Search results for "china"

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Higher and Higher

Adrian Smith + Gordon Gill designs tallest building in China
Adrian Smith + Gordon Gill (AS + GG) has revealed renderings for what will be the tallest building in China and the third tallest in the world when complete. The Shenzhen-Hong Kong International Center in Shenzhen is slated to rise to about 2,300 feet in a new development that AS + GG is also master planning. The Shimao Shenzhen Longgang Master Plan will be a mixed-use district with residential, hospitality, office, and retail space along with public landscapes and entertainment facilities. The Shenzhen-Hong Kong International Center symmetrical, vaguely biomorphic, glass-covered design is relatively similar to the firm's other work. AS + GG has designed many of the world's tallest buildings, including what will be the tallest building in the world when complete, the over 3,000-foot-tall Jeddah Tower in Saudi Arabia. Adrian Smith, cofounder of the firm, also worked on the world's current tallest building, the Burj Khalifa in Dubai, while he was still at Skidmore, Owings & Merrill (SOM). Assuming the Shenzhen-Hong Kong International Center is completed before another taller tower can be announced, when the tower is finished Smith will have worked on the three tallest buildings in the world. The building is tall enough to exceed the supertall tower range (which ranges from 984 feet to 1,969 feet), and to make it into the elite megatall crew, of which the Burj Khalifa was the first member in 2010. The current tallest tower in China, Shanghai Tower, designed by Gensler, is just over 2,000 feet tall.
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Living Coral-ish

David Chipperfield finishes hillside museum in eastern China
David Chipperfield Architects has recently finished a new museum in Anji outside Dipuzhen in eastern China that comprises a set of interlinked bars in a "red ochre" color that references local clay earth. The facility will be a branch of the Zhejiang Museum of Natural History when it opens this spring. The museum's rectangular galleries step down its hillside site and are connected by a loggia that encloses an interior courtyard. The galleries have roughly the same grand height and width but vary in length, bringing some diversity to the exhibition spaces. Altogether, the museum will enclose about 624,000 square feet. When fully landscaped, the complex will include green roofs and water features that, along with the ruddy color, will connect the building to its subtropical setting. German firm Levin Monsigny Landschaftsarchitekten and local firm Zhejiang South Architecture Design Ltd. worked on the landscape design.
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Sand Cave

OPEN Architecture completes a cave-like museum buried in China’s Gold Coast
New York City and Beijing–based OPEN Architecture recently completed a cave-like museum that’s carved into a sand dune along China’s Gold Coast. The UCCA Dune Art Museum is a 10,000-square-foot facility featuring 10 galleries, studios, and a cafe tucked inside an all-white, unassuming structure beside the sea. According to the architects, the museum’s hidden form was inspired by the way in which children dig into the sand. It takes visitors beneath the mass of loose land and allows them to enter into a series of otherworldly, cell-like spaces below ground. After walking through a dark tunnel and small reception area, museum-goers are exposed to the largest multifunctional gallery. This procession, along with its secluded location, creates a more personal experience for viewing contemporary art. “Its interconnected, organically shaped spaces echo those of caves…whose walls were once home to some of man’s first works of art," the firm told Archinect. The largely-underground building includes a massive concrete shell that was formed by small linear wood strips and other structural materials. A multitude of overhead openings and skylights of varying sizes allow natural light to seep into the gallery spaces. Perched by the shore, the roof is covered in sand to reduce the building’s overall heat load. It also includes a low-energy, zero-emission ground source heat pump that cools the structure during the day. Visitors can ascend a spiral staircase from the galleries up onto a viewing platform to take in the surrounding views and fresh air. The entire space is engineered to be contemplative, urging art lovers to consider the museum’s context as part of the art itself. The UCCA Dune Art Museum is part of the Ullen Center for Contemporary Art in Beijing, a leading international institution. OPEN Architecture aims to design a walkway that extends from the Dune Art Museum into the Bohai Sea. When the tide is low, it will lead visitors to the solitary Sea Art Museum, a boxy, open-air structure built like a rock. That project is currently under construction.
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Mirror, Mirror on the Wall

AMO’s first exhibition in China distorts selfie culture
AMO’s tradition of experimentation with imagery, jokey self-referential installations, and the power of perception has arrived in China. From now through August 14, True Me will be on display at the 798 Art Factory in Beijing, presenting guests with distorted selfies, monochrome rooms, and anime-inspired installations. True Me was organized in conjunction with AMO, the Chinese selfie app (and data vacuum) Meitu, and the Beijing Contemporary Arts Foundation to celebrate Meitu’s new logo. The show simultaneously skewers and celebrates “selfie culture”: wavy mirror walls wrap the exhibitions and line the show’s circulation, warping the reflections of guests as they move through the Art Factory. According to AMO, this is to show patrons their heavily post-produced “outer self” that social media users project on image sharing apps. The “inner self” is represented too, with six installations meant to evoke visitors’ raw, softer internal life. These spaces are covered in felt, flannel, and grass, and contain photogenic backdrops that were highly influenced by pop culture. Ironically enough, each installation is highly Instagrammable and will likely feature in just as many “outer self” photographs. The spaces range from neon-pink cosmetic mockups, to a faux arcade wallpapered with anime characters in dynamic poses, to a giant backlit eye, to a long purple hall containing alternative versions of the Meitu logo. True Me was led by OMA Partner and Asia Director Chris van Duijn and is AMO’s first exhibition in China. It’s far from AMO’s parent firm OMA’s first project in the country, however. Most recently the firm won a competition to master plan and design an enormous “Unicorn Island” in Chengdu.
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For the Birds

Kuth Ranieri Architects transforms an abandoned roller coaster into an aviary in China
Some might say adaptive reuse is for the birds—in which case, San Francisco–based Kuth Ranieri Architects might happen to agree. The office is currently working on an unexpected adaptive-reuse project in Suzhou, China—just outside Shanghai—with fellow Bay Area landscape architects TLS Landscape Architecture, with the aim of repurposing an aged amusement park at the foot of the iconic Lion Mountain into a central green for a new, technology-focused residential hub. For the Shishan Park project, TLS has designed a district-wide master plan focused on a new circular promenade surrounding the old central lake that once anchored the forgotten fun park. The development is carved into ten subdistricts, each anchored by iconic pavilions—also designed by Kuth Ranieri—and recreational spaces “capitalizing on the site’s natural and man-made lakes as well as the mountain’s historic significance and beauty,” according to the architects. Overall, TLS’s designs highlight 18 “poetic scenes” that visually connect occupants to the existing lake, nature zones, and views of the five distinct mountaintops that can be seen from the site. At the heart of the new urban area is the disused amusement park and its original metallic roller coaster, which Kuth Ranieri plans to convert into a new, 160,000-square-foot visual and functional center for the 182-acre development. Utilizing stainless steel mesh netting to create the outermost enclosure and wooden decking and steel platforms for new occupiable promenades, Kuth Ranieri reenvisions the dilapidated roller coaster as a superscaled aviary. The plan includes a circuitous “infinity walk” that takes occupants up and through the reused roller-coaster structure to perches above the treetops furnished with viewing platforms and an expansive sky deck. The complex can be entered from any one of three access points framed by glass-wrapped concrete parabolic arches that extend into the aviary as covered walkways. Within, the complex will also contain a ten-story circulation tower that can bring visitors up to the highest observation levels. Here, a wide staircase containing landings generous enough to host public programming will wrap the elevator core. The complex will also include a green roof–topped animal care facility. The metallic enclosure surrounding the aviary is inspired by traditional Chinese ink paintings and, more specifically, by representations of Lion Mountain in such artworks. The cascading, rounded geometries of the canopy are designed to evoke “a feeling of layered misty mountains,” according to Kuth Ranieri. The project is scheduled for completion in 2020.
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The Unicorn's Horn

Morphosis reveals another winning design for China’s Unicorn Island
Morphosis Architects is one of the four winning design firms in the running to design Chengdu’s Unicorn Island in China’s Sichuan province, competing with Foster + Partners, a team of Arata Isozaki & Associates and Jun Aoki & Associates, and OMA. As China transitions towards a technology-oriented service economy, Unicorn Island was imagined as a centralized location where start-ups and established companies would be given the resources to grow. Whereas OMA’s plan for the island involved a crosshatch of different buildings for start-ups ringed by headquarters for the Unicorn companies (worth $1 billion or more), Morphosis has designed a series of curvilinear facilities that wrap around the island’s edge. While the island in Chengdu is small, Morphosis took the opportunity to bring big ideas, designing a campus that would be walkable, sustainable, and accessible via mass transit while also building up the city’s skyline. The firm broke the 165-acre island up into four quadrants, with each representing a stage of a Unicorn company’s growth. Flexible office space can be found in all four sections, as well as shared community amenities and a central park and hub for each. The northwestern quadrant has been set aside for education and will contain offshoots of the universities found in Chengdu proper, while the convention and showcase quadrant to the southwest will allow companies to demonstrate their wares. The eastern half of the island would be broken into north and south innovation quadrants, holding accelerator spaces, labs, and administrative support services. At the island’s core would be a massive “Unicorn Tower,” which would serve as the headquarters for the campus’s most successful companies. Other than the central tower, Morphosis chose to keep the other buildings low-slung and accessible from the ground level. Pedestrian access across the island was prioritized, and park-to-park walkways were overlain across the entire site. A proposed metro station near the Unicorn Tower would put most of the island within walking distance from mass transit. For their scheme, Morphosis worked with engineers Buro Happold. No estimated completion or start date has been announced yet.
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Floating Fantasies

OMA wins competition to design tech-focused “Unicorn Island” in China
Chengdu, the capital of China’s Sichuan province, is rapidly transitioning towards a service-based economy and has enlisted OMA’s help in growing its local tech companies. Following an international design competition sponsored by the Chengdu government, OMA and three other high-profile studios have been chosen to master plan a Unicorn Island for startups and more established tech companies alike. OMA has designed a campus that weaves over the entire island, with skyways that overlap and interconnect, which they call a weave. At the island’s core is the Living Lab, a domed complex with working labs that will be open to the public. Branching out from the Living Lab will be the weave, which will hold startups and “Gazelles” (tech companies worth $1 million or more). The weave has been envisioned as a community space, and OMA has described the area as “village-like” in its project description; this interior section will contain residential housing for employees, a mix of office typologies, and amenity spaces meant to foster mingling between different companies. Along the island’s edge will be headquarters for the "Unicorns" (technology companies worth $1 billion or more), with room for expansion as the companies in the weave increase in value and relocate outwards. From the renderings, it appears that the complex will be massive and extend all the way across Unicorn Island. Interestingly, everything except the waterfront headquarters will be elevated; roads will pass below the floating weave, with four courtyards set aside, one on each block.  OMA has also revealed some of the tower typologies that will be present in the weave, including a circulation tower, sports tower, education tower, and relaxation tower for the 16 cores. With such a tightly-condensed campus, parking had to be moved underground. From the site plans, it seems that parking will run under nearly the entire island, with the exception of the area below the Living Lab, which will become an underground plaza. The design of Unicorn Island was led by Chris van Duijn, OMA Partner and Director of OMA Asia. Mobility in Chain provided the traffic consultation and Transsolar acted as the climate engineer. No estimated completion date or project cost has been revealed at the time of writing. The other three winners of the design competition include Morphosis, Foster + Partners, and a team composed of Arata Isozaki & Associates and Jun Aoki & Associates.
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Chinatown Takeover

Studio Gang unveils renderings for sinuous tower in Los Angeles’ Chinatown
Chicago-based Studio Gang, French real estate investment company Compagnie de Phalsbourg, developer Creative Space, and European lifestyle brand MOB Hotel have unveiled plans for a towering hotel and apartment tower complex slated for Los Angeles’s Chinatown neighborhood.  The sinuous, glass-wrapped tower will rise diagonally from a site currently occupied by a pair of commercial buildings and a parking lot, among other uses. A rendering released by the development team depicts a tower that grows wider as it rises from the site, revealing larger, cantilevered floor plates containing balcony spaces along its uppermost floors. The project is among the first high-profile developments in the neighborhood following recent new construction and the completion of the Los Angeles State Historic Park. The project will likely transform the neighborhood, replacing a modestly-scaled commercial area with plazas, a 149-key hotel, and 300 new residences. It does not contain an affordable housing component.  “This project transforms a parking lot and commercial strip into an architecture that opens up the potential of the site to connect neighborhoods,” Studio Gang Founding Principal Jeanne Gang explained via press release. Gang added, “Responding to the growing needs of the city, we designed the footprint to enable new generous outdoor public space at ground level while simultaneously creating a curved upper volume to capture views, light, and air for the building’s inhabitants.” The project comes as development around the new state park heats up, with several other multi-phase, mixed-use developments currently in the pipeline. The project will be Studio Gang’s first project in L.A. and represents the changing tenor of development in the city’s urban core, which is becoming more star-studded and international in nature than has prefiously been the case. Nearby, Johnson Fain and SWA Group are working on the 355-unit La Plaza de Cultura development, while efforts are made to create a new master plan for the surrounding neighborhood and adjacent Civic Center areas. Studio Gang’s project will now head into the community review phase; a timeline for construction has not been announced.
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Structural rationalism meets architectural elegance in Hangzhou, China
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For over eight decades, SOM has been a leading voice in emphasizing structural poetics, or the integration of architectural and engineering efforts into built form. This mashup of rationalism and elegance was on full display at the 2017 Chicago Architecture Biennale, where they collaborated with Mana Contemporary to deliver a pop-up exhibition titled "SOM: Engineering x [Art + Architecture]," that ran from September 2017 through early January 2018 at the Ace Hotel. Among sketches, study models, and impressive structural mockup systems sat a lineup of more than 30 structural models at 1:500 scale, arranged by height.
  • Architects Skidmore, Owings & Merrill
  • Location Hangzhou, China
  • Date of Completion 2021 (projected)
  • System unitized curtain wall
  • Products custom unitized glass curtain wall with integrated metal clad shadow box and horizontal fins
Hangzhou Wangchao Center has seamlessly grown out of this impressive survey of work—a design that exists as proof-of-concept to SOM’s design approach. Along with a robustly reinforced concrete core, the 54-story mixed use tower is defined by eight “mega-columns,” as defined by SOM, which weave back and forth as they track upwards. Secondary perimeter columns establish uniform bay spacing to the interior, connected diagonally to the primary corner columns with a Vierendeel transfer truss. Beyond creating an expressive formal shape, the structural configuration offers performance benefits such as wind load reduction and flexible column-free interior floor plates. The resulting unitized facade was carefully designed into a rationalized stepped surface to allow for flat planar glazing units. The canted curtain wall, which follows the tapered massing of the tower, is organized into floor-to ceiling units which slip past the finished floor level to create a sense of continuity from the interior. A recessed shadow box and horizontal fin assembly further articulates a reveal gap between floor plates. This carefully developed building envelope detail offers a discrete path for the building to accommodate natural ventilation.
The ground floor building enclosure was engineered to accommodate 36-foot-tall glazing panels around the perimeter of the tower, dissolving the boundary between the surrounding cityscape, and highlighting a massive stone-clad core that blooms outward into the space of the lobby. The tower is currently under construction, with piles for the foundation system being driven into the ground. The project will be complete by 2021 just ahead of Hangzhou’s hosting of the 2022 Asian Games, a multi-sport event held every four years.
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Step It Up

L.A. Chinatown park transforms barren hillside into terraced gardens
Los Angeles–based AHBE Landscape Architects and the Los Angeles Bureau of Engineering have revealed renderings for a new $8.5 million public park slated for L.A.’s Chinatown neighborhood. The so-called Alpine Park will take over a bare hillside currently marked with rudimentary paths that are heavily used by the local community to cut across the hilly neighborhood. The hillside currently connects a densely-populated cluster of homes and apartment complexes at the top of a hill with a local public library branch down below. Evan Mather, principal at AHBE, told The Architect’s Newspaper that the community had been calling for the park for years, explaining that the challenge of the site has “always been about accessibility and the fact that the neighborhood [generally] lacks outdoor open space.” In place of the informal paths, AHBE is proposing a series of formal recreational terraces and paths anchored by three outdoor rooms. The composition follows the steeply-sloped site, which climbs over 30 feet in height across its narrowest exposure and over 100 feet between the library and the residential section of the neighborhood. The landscape architects have added a series of staircases, ramps, and an elevator to help with the change in elevation. The stairs anchor the L-shaped pocket park along one end, with a lotus plaza, bamboo garden, and so-called “heavenly garden” located at the bottom, middle, and top of the site, respectively. The three secondary gardens are connected by sloped ramps lined with native Palo Verde trees, roses, bamboo, Chinese Flame Trees and other native and drought-tolerant specimens. The project is expected to begin construction in early 2018 and open to the public in early 2019.
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Yuichiro Hori of Stellar Works Weighs In

Why China is absent from the design conversation
Despite its solid economic growth and sizable population (the largest in the world), China is noticeably absent from many conversations and events surrounding design. As numerous publications have pointed out, there was very little representation of China this past year at Milan Design Week and New York Design Week, among others.  To learn more, The Architect’s Newspaper (AN) managing editor Olivia Martin sat down with Yuichiro Hori of Stellar Works, a Shanghai-based design company, to talk about the current design climate in China. Although Hori is Japanese, he found Shanghai to be the best place to launch Stellar Works, a cross-cultural brand that has worked with designers such as Yabu Pushelberg, Space Copenhagen, Neri& Hu, and David Rockwell. Stellar Works has been praised as one of the few companies truly representing China (and Asia in general) in the design fair circuit. The Architect’s Newspaper: Tell me a bit about starting Stellar Works and how you ended up with a factory in Shanghai and a factory in France. Yuichiro Hori: My background is in furniture design, so I was designing my collection without my own factory and I was supposed to be making everything in Japan. The quality of Japanese manufacturing is very good, but the problem is that the factories aren’t very flexible. The Japanese manufacturing mentality is conservative and people hesitate to take on new challenges. This leads to long lead times and high costs. I had lots of ideas for my new collections, but it was difficult to get them done. When I went to China, I was surprised by the large-scale furniture factories with new machines and highly skilled workers—I was very impressed! I started asking some of the Chinese companies to work with me. Ultimately, I set up my own factory in Shanghai, which is an amazing environment: It is innovative and dynamic and international and I am able to find skilled workers easily. So, I moved to Shanghai for my factory there and also started working with the high-end French manufacturing furniture firm Laval to do the furniture’s hand detailing.   How does that combination of Japanese-Chinese-France work?  It’s very interesting. It’s a unique combination. Everything is different, even the way we work and the way we talk. Every day we have a new surprise—mostly positive surprises. We are learning about each other and learning from China. The French factory is smaller than the Shanghai factory and can only be open for 35 hours a week, whereas the Shanghai factory can be open for double that because the people are very young and very willing to work. Obviously, the two cultures are very different. We like to say that we are made in Shanghai rather than made in China. We enjoy the city here and the nice living environment. Typically, strong design movements come out of very strong economies and Shanghai has a strong economic background. As we get more and more design requests we can support the improvement of local manufacturers and challenge new designers.  Overall, we have noticed a lack of Chinese design at major furniture fairs, even as the Chinese market has grown. Do you agree with that or are we looking in the wrong places? I think China is still more hardware than software. China is the factory of the world; they are producing everything and exporting everything. So the challenge for China is that they are so focused on manufacturing design rather than creating it. I definitely don’t think that is bad, but it makes it more difficult for design development. But, China is booming and growing so sooner or later it is going to happen.
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Instagram Eavesdrop

From Hudson Yards to Chengdu, China: Where top architects were this week
At The Architect's Newspaper, we're plain addicted to Instagram. Sure, we love seeing Brutalist concrete through "Inkwell" or "Ludwig" filters, but there's also no better place to see where architects are getting their inspiration, how they're documenting the built environment, and where they've traveled of late. Below, we bring you some of the best Instagrams of this past week! (Also, don't forget to check out our Instagram account here.) Anne Fougeron of San Francisco–based Fougeron Architects was in Lisbon, Portugal, and she enjoyed the shade underneath London-based AL_A’s Museum of Art, Architecture and Technology (MAAT).

#Lisbon #MAAT #museum #whitetiles

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The ever-on-the-move Iwan Baan stopped by Dia:Beacon and snapped this glowing pic of Dan Flavin's Untitled (to you, Heiner, with admiration and affection).

#danflavin #fence at #diabeacon @diaartfoundation

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International firm Snøhetta showcased its Snøhetta: Relations installation in Innsbruck, Austria; the angular landscape has served as everything from theatrical stage to gathering place.
We couldn't resist: here's some feline Instagram love from Amsterdam-based UNStudio
L.A.-based Oyler Wu Collaborative teased its next project, a large steel structure that will soon be powder coated.
New York–based Kohn Pedersen Fox (KPF) posted this update of the firm's 55 Hudson Yards, which will eventually rise 780 feet and feature several outdoor terraces.
Last but not least, also New York–based Steven Holl Architects furnished these fresh photos from its Sliced Porosity Block - Raffles City Chengdu project.