Instruction for Visiting DSL Cyber MOCA

March 17, 2009 § Leave a comment

go to DSL Cyber MoCA website

(If you are already a Second Life user, please start from Step 3)

Step 1.

Register a free Second Life (SL) account with this link:

Step 2.

Download and install Second Life software (as instructed in the Registration or with the link below)

Step 3.

Link to DSL Cyber MoCA:

Click on the image below to open the page, then click the “Teleport” button.

cyber moca "teleport" page

Step 4.

Log in SL with your user name and password.


Step 5. Once logged in, you will find yourself is in front of DSL Cyber MOCA –


As advised, click on the sign, the Location Menu (in the red circle) will pop up. Select any gallery you wish to visit.

entrance of Cyber MOCA
(click to enlarge) choose gallery from Location Menu


Artworks in DSL Collection of Chinese contemporary art are on view in 4 galleries : Photography Gallery, Painting & Print Gallery, Installation Gallery and  New Media Gallery. Similar to  using any computer game’s interface, by controlling the movement of  “avatar”  (representation of oneself in SL ), one can walk even “fly” around to see the exhibits in DSL Cyber MOCA. Alternately, a device called “Teleporter”( in the red circle) is provided for navigating from one gallery to another –

(click to enlarge) "Teleporter" - navigation device
(click to enlarge) use “Teleporter” to navigate
Photography Gallery
(click to enlarge) Photography Gallery
(click to enlarge) an "avatar" viewing in Installation Gallery
(click to enlarge) an “avatar” in Installation Gallery
(click to enlarge) New Media Gallery
(click to enlarge) New Media Gallery

have an immersive experience of contemporary art studies

in DSL Cyber Museum of Contemporary Art

For questions, please contact:

In Second Life: Lily Jun


Koolhaas Building in CCTV Complex Engulfed by Fire

February 11, 2009 § Leave a comment

From Artforum:

The New York Times’s Andrew Jacobs and Graham Bowley report that a fierce fire has engulfed Rem Koolhaas’s CCTV complex during the last day of celebrations for the Lunar New Year in Beijing, while the city was ablaze with fireworks. The building is part of China Central Television’s new headquarters. It was a trophy of Beijing’s pre-Olympics building boom, the result of many billions of dollars the ruling Communist Party devoted to making Beijing a city of the future.

The burning building, also known as the TVCC tower, housed a luxury hotel and cultural center and stood next to the main CCTV tower. Flames were visible from the ground floor to the top floor of the large building. CCTV estimated that the fire had begun a few minutes before 8:30 PM, although some local residents said they saw flames as early as 7:45 PM.

It was not immediately clear what had caused the fire, but the city had been filled with fireworks for the annual festival. There were also no details about whether there were any injuries, but witnesses at the scene said that workers had been present around the clock and were likely to have been in the building when the fire started.

The hotel in the building, a 241-room Mandarin Oriental, was due to open this year. Erik Amir, a senior architect at Koolhaas’s firm, the Office for Metropolitan Architecture, rushed to the site, the Associated Press reported. “I think it’s really sad that this building is destroyed before it can be opened to the public,” he was quoted as saying.


Video footage of the fire can be seen here.

Burn After Building

by Bert de Muynck

From Chinese ArtForum-website

TVCC was never a very lucky building. The public counterpart to one of the most ingenious and brutal buildings constructed in this era—Rem Koolhaas and OMA’s China Central Television headquarters—it seemed always secondary. Since the start, first in the iconic digital rendering, and later in the actual photographs of the site, TVCC has been obscured, partially visible through the hole that is CCTV’s most famous feature, literally lying in the shadow of big brother. On Monday night, owing to a strange twist of fate and a couple of superpowered firecrackers, it came out of that shadow, if only by going up in flames.

Rem Koolhaas, Ole Scheeren, and Office for Metropolitan Architecture, TVCC (Television Cultural Center), 2009, Beijing. All photos by Bert de Muynck.

The real problem was that TVCC, which could have been built anywhere, had the misfortune of being located next to a building that could not have been built anywhere but in today’s Beijing. Few ever understood what the building actually was doing on the site; for every hundred words written about CCTV, one was written about TVCC. The building, which was to house a 1500-seat theater and a Mandarin Oriental hotel, always came across as an afterthought, a sloping sideshow to the cantilevered loop. Growing out of necessity rather than inspiration, the boot-like building was described as a form of “cake-tin architecture” proving that “charm can be generated on a big scale from heterogenous elements.” But for Koolhaas and OMA, it was where the genius of CCTV spun off into formula and even shtick. Even its name, which reverses the letters of the mothership and stands for “Television Cultural Center,” seemed a bit too predictably OMA in its linguistic play.

News of the strange and tragic fate of TVCC made its way around Beijing and the world last night, first by Twitter and SMS, then by blog and youtube and the Chinese video sites. CCTV, like all the state media, kept quiet on the story in anticipation of a party line, even as thousands of Beijingers turned the East Third Ring into a pedestrian promenade, their cameras registering every spark with a strange mix of disbelief and intrigue. Around them, fireworks exploded desperately as New Year revelers attempted to get one last shot off before the clock struck twelve and pyrotechnics were once again illegal after a two-week holiday. The moon was full. Celebrity bloggers in the crowd included Chinese artist Ai Weiwei (who long ago threw his hand in with OMA rival Herzog & de Meuron, working on the Olympic Stadium), as well real-estate magnate and SOHO China chairman Pan Shiyi (who must just have been glad not to be watching one of his own buildings burn).

The morning after, the whole area around the construction site was guarded by police. Crowds gathered at corners and on sidewalks, pointing their fingers, gesturing at how the fire fell through the roof. News that one fireman was killed fighting the blaze was released. Seven others were sent to the hospital for treatment for smoke inhalation. Walking around the area, one was immersed in a strange architectural experience, feeling something happening, but wondering exactly what. More fingers point to the façade. For a second one might have thought they had spotted an an audacious stuntman climbing the façade of CCTV. The armed police march their patrols, sidewalks are closed, traffic diverted. For all its devastation, human loss and years spent in negotiation over the construction of the building, its interiors, its management, for all of its tragedy, there is a strange beauty to the building as it stands now, like a burnt-out Olympic torch next to a glimmering ring. TVCC’s façade seems to be crying. It is bumpy and, finally, textured. Walking around it the morning after the fire, one could only wonder how long it will stand, and what its potential collapse might mean for architecture. Would this become a perverse Pruitt-Igoe, and thus a deflation of the modernist dreams CCTV has been said to re-embrace? Will the grassroots transmission and narration of the catastrophe stand more as proof of the clarity and empowerment of the people’s media—a phalanx of tweeters and bloggers and amateur videographers—above and beyond the state machine for whom OMA so controversially designed these buildings in the first place, and which for now still insists on a miniscule official press release and forbids photographs from running in the newspapers?

“PR Rotterdam” is the message I receive when I contact TVCC’s project architect asking who is talking about this unfortunate event. After that I ask him if anyone in Beijing can comment. A simple “No” follows. I stop my inquiry, look around, see the people discussing, clustering, stopping, registering, picking up cameras and binoculars. For the past few years I have been circling the area quite often, registering the progress, watching the demolition of its surrounding neighborhood. The exact date of the coming together of the two CCTV towers had been subject to such extreme secrecy that it seemed to happen occasionally, just over a year ago. No real proof seems to exist of that moment, save for the built proof that it happened. Today, I am seeing the proof that something else has happened, that architecture is vulnerable, subject to natural forces. It is a bizarre apotheosis of a two-week holiday, characterized mainly by relentless firework explosions in the winter air.

At the same I can only think about the “Fighting the Flames” spectacle Rem Koolhaas described in Delirious New York. “Fighting the Flames” was a daily event on New York’s Coney Island which consisted of burning the same city block over and over again. The block as actor. Koolhaas wrote, “The entire spectacle defines the dark side of Metropolis as an astronomical increase in the potential for disaster only just exceeded by an equally astronomical increase in the ability to avert it. Manhattan is the outcome of that perpetual neck-and-neck race.” Without any question CCTV has defined the dark spectacle of this Metropolis. But it was his little strange brother who didn’t possess the ability to avert the disaster and has thus paid the price for Beijing’s neck-and-neck race with architecture.

Bert de Muynck is a Beijing-based writer and architect, and co-director of MovingCities.

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