ultramarinus – beyond the sea

Posts tagged “artist

CULTURAL CENTRE AT FORMER EXPLOSIVES MAGAZINE, Asia Society (亞洲協會), Admiralty (金鐘), Hong Kong

In late 1970’s and early 1980’s, the former Victoria Barracks at Admiralty have been torn down to make way for commercial developments, government buildings, and transportation infrastructure. Only a handful of the 19-century structures have been preserved and renovated with modern usage in today’s Hong Kong Park. East of the park, the abandoned Explosives Magazine Compound awaited its fate as rain forest gradually takes over the site. Two decades have passed. In 2002, the site was granted to Asia Society to establish their new home in Hong Kong. Founded in 1956 by John D. Rockefeller III in New York, Asia Society is an organization that promotes cultural exchange between Asia and the United States. In 1990, Asia Society arrived in Hong Kong to establish its Hong Kong Centre. After granted the site of the former Explosives Magazine Compound, Architects Tod Williams and Billie Tsien were chosen to oversee the design and transformation of the site, erecting new structures and converting four former weapon production and storage buildings into one of the most fascinating cultural venues in the city.

As the New York based architects described, the 1.3 hectares site was overgrown with banyan trees and lush green vegetation despite its central location adjacent to the British consulate and Pacific Place Shopping Centre. In 2012, after a decade of construction work, Asia Society’s 65,000 s.f. new home was opened to the public. Seen as one of Hong Kong’s most successful adaptive reuse and heritage conservation project in recent years, Asia Society regularly host talks and exhibitions. The complex is separated by a nullah into two parts. Where the former explosive magazine buildings are located, the upper site houses a gallery, offices, and theatre. The lower site is occupied by a visitor centre, multi-function hall, gift shop, restaurant, and offices. Connecting the upper and lower sites, Tod Williams and Billie Tsien designed a double decker bridge that zigzags over the sloped rain forest. The upper deck is a pleasant open walkway offering great views of the adjacent commercial district. Combined with the roof of the visitor centre, the open walkway also serves as a sculpture garden.

The former explosives magazine site was designed for the home of Asia Society in 2002. The project took a decade to complete and opened as the cultural centre of Asia Society in 2012. [Asia Society, Justice Drive, Admiralty, 2021]
A manmade waterfall marks the dramatic entrance of the cultural centre and draws visitors up to the rooftop sculpture garden. [Asia Society, Justice Drive, Admiralty, 2021]
Stones from Southern China were chosen by the architects as the main facade cladding. [Asia Society, Justice Drive, Admiralty, 2015]
The roof garden is one of the main feature at the Asia Society complex. Long Island Buddha, the 2011 sculpture made of copper and steel by artist Zhang Huan, is one of the permanent sculptures in the garden. [Asia Society, Justice Drive, Admiralty, 2021]
A miniature Zen garden defines the heart of the roof garden. [Asia Society, Justice Drive, Admiralty, 2017]
Chloe Cheuk’s crystal balls installation, named “…Until I am Found”, is an interactive piece offering distorted image of the city’s skyline. [Asia Society, Justice Drive, Admiralty, 2017]
The double decker bridge is an architectural delight linking the two parts of the site. [Asia Society, Justice Drive, Admiralty, 2015]
From the upper deck of the bridge, visitors can peacefully enjoy the skyline of the business district of Admiralty. [Asia Society, Justice Drive, Admiralty, 2021]
The lower site is mainly occupied by the multi-function hall where most of the talks and events are held. [Asia Society, Justice Drive, Admiralty, 2021]
Old tracks for weapon carts are preserved at the upper site, where an office, gallery and theatre are housed in three historical buildings. Outdoor artworks are also on display around the site. As contemporary representation of Chinese tradition, Zhan Wang’s Artificial Rock artworks often appear as stainless steel versions of scholar’s rocks commonly found in Suzhou gardens. [Asia Society, Justice Drive, Admiralty, 2021]
Several granite military lot markers were found when the site was taken over by Asia Society. Dated to 1910, these stones were installed by the Royal Navy to mark the boundary of the former Victoria Barracks. [Asia Society, Justice Drive, Admiralty, 2021]
Historical cannons were unearthed at the site during the renovation work. [Asia Society, Justice Drive, Admiralty, 2021]
The former weapon laboratory has been transformed into offices. [Asia Society, Justice Drive, Admiralty, 2021]
Dated from 1880, the former Magazine A has been transformed into an art gallery that feature temporary exhibitions. Recently, a retrospective show of the works of late French artist Lalan (謝景蘭) was on display. [Asia Society, Justice Drive, Admiralty, 2021]
Yukaloo by renowned James Turrell in 2019 was the first show of the American artist in Hong Kong. His powerful LED installations led spectators into a dreamy experience of space, light, colour and time. His works filled the former weapon magazine with an aura of infinity. [Asia Society, Justice Drive, Admiralty, 2019]
Outside the gallery, a covered walkway leads visitors further into the former Magazine B, which is currently occupied by a theatre. [Asia Society, Justice Drive, Admiralty, 2021]
The fine combination of a small fountain and planter could have been inspired by the traditional Suzhou garden. [Asia Society, Justice Drive, Admiralty, 2021]
Known as a “horizontal building in a vertical city”, the essence of horizontal and sequential movement can be clearly felt. [Asia Society, Justice Drive, Admiralty, 2021]
The contrasting materials of the canopy and the historical building present no confusion on which is old and new. [Asia Society, Justice Drive, Admiralty, 2021]
Heading back down to the Multi-function and reception hall, we often take the lower deck of the double decker bridge. [Asia Society, Justice Drive, Admiralty, 2021]
It is always a pleasant journey to walk through the lush green rainforest at the Asia Society. [Asia Society, Justice Drive, Admiralty, 2021]
Since 2017, Adrian Wong’s Untitled (Grate XI: Electric Bauhinia) has occupied the niche near the entrance of the Multi-function Hall. [Asia Society, Justice Drive, Admiralty, 2021]
Below the Multi-function and reception hall is Ammo, an atmospheric Italian Japanese fusion restaurant overlooking the lush green nullah that separates the upper and lower site of the complex. [Asia Society, Justice Drive, Admiralty, 2021]

DAY 2 (2/5): “ALL ABOUT MY LOVE”, Yayoi Kusama’s Exhibition at Matsumoto City Museum of Art (松本市美術館), Matsumoto (松本), Japan, 2018.05.26

First appeared in 1966, the stainless steel balls floating in the natural flow of pond water of Yayoi Kusama (草間彌生)’s “Narcissus Garden” was a remarkable landscape art piece that we saw in 2013 at Inhotim, an outdoor art museum and botanical garden near Belo Horizonte of Brazil.  During the same trip, we went on to see her retrospective show “Obsesión infinita [Infinite Obsession]” at Centro Cultural Banco do Brasil in Rio de Janeiro.  It was an mind-blowing experience to enter Yayoi Kusama’s world of polka dots for the first time.  Four and a half years has passed.  This time, we were fortunate to swing by Matsumoto, Yayoi Kusama’s birthplace, on our way to the Japanese Alps and got a chance to see her latest show at the city’s art museum.  Since its grand opening in 2003, Matsumoto City Museum of Art (松本市美術館) has held three Yayoi Kusama’s shows.  With 180 pieces in display, “All About My Love (私の愛のすべて) has become the fourth show for the famous daughter of Matsumoto.

Born in 1929 and raised in Matsumoto, Yayoi Kusama is a prolific artist with a career spanning many decades.  Since the age of 10, Yayoi Kusama experienced hallucinations of light flashes, auras, or dense fields of dots.  These vivid imagery has since become a powerful source of inspirations for many of her works.  In her childhood, she was also inspired by the smooth and fluid forms of white river stones near her home, which has led to another major influence in her works.  Yayoi Kusama began exhibiting her works in Japan in 1950s.  In 1957 at the age of 27, she moved to the United States to pursue greater freedom and respect for an avant-garde woman artist.  She stayed in the US from 1957 to 1972, based mainly in New York City.  In New York, she soon became an active member in the circle of avant-garde artists, befriended many artists and activists of her era, produced paintings, art installations, performance art, photography, and films, involved in a number of social movements including anti-war protests and opened a naked painting studio and a gay social club.  She stood at the forefront of the avant-garde art scene and held exhibitions/ performances in established venues such as MoMA and the Venice Biennale.  In 1973, she fell ill and returned to Japan.  She checked into Tokyo’s Seiwa Hospital for the Mentally Ill in 1977, and has stayed there since then.  After leaving New York, she was soon forgotten in the international art scene until the early 1990s, when retrospective shows and large outdoor installations revived international interest in her works.  Some notable pieces included the 1993 Japanese pavilion at the Venice Biennale, where she created a mirrored room filled with small pumpkin sculptures, and soon later, huge yellow pumpkin sculptures covered with black dots (representing a kind of her alter-ego) emerged around the world, and so as various reiterations of “Narcissus Garden” around the world.  In recent years, collaborations with commercial labels such as Louis Vuitton and Lancome have further brought the veteran avant-garde back in the limelight.

DSC_6129It was just a  20-minute walk from Matsumoto Castle to Matsumoto City Museum of Art.  The museum building was covered with the trademark of Yayoi Kusama, the Queen of Polka Dots.

DSC_6127_01We were greeted by Yayoi Kusama’s “The Visionary Flowers”, an eye-catching installation of three wacky-looking tulips that have stood at the museum forecourt since 2002.

DSC_6077After presenting our online-purchased tickets, we followed the coloured footprints and headed upstairs to the show.

DSC_6104Photography was not allowed for most of the show, except the common atrium and one of the painting galleries.

OLYMPUS DIGITAL CAMERASomehow the red polka dots fitted in very well with the minimalist museum interior.

DSC_6082Another Yayoi Kusama’s flower installation inside the museum.

DSC_6083A paper cut of Yayoi Kusama was offered as a photo spot for visitors.

OLYMPUS DIGITAL CAMERAThe room filled with paintings from the “My Eternal Soul” series was the only gallery that photography was allowed.

OLYMPUS DIGITAL CAMERAVisitors enjoyed themselves by making selfies in front of the colourful paintings.

OLYMPUS DIGITAL CAMERAUnder the power of the Polka Dot Queen, even the food at the museum cafe provided an Yayoi Kusama experience.

DSC_6102Through a polka dot on the window, we could see a version of Yayoi Kusama’s most recognizable yellow pumpkin in the museum courtyard.

DSC_6108Polka dots were everywhere.

DSC_6120We couldn’t leave the museum without a closer look at the yellow pumpkin.

DSC_6119While most visitors went to make selfies at the yellow pumpkin, kids were having fun at the water feature in the courtyard.


DAY 4 (1/3): SUMIDA HOKUSAI MUSEUM (すみだ北斎美術館), Sumida (墨田), Tokyo, Japan, 2017.06.17

After a full day excursion of historical temples and natural scenery in Nikko, we decided to spend the next day to explore another neighborhood in Tokyo.  We started the day at the southwest area of Sumida District (墨田区), near the metro station of Ryogoku (両国).  Many tourists come to Ryogoku (両国) for sumo (相撲): visit sumo stables to view professional practice, or checked out chanko nabe restaurants for a sumo meal, or even watch a game of sumo wrestling at Ryogoku Kokugikan (Ryogoku Sumo Hall).  We, however, came to the area for museum hopping.

Opened in 2016, the Sumida Hokusai Museum is being considered as a novel cultural icon of Sumida.  Designed by Kazuyo Sejima (妹島 和世), the sleek architecture houses exhibitions to showcase the life and works of the world famous ukiyo-e (浮世絵) artist Katsushika Hokusai (葛飾 北斎).  With his Thirty-six Views of Mount Fuji (富嶽三十六景), Hokusai is definitely the most iconic figure of ukiyo-e (浮世絵) in the Edo Period (1603 – 1868).  Kazuyo Sejima (妹島 和世), the founder of SANAA and a recipient of the Pritzker Prize in architecture with Ryue Nishizawa, is also a generation defining Japanese architect in her own right.  From the 21st Century Museum of Contemporary Art in Kanazawa, New Museum in New York, Rolex Learning Centre in Lausanne, to Louvre Lens Museum in France, Sejima and Ryue Nishizawa of SANAA have inspired uncounted architects and designers around the world in the last two decades.

OLYMPUS DIGITAL CAMERAThe Midoricho Park (緑町公園) where Sumida Hokusai Museum is erected, is also the birthplace of Katsushika Hokusai (葛飾 北斎).

OLYMPUS DIGITAL CAMERASejima’s building immediately became a cultural icon in the rather low key residential neighborhood.  The building provides an interesting backdrop for the community play area of Midoricho Park.

OLYMPUS DIGITAL CAMERAThe building scale and the facade’s level of reflectiveness express a certain degree of novelty without creating an overwhelming impact to the surrounding context.

04The cave like slit at each of the four sides provides a prominent entrance gateway at each side.

05The reflectivity of the museum’s metal cladding is right on.

06Everything on the facade is clean and minimal.

07We walked to the main entrance via one of the triangular opening on the facade.

08The facets of the glass panes and the reflections of the outside offer a unique entrance experience.

09The detailing of the triangular opening is once again clean and minimal.

OLYMPUS DIGITAL CAMERAThe angular aspects of the architecture is carried through into the interior.

11The washroom on the ground floor is a cute little cube at the lobby.

OLYMPUS DIGITAL CAMERABeside Sejima’ architecture, the works of Katsushika Hokusai (葛飾 北斎) were well worth the admission.

13The exhibition space is not big.  Most of his paintings are hung along the wall.  Artifacts such as books and sketches.

14The most famous works by  Kazuyo Sejima is Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūroku-kei).  A selection of the 36 prints had been put on display.

15The Great Wave off Kanagawa is perhaps the most well known image by Katsushika Hokusai.

OLYMPUS DIGITAL CAMERASome of the final works by Katsushika Hokusai are also on display.

17A wax display depicting the studio of Katsushika Hokusai (葛飾 北斎) and his daughter back in the Edo Period.

18Outside of the exhibition area, there is a seating area with great views towards the Sky Tree.

TIANZIFANG (田子坊), Shanghai, China

Hidden in a series of alleyways of traditional townhouses known as Shikumen (石庫門), an interesting area popular with artists and young people has become a major tourist attraction in the former French Concession of Shanghai.  Known as Tianzifang (田子坊) since artist Huang Yongyu (黃永玉) named the area after an ancient painter Tianzifang (田子方) in 2001, Tianzifang has become a vibrant location for young people and artists.  Many of the traditional Shikumen houses were restored during 2000s and converted into craft shops, cafes, bars, souvenir stores, etc.  Taken quite a distinct approach towards preservation than the nearby Xintiandi (新天地), Tianzifang maintains a relatively low-key and community feel.  Electrical cables were hanging all over, while weathered bricks and decades old windows could be commonly seen.

We spent much of the last morning of our Shanghai trip wandering in the alleyways of Tianzifang to absorb the lay-back and creative atmosphere.  We did quite a bit of window shopping.  At the end, we stopped by Cafe Dan for coffee and soba.  Owned by a Japanese, Cafe Dan is a lovely small cafe serving excellent Japanese food and great coffee from around the world.  Up a flight of narrow wooden stair, the dining area of Cafe Dan on the upper levels felt like a peaceful oasis above the bustling activities of tourists and visitors of Tianzifang.  Sitting by the wooden window screen, we had some moments of tranquility under the warm sunlight, while the aroma of our filtered coffee gradually filled the cafe interior.

DSC_2528We reached Tianzifang through one of these alley entrance on Taikang Road.

DSC_2384One of the alley gateway into Tianzifang.

DSC_2383Statue of the ancient painter Tianzifang from the Warring State Period (481 to 403 BC).

DSC_2311Hand-drawn 3D map of Tianzifang.

OLYMPUS DIGITAL CAMERAAlleyway in Tianzifang.  Some shops were at the upper level of the old houses, accessible by narrow stairway from the ground level.

DSC_2317Much of the old houses in Tianzifang were transformed into cafes, restaurants and shops.

DSC_2303This shop is dedicated to Teddy bears.

DSC_2322Pedestrian nodes such as a small courtyard could be found at a number of places.

DSC_2333Colourful or kitsch souvenirs selling the Chinese culture could be found all over.

DSC_2352A shop selling traditional and bespoke clothing.

DSC_2386Statue dressed like a red army during the Cultural Revolution in front of a second-hand camera shop.

DSC_2419Interesting murals contribute to the community feel of Tianzifang.

DSC_2320Alleyway in front of Cafe Dan.

DSC_2519Entrance of Cafe Dan.

DSC_2459Interior of the upper level of Cafe Dan.

DSC_2464Delicious Japanese soba at Cafe Dan.

DSC_2481My cup of coffee was brewed with beans from the Galapagos.

DSC_2511The alternating tread wooden staircase at Cafe Dan was an interesting feature.

DSC_2521Heading out of Tianzifang to find our way to our next destination of the day, the small Blue Nankeen Museum.



Read other posts on Shanghai 2016:
0.0 SHANGHAI, 2016
1.0 SUZHOU MUSEUM, Suzhou, China
3.0 LION GROVE GARDEN, Suzhou, China
5.0 ROCKBUND, Shanghai, China
6.0 M50, Shanghai, China
7.0 1933 SHANGHAI (老場坊) , Shanghai, China
8.0 POLY GRAND THEATRE (上海保利大劇院), Shanghai, China
10.0 POWER STATION OF ART, Shanghai, China
11.0 LONG MUSEUM (龍美術館), West Bund, Shanghai, China
12.0 THE BUND (外灘) AT NIGHT, Shanghai, China
13.0 TIANZIFANG (田子坊), Shanghai, China
15.0 LUJIAZUI (陸家嘴) OF PUDONG (浦東), Shanghai, China


After a morning of the former French Concession, a short taxi ride took us to the former Expo ground by the Huangpu River for an entirely different side of Shanghai.  Opened in 2012, Power Station of Art is China’s first state run contemporary art museum.  Like London’s Tate Modern, the 440,000 sq.ft art museum is housed in a former power station.  We spent about two hours at the art museum.

Upon arrival at the grand hall on the ground floor, we were immediately astounded by the gigantic piece of installation art that involved a life-size train carriage and a number of mounted animals.  The piece belongs to French-Chinese artist Huang Yongping (黄永砯) as the centerpiece of his exhibition, Baton Serpent III: Spur Track to the Left.  On the upper floors, through a retrospective exhibition marking his 60th birthday, we got to know about the magnificent works and tragic life of Datong Dazhang, a Chinese artist from Shanxi Province active in the 1980s and 90s, and eventually committed suicide in the year 2000.  With vivid posters, drawings and videos illustrating renowned architect Bernard Tschumi’s design philosophies, we spent a brief time full of architectural thoughts at Tschumi’s exhibition, Architecture: Concept & Notation.  The last thing we saw before leaving the museum was In the Name of Architecture, a design exhibition by Atelier FCJZ encompassing the studio’s ideas on architecture, fashion, lifestyle, and graphic design.

DSC_1561Built in 1985, the Nanshi Power Station was turned into the Pavilion of Future in 2010’s Shanghai Expo, and subsequently converted into an art museum by Original Design Studio.

DSC_1564Today, the Power Station of Art has become a prominent cultural venue in Shanghai.

DSC_1566The life-size train carriage of Huang Yongping’s Spur Track to the Left.

DSC_1570Huang Yongping’s Spur Track to the Left.

DSC_1582Huang Yongping’s Spur Track to the Left.

DSC_1575Other installation by Huang Yongping’s on the ground floor.

DSC_1577Other installation by Huang Yongping’s on the ground floor.

DSC_1585Other installation by Huang Yongping’s on the ground floor.

DSC_1651Huang Yongping’s Baton Serpent on the second floor.

DSC_1599View of Huang Yongping’s Spur Track to the Left from the third floor.

DSC_1604Huangpu River and the former Expo ground as viewed from the museum’s outdoor terrace.

DSC_1605Outdoor terrace of the Power Station of Art.

DSC_1635Greatly under valued and seen as a social dissident during his lifetime, Shanxi avant-garde artist Datong Dazhang (大同大) lived a harsh life in the 1980s and 90s as an artist who was way ahead of his time.  Entirely self-taught and self initiated, Zhang works ranged from installations, photography, performance art, and drawings.

DSC_1621Datong Dazhang’s Questioning the Weight of Scales.

DSC_1632Datong Dazhang’s The Fear of Math, where pig heads were arranged in an abacus arrangement.

DSC_1634Prohibited from showcasing his art because of political issues, Zhang continued to make art during the 1990s and documented a number of performance arts with zero audience.

DSC_1643Bernard Tschumi’s Architecture: Concept & Notation.

DSC_1653Architectural model at Atelier FCJZ’s In the Name of Architecture.

DSC_1661Cool copper partitions at the entrance of FCJZ’s exhibition on the ground floor.



Read other posts on Shanghai 2016:
0.0 SHANGHAI, 2016
1.0 SUZHOU MUSEUM, Suzhou, China
3.0 LION GROVE GARDEN, Suzhou, China
5.0 ROCKBUND, Shanghai, China
6.0 M50, Shanghai, China
7.0 1933 SHANGHAI (老場坊) , Shanghai, China
8.0 POLY GRAND THEATRE (上海保利大劇院), Shanghai, China
10.0 POWER STATION OF ART, Shanghai, China
11.0 LONG MUSEUM (龍美術館), West Bund, Shanghai, China
12.0 THE BUND (外灘) AT NIGHT, Shanghai, China
13.0 TIANZIFANG (田子坊), Shanghai, China
15.0 LUJIAZUI (陸家嘴) OF PUDONG (浦東), Shanghai, China

M50, Shanghai, China

After Rockbund Art Museum, we continued our inspiring art journey to M50.  50 Moganshan Road (M50) is a thriving artist community in Shanghai.  Over a hundred artists and artisans have studios at M50, and many are opened to the public.  M50 art community occupies a number of former factory buildings of Chunming Slub Mill.  By around year 2000, artists started to move into the vacant factory buildings because of the affordable rent.  The area gradually developed into one of the most interesting cultural scene in the city.

From Rockbund, we took a taxi to M50.  We were greeted by a few-storey high tower, cladded in silver aluminum panels, that said M50: Suzhou Creek/ Soho/ Loft.  Once inside the M50 area, we felt like we had entered a factory campus with industrial buildings and alleyways and footbridges linking up various building blocks.  We picked a building to enter to check out the artist studios inside, many of which had works displayed.  It wasn’t crowded but visitors like us could be seen all over.  Neatly designed coffee shops and souvenir/ design shops also mushroomed at M50, aiming at the increasing number of outside visitors and tourists.  We hopped from buildings to buildings and had fun in absorbing the causal and artistic atmosphere of M50.

DSC_0824The silver signage tower of M50 at the entrance.

DSC_1024Once inside, it felt like we had entered an industrial campus, except cool signage and LED video screens.

DSC_1026Posters of artist studios were pin up at the entrance of one of the buildings in M50.

DSC_0829Studios and small galleries lined up along both sides of a building in M50.

DSC_0832Window display of a sculpture studio.

DSC_0836Some galleries focus on paintings with local Chinese themes.

DSC_1020A slab opening seemed causally made to accommodate a red staircase in one of the buildings of M50.

OLYMPUS DIGITAL CAMERAHallways in the buildings at M50 are spacious, some of them have high windows to allow natural light into the building.

DSC_0863Human face is the main theme of one of the artists’ works at M50.

OLYMPUS DIGITAL CAMERAOshadai, a neatly decorated cafe / eatery with a causal touch of the countryside.

OLYMPUS DIGITAL CAMERAStreet art could be seen all over M50.

DSC_0916An outdoor piece made of signage.

OLYMPUS DIGITAL CAMERAA cool coffee shop with fantastic timber structure.

DSC_0983Wall advertisement on the boundary wall of M50.

DSC_0988Even the colour and pattern of a rusty gate look interesting under the sun.

DSC_1000.JPGTree stump art with dragon carving.

DSC_1001Another street art with a local touch.

DSC_1004Under the water tank is another artist studio, which can be accessed by the stair and concrete deck that wraps around the sign “Waiting for You”.

OLYMPUS DIGITAL CAMERAA partial replica of Michelangelo’s David with nearby residential development at the background.

DSC_1014The cutest cat sat at the door threshold of a cafe with both of its paws fixed on the saddle.



Read other posts on Shanghai 2016:
0.0 SHANGHAI, 2016
1.0 SUZHOU MUSEUM, Suzhou, China
3.0 LION GROVE GARDEN, Suzhou, China
5.0 ROCKBUND, Shanghai, China
6.0 M50, Shanghai, China
7.0 1933 SHANGHAI (老場坊) , Shanghai, China
8.0 POLY GRAND THEATRE (上海保利大劇院), Shanghai, China
10.0 POWER STATION OF ART, Shanghai, China
11.0 LONG MUSEUM (龍美術館), West Bund, Shanghai, China
12.0 THE BUND (外灘) AT NIGHT, Shanghai, China
13.0 TIANZIFANG (田子坊), Shanghai, China
15.0 LUJIAZUI (陸家嘴) OF PUDONG (浦東), Shanghai, China