the home of the Old Republic Steel Mill and what is now the Wade Sand and Gravel Quarry in the heart of the “Birmingham Industrial District.” The sculptor works with limestone rock that has been harvested from an area in the quarry with 600 million years of geological history. The process of harvesting the limestone brings a certain awareness and perspective to her work. The second element of influence is the backdrop of the old steel mill that brought in the industrial development of the whole region. "The sculptures inspired by this environment are intriguing because the works are created using renewable energy technologies that can answer many of the compelling energy challenges we face today – smarter, cleaner and more energy efficient as we evolve in our understanding of what serves our future and the future of our children best." Deedee Morrison.

| Index |

351

后记 本书的编写离不开各位设计师和摄影师的帮助，正是有了他们专业而负责的工作态度，才有了本书的顺利出版。 参与本书的编写人员有：

Stuart Green, Martin Ollman,Stuart Green studio, Susan Milne and Greg Stonehouse, James Simon, Uri Dushy, Saint Clair Cemin, Elisabeth Bernstein, Cate Watkinson, David Williams, Barbara Grygutis, Thomas McConville, Drawings courtesy of Barbara Grygutis Sculpture LLC, Phillip K. Smith, III, Cari Vuong, Rob Mulholland, Deedee Morrison, Cezary Stulgis, Rick Kirby, Clever Capture, Gerry Judah, David Barbour, Andy Scott, David Černý, Julian Voss-Andreae, Zhang Huan, Acorn Photography,Stuart Green studio, Mariana Martin, Tonkin Liu Ltd, Michael Stutz, Conrad Shawcross, Conrad Shawcross, Victoria Miro Gallery London, Cass Sculpture Foundation, May & Watkins Design, Heike Mutter and Ulrich Genth, Guido Erbring, Werner Hannappel, Thomas Joynes, Gijs Van Vaerenbergh, Scott Donahue, Josh Rosenthal, Tom Claassen, Gijs Kaayk, Ralph Helmick, Will Howcroft, Rob Mulholland, EDWINCHEONGSTUDIO, Art Glass Solutions Pte Ltd, Bjørn Nørgaard, Angela Conner, John Bulmer, Jinny Blom Landscape Design, Charlie Hopkinson, Marco Cianfanelli, Enrico Taranta, Kent Roberts, Patrick Dougherty, Stephen Ironside, Steve Lindridge, John Lamont, Claire Burns,Tony Cragg, Steinunn Thórarinsdóttir, Yaxi Zhang, Ronald A. Westerhuis, Curt Brill, Yong-Ho Ji, Barnaby Hindle, Derek Kinzett, Ed Carpenter, Mitchell Kearney, Spike Mafford, Graham Wylie, Andy Buchanan, Jaakko Pernu, Massimo Iosa Ghini, Andrea Martiradonna for INTERNI LEGACY, Paul Remmelts, Lasse Person, Paul Smyth, Leo Murray, Andrew Rogers, Park, Chan girl, Eleanor Cardozo, Elmgreen & Dragset, Anders Sune Berg, James O Jenkins, Nasser Azam, Caroline Scott, Tam Nugent, Jos Noordeloos, Faith Bebbington, Carolyn Murray, Boris Tellegen, Joe O'Connell + Blessing Hancock Public Art, Blessing Hancock, Kayla Hernandez, Florentijn Hofman, Jonathan Katz, Jon Krawczyk.

ACKNOWLEDGEMENTS We would like to thank everyone involved in the production of this book, especially all the artists, designers, architects and photographers for their kind permission to publish their works. We are also very grateful to many other people whose names do not appear on the credits but who provided assistance and support. We highly appreciate the contribution of images, ideas, and concepts and thank them for allowing their creativity to be shared with readers around the world.

CONTRIBUTION CONSULTATION 投稿咨询 HI-DESIGN INTERNATIONAL PUBLISHING (HK) CO., LTD. Web: www.issuu.com/hidesignpublish Tel: 0755-86586558 E-mail: info@hi-design.hk

后记 本书的编写离不开各位设计师和摄影师的帮助，正是有了他们专业而负责的工作态度，才有了本书的顺利出版。 参与本书的编写人员有：

Stuart Green, Martin Ollman,Stuart Green studio, Susan Milne and Greg Stonehouse, James Simon, Uri Dushy, Saint Clair Cemin, Elisabeth Bernstein, Cate Watkinson, David Williams, Barbara Grygutis, Thomas McConville, Drawings courtesy of Barbara Grygutis Sculpture LLC, Phillip K. Smith, III, Cari Vuong, Rob Mulholland, Deedee Morrison, Cezary Stulgis, Rick Kirby, Clever Capture, Gerry Judah, David Barbour, Andy Scott, David Černý, Julian Voss-Andreae, Zhang Huan, Acorn Photography,Stuart Green studio, Mariana Martin, Tonkin Liu Ltd, Michael Stutz, Conrad Shawcross, Conrad Shawcross, Victoria Miro Gallery London, Cass Sculpture Foundation, May & Watkins Design, Heike Mutter and Ulrich Genth, Guido Erbring, Werner Hannappel, Thomas Joynes, Gijs Van Vaerenbergh, Scott Donahue, Josh Rosenthal, Tom Claassen, Gijs Kaayk, Ralph Helmick, Will Howcroft, Rob Mulholland, EDWINCHEONGSTUDIO, Art Glass Solutions Pte Ltd, Bjørn Nørgaard, Angela Conner, John Bulmer, Jinny Blom Landscape Design, Charlie Hopkinson, Marco Cianfanelli, Enrico Taranta, Kent Roberts, Patrick Dougherty, Stephen Ironside, Steve Lindridge, John Lamont, Claire Burns,Tony Cragg, Steinunn Thórarinsdóttir, Yaxi Zhang, Ronald A. Westerhuis, Curt Brill, Yong-Ho Ji, Barnaby Hindle, Derek Kinzett, Ed Carpenter, Mitchell Kearney, Spike Mafford, Graham Wylie, Andy Buchanan, Jaakko Pernu, Massimo Iosa Ghini, Andrea Martiradonna for INTERNI LEGACY, Paul Remmelts, Lasse Person, Paul Smyth, Leo Murray, Andrew Rogers, Park, Chan girl, Eleanor Cardozo, Elmgreen & Dragset, Anders Sune Berg, James O Jenkins, Nasser Azam, Caroline Scott, Tam Nugent, Jos Noordeloos, Faith Bebbington, Carolyn Murray, Boris Tellegen, Joe O'Connell + Blessing Hancock Public Art, Blessing Hancock, Kayla Hernandez, Florentijn Hofman, Jonathan Katz, Jon Krawczyk.

ACKNOWLEDGEMENTS We would like to thank everyone involved in the production of this book, especially all the artists, designers, architects and photographers for their kind permission to publish their works. We are also very grateful to many other people whose names do not appear on the credits but who provided assistance and support. We highly appreciate the contribution of images, ideas, and concepts and thank them for allowing their creativity to be shared with readers around the world.

CONTRIBUTION CONSULTATION 投稿咨询 HI-DESIGN INTERNATIONAL PUBLISHING (HK) CO., LTD. Web: www.issuu.com/hidesignpublish Tel: 0755-86586558 E-mail: info@hi-design.hk