Search results for "shenzhen"

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Would be the tallest in China

bKL proposes megatall tower for Shenzhen
This new proposal by Chicago-based bKL would see a 700 meter (2,297 feet) tower built in Shenzhen, China. Dubbed the H700 Shenzhen Tower, the megatall structure (megatall is greater than 600 meters according to the CTBUH) would likely become the third tallest building in the world if completed. The current tallest, Dubai's Burj Khalifa at 2,717 feet tall, will soon be eclipsed by the Jeddah Tower in Saudia Arabia, which will rise to 3,280 foot. H700 would be the tallest building in China roughly and roughly 350 feet taller than the next tallest building in Shenzhen. The recently topped-out Ping An Finance Centre, at 1,969 feet, is the current tallest building in Shenzhen and China. The tower would continue Shenzhen’s eastern expansion. The large plaza at the base of the tower would add retail, civic, and institutional programs, providing a cultural space for the Central Business District (CBD). Project diagrams show sky gardens at intermediate floors as well as the at the buildings peak. With their Wolf Point West tower in Chicago recently completed, bKL is also working on one of the tallest buildings in Chicago as Architect of Record: the Studio Gang-designed Vista Tower.
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China goes the extra mile converting trash to energy
Shenzhen is undertaking a massive public works project that will transform trash from one of China's largest cities into energy—and it's going to be huge. The facility is planned to be a mile in circumference, making it the largest waste-to-energy power plant in the world. Unlike its Danish counterpart by Bjarke Ingels, China's circular waste facility won't be puffing out delicate smoke rings representing CO2. Designed by another Danish firm, SHL Architects, the project is estimated to burn 5,500 tons of litter every day—more than Shenzhen produces daily. While this may seem like a not-so-green solution, the alternatives, according to Fast Companymake it look comparatively greener. The issue for China isn't an environmental one—it's about space. Last December, a landfill in Shenzhen amassed so much litter that it collapsed, killing 12 people in the process. This proposal reduces the amount of space needed to store trash, making more room for housing development. Compared to a standard landfill, the waste-to-energy plant is significantly better for the environment. The former releases large quantities of potent greenhouse gases as rash decays and decomposes. “Burning waste naturally creates pollutants, mainly carbon dioxide—something in the region of one metric ton of CO2 per metric ton of waste," Architect Chris Hardie told Fast Company. “This does not sound great for sure, but when you compare it to putting the waste to landfill, one metric ton of waste will ultimately produce somewhere in the region of 60 cubic meters of methane as it decomposes—and this has more than twice the negative effect on global warming.” The Shenzhen plant isn't unique, either. China has 300 more litter-guzzling incinerators in the pipeline as it tries to prevent disasters like the one in Shenzhen last year and solve the country's waste problem. Like Ingels's plan for a power plant, this one also offers an unexpected feature of human interaction. A pedestrian pathway, hugs the interior perimeter, winding its way around the mile-long circumference. The roof has been designed to include 473,600 square feet of solar panelling. Screen Shot 2016-02-29 at 18.46.00
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Weird, but not so wonderful, says China as it bans “weird” architecture

Question: What has three Arcs de Triomphe, an Eiffel Tower, an Egyptian Sphynx, a Louvre, London Bridge and ten White Houses all over? The answer: China, of course. If the Chinese government has its way, that will soon change.

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The duplicate architectural icons may end there as the country's authorities have said no to anymore "oversized, xenocentric, weird" architecture, The New York Times reports. The State Council and the Communist Party’s Central Committee last week stated that there is to essentially be no more copycat architecture, and instead urged new builds to be “suitable, economic, green and pleasing to the eye.” The directive also stipulated that "the chaotic propagation of grandiose, West-worshipping, weird architecture" should be ended, while gated communities have also been vetoed.

Guidelines arose after meetings discussed issues regarding the alarming rate of urbanization that China is undergoing. Just two years ago, President Xi Jinping expressed his views on China's architectural scene, again deeming it "weird" saying there was to be "no more weird architecture." He went on to say that the current climate displayed "a lack of cultural confidence and some city officials’ distorted attitudes about political achievements," though only now does action appear to be being taken.

According to a translation by the Wall Street Journal Blog, Yang Baojun, vice director of the China Academy of Urban Planning and Design (CAUPA), commented on the directive, saying that "the document is a wake-up call for those places where [there has been] a one-sided pursuit of architectural form over function, where cultural orientation has been compromised by an excessive desire to show off."

The New York Times meanwhile reports that experts have warned of "stricter design standards for public buildings." It also added that, an online forum for the Communist Party newspaper, People's Dailypredicted that "in the future it is unlikely that Beijing will have other strangely shaped buildings like the ‘Giant Trousers’ " referring to the China Central Television Headquarters (CCTV) by OMA.

Feng Guochuan, an architect based in Shenzhen spoke about how the President Xi's words had already begun to have an impact on decision making regarding new projects. He was also worried that Xi was meddling with matters that should only concern urban planners, and not the President. "Generally speaking, local governments now tend to approve more conservative designs," he said.

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However, Wang Kai, vice president of CAUPA, said these stricture design guidelines would mainly be applied to public schemes, while private projects would still have freedom. "For private housing or commercial projects, there is still space for innovation."

Mr. Wang also added that "we shouldn’t go overboard in pursuit of appearances," going on to say how functionality should be the main concern in public buildings.

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KSP Jurgen Engel Architekten to Design New Shenzhen Art Museum
German studio KSP Jurgen Engel Architekten was selected last month in an international competition to design the new Shenzhen Art Museum and Library complex. The winning scheme was chosen over submissions by world-renowned firms including OMA, Mecanoo and Steven Holl. The winning design consists of an art museum, a library and archive, and a public square known as the “Culture Plaza,” all encased within cubic glass structures. An approximately twenty foot high stone pedestal forms the basis for the museum, library, and plaza. In addition to the podium and the plaza, the museum roof and the uniform facade material of matte glass help accentuate the coherent character of the structure’s designed components. The new museum is marked by different-size spaces; it includes about 160,000 square feet of exhibit space extending over three levels. The library features a four-story reading room with nearly 1,000 desks and a large skylight, and the archive is located in the podium and on the basement levels. Set back terraces have a cascading effect and act as a wayfinding element, while at the same time affording an impressive view of the “Culture Plaza” and the city. According to the architects, the central idea of the design is to create a public place that promotes interaction between people and culture. The art museum represents just one of many high-profile architectural projects that are currently taking place in the city of Shenzhen. Skyscrapers designed by Morphosis Architects, NBBJ and RMJM are in the works. Rem Koolhaas’ OMA has also won a competition to design their second tower in the city, following the Shenzhen Stock Exchange building.
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Enough Buildings: the Bi-City Biennale of Urbanism\Architecture

“City-ness” is at the heart of the Bi-City Biennale of Urbanism\Architecture, which kicked off last Friday in Shenzhen, China. Titled Re-Living the City and curated by Aaron Betsky, Alfredo Brillembourg, Hubert Klumpner, and Doreen Heng Liu the event brought together architects, designers, urbanists, and makers on the site of the former Dacheng Flour Factory not far from Shekou Port.

Opening night culminated with giant animated graphics projected on the factory’s abandoned concrete silos, a dramatic light show that reflected the organizers and curators ambitious attempt to rethink how China, and especially still-booming Shenzhen, approaches continued urbanization. The industrial port area is primed for redevelopment and the biennial activities and adaptive reuse of the main five-story concrete building and adjacent structures seem poised to remake this part of the city into a hub a cultural activity based on tactical and informal urbanisms.

The curators divided the biennale into subthemes: Collage City 3D, PRD 2.0, Radical Urbanism, Social City, and Maker Maker, which are distributed across the site. The third floor of the former flour factory is dedicated to thematic and national pavilions. (It’s here that I co-curated with Tim Durfee an exhibition on behalf of Art Center’s Media Design Practices Program entitled Now, There: Scenes from the Post-Geographic City.)

While each thematic category manifests through distinctly different projects—Collage City for example featured Hood Design’s Symbiotic Village installation of hanging fish bowls, while Radical Urbanism presented a mural-like illustration from Interboro Partners’ Arsenal of Exclusion and Inclusion: The Battle for the Beach—there’s a shared emphasis on bottom-up urbanism, hands-on techniques, and citizen agency.

Or, as Betsky is quoted as saying in the catalog: “enough buildings, enough objects, enough images.”

His statement is certainly a provocation given Shenzhen’s skyline—at night the architectural products of the last 20 years are ablaze with LED light shows, screens, and advertisements. The curators ground their explorations in the here and now, emphasizing how the present offers future lessons for a “re-lived” urbanism. But given the recent Chinese edict “No more weird buildings,” one has to wonder if “enough” is enough to carry the next decades. Will the absence of formal agenda lead to a vacuum filled with banal buildings or instead offer space for these types of urbanisms to authentically emerge on their own?

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Clifford Pearson, deputy editor at Architectural Record, will direct USC’s American Academy in China
Clifford Pearson, deputy editor at Architectural Record, is leaving his post to join the University of Southern California's (USC) School of Architecture as Director of the American Academy in China (AAC). The AAC was founded in 2007 by USC School of Architecture Dean Qingyun Ma. The program uses the humanities, art, and architecture to understand contemporary China. In addition to directing the AAC, Pearson will teach a class on architectural journalism at the academy. He will assume his new role in January 2016, though he will continue at Architectural Record as a contributing editor. Why China now? Pearson explains that, because China's building boom is slowing down, this is an ideal time to "catch our breath and examine what's happened over the past 25 years." Currently, the AAC is a six-week summer program open to U.S. and Chinese students. Its programs are geographically far-reaching and immersive: this past summer, students from 12 universities traveled to Shenzhen, Beijing, Xi’an, and Lushan to study how the mass migration from the countryside to the city has influenced the rural-urban dynamics across China. Pearson would like to enhance AAC's profile among university students in these two countries by expanding the academy into a year-round series of seminars, lectures, and events in Los Angeles and cities throughout China. Pearson envisions the AAC as China's answer to the American Academy in Rome. Similar to the AAR, there will be fellows living on site and working on China-focused research projects. Pearson was tapped for the role because of his expertise in the culture and development of China. From 2005 to 2013, he was editor-in-charge of Architectural Record China, and he is currently co-director of the Asia Design Forum, a think tank that fosters debate around the built environment. He intends to use his "journalist's eye" to create programming that contextualizes and critically examines China today.
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Richard Rogers beats Norman Foster and UNStudio for Taoyuan International Airport terminal commission
Rogers Stirk Harbour + Partners have fought off fellow British architecture practice Foster + Partners and Amsterdam-based UNStudio to design the Terminal 3 building at Taoyuan International, Taiwan's largest airport. The firm won by a unanimous decision, AN has learned. In 2014, the airport was the world's 11th busiest passenger airport. The 158-acre airport terminus will see 45 million passengers pass through every year and will be situated adjacent to the China Airlines Headquarters and share some services with neighboring Terminal 2. The building is due to be complete by 2020. Rogers' firm worked with local practice Fei & Cheng Associates and Arup engineers. UNStudio, run by Ben van Berkel, also took the approach of appointing a local firm for the project in working with Bio-Architecture Formosana and April Yang Design Studio. Foster, on the other hand, chose to work individually. Taoyuan International Airport is based 24 miles outside Taipei, the capital of Taiwan and was once known as Chiang Kai-shek International. The winner was selected from a jury comprised Michael Speaks, dean of Syracuse University's school of architecture; Marcos Cruz, director of the Bartlett School of Architecture; and Kwang-Yu King, curator of the 2012 Hong Kong & Shenzhen Biennale.  
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Video> Shum Yip Land’s Peter Kok on green skyscrapers and keeping East Asia’s skylines unique

This Fall, I served as special media correspondent for the Council on Tall Buildings and Urban Habitat‘s September symposium in Shanghai. The topic was “Future Cities: Towards Sustainable Vertical Urbanism,” and among the many architects, engineers and other tall building types I interviewed was Peter Kok, associate general manager of Shum Yip Land, the commercial property arm of Shenzhen Investment.

Kok shared his thoughts (along with others at the conference) on how to avoid homogeneity among skylines worldwide. “The problem with all the new buildings, new hotels is people don't recognize the city,” said Kok. “So I think we need to add some cultural elements to it.” He mentioned incorporating local materials into new construction projects, as well drawing on local traditions of vernacular architecture. And, Kok said, nature should be part and parcel with high-tech urban skyscrapers. “We should not only see nature,” said Kok. “We should be part of it and mingle with it so you can really enjoy nature in these high-rise buildings.” Watch the full video interview embedded from YouTube, or here on CTBUH's website, along with the rest of the videos in the series.
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Australian architects get planning approval for skyscraper based on Beyoncé’s curves
Piggybacking off the axiom that sex sells and anything Beyoncé-related has the potential to break the Internet, Australian architecture firm Elenberg Fraser has nabbed planning approval for a “Beyoncé tower” inspired by the superstar’s hourglass form. The Premiere Tower in Melbourne features an undulating shape that swells in and out at various points – purportedly a concession to “structural efficiency” in response to climate, wind, and “the limitations of the site.” To develop the unique form, the architects used parametric modeling, a type of responsive, computer-guided design where users can program in site-specific data so that the design corrects itself proportional to site constraints. “This project is the culmination of our significant research. The complex form – a vertical cantilever – is actually the most effective way to redistribute the building’s mass, giving best results in terms of structural dispersion, frequency oscillation and wind requirements,” Elenberg Fraser insists in a statement. More specifically, the 68-story structure is inspired by the dancers in Queen B’s music video, Ghost, released separately from her single ‘Haunted’ off her 2013 self-titled album. In it, naked dancers attempt to escape from cocoons of stretchy white fabric that adhere to their svelte figures, creating – if one were to really push it – amorphous towers of curve and sinew. Jokes have abounded over the Internet about the appealing possibility of living in Beyoncé's famous posterior. “For those more on the art than science side, we will reveal that the form does pay homage to something more aesthetic. We’re going to trust that you’ve seen the music video for Beyoncé’s Ghost,” say the architects. Located at 134 Spencer Street at the west end of Melbourne’s central business district, the tower will contain 660 apartments and 160 hotel rooms. The entire structure will be mounted on a stepped podium to be occupied by retail tenants. Public house the Savoy Tavern, which reopened in 2014 after being derelict for nearly 20 years, will be demolished to make way for the tower. Presently, the entire precinct will be replanned, with the goal of respecting its heritage buildings. “The whole precinct is designed with a more long-term view to urban design, creating a self-sustaining development,” says Elenberg Fraser. Construction for the $350 million project is estimated at 40 months, with no completion date yet announced. Meanwhile, controversy has ensued over the building’s potential to overshadow nearby Batman Park and the north bank of the Yarra River. The skyscraper, whose “spiraling curves recall the twists and turns of a woman dancing in black cloth,” joins the dubious leagues of MAD’s curvaceous, twisting skyscrapers in Mississauga, Canada, dubbed the “Marilyn Monroe towers” by local residents. The Chinese firm insists that the design arose as an “organic” antithesis to the boxy typology of urban buildings. With backup dancers becoming the architectural inspiration du jour, perhaps we can next expect a building modeled after Katy Perry’s Left Shark, AKA the Super Bowl Halftime Shark, which recently spawned a lookalike iPhone case designed by Perry herself.
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Eavesdrop> Downtown LA, You’re Nuts: Soho House, swanky international development remaking the urban core
The swanky meter is getting dialed to 11 in Downtown Los Angeles. Rumor has it that the rarified Soho House club will be opening its second LA location in a six-story warehouse in the area’s Arts District. The facility will include the usual boojie facilities as well as a rooftop pool and artist studio rooms where guests can stay for weeks and months, as if they were staying at the Chateau Marmont. Meanwhile it’s a great time to be a Chinese developer in nearby South Park. Beijing-based Oceanwide and Shanghai-based Greenland Group are already building two of the largest projects in the city. Now Shenzhen-Hazens Real Estate Group has announced plans to build a $700 million project including three towers across from LA Live. Eavesdrop better start practicing its Mandarin.
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Chinese developers see gold in Downtown Los Angeles
It's a good time to be a Chinese developer in Downtown Los Angeles. Beijing-based Oceanwide and Shanghai-based Greenland are already building two of the largest projects in the city: Fig Central and Metropolis. Now according to LA Downtown News, Shenzhen-based Shenzhen-Hazens has announced plans to build a $700 million, Gensler-designed project on Figueroa street across from LA Live. The scheme includes a 30-story hotel and 30- and 42-story condo towers. There would be 650 condos altogether as well as 80,000 square feet of retail, most of it along Figueroa, heating up the already super hot South Park. Apparently the company's connection to the area is based on basketball in addition to business.  “Our chairman is a big fan of the NBA—the Lakers, the Clippers," Shenzhen-Hazens General Manager Greg Sun told the Downtown News. "So he comes to Staples [Center] often when he is in town, and he sees big crowds here. When we did our research, we saw an opportunity to do something big in a gateway city.”
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Thorsten Helbig on Engineering Cutting-Edge Facades
As an engineer, Thorsten Helbig, co-founder of Knippers Helbig Advanced Engineering, has a unique perspective on facade design. "We conceptualize a facade as an integral part of a whole, as part of a larger system," he explained. Helbig, who will deliver the morning keynote address at next month's Facades+ NYC conference, identified two focal points. The first is the relationship of the building envelope to structure. The second is performance: "What can the facade offer back to the building?" Helbig asked Helbig queries all of his facade design choices. "Can we use the facade to capture energy for the building? What are the operation modes—is there a potential the facade could be flexible or adaptive to actively support the building functions?" In both cases, Knippers Helbig is invested in moving beyond yesterday's solutions. "Our engineering approach is fundamentally driven by our interest in innovation," said Helbig. Two areas in which Knippers Helbig is leading the innovation charge are design technology and materials. The firm began developing tessellation tools for grid shells about two decades ago, well before similar software was commercially available. In the years since, the engineers have refined their in-house technology into a multi-criteria optimization tool, which proved critical to the Shenzhen airport project. "Our work on the Shenzhen airport profoundly shaped our approach to design technology—as it relates to our basic understanding of the design process (or you might say process design)—and as it relates to a potential paradigm shift in project organization as a whole: away from the traditional hierarchical-linear design process toward a design of the process in which all design parameters are simultaneously considered," explained Helbig. As for materials, the firm is known for its facility with both conventional and "new" systems. Knippers Helbig capitalized on the flexible strength of glass fibre reinforced polymers (GFRP) first for an operable facade in a typhoon zone for South Korea's Expo 2012 pavilion, then for a proposed shading concept for Renzo Piano's Academy Museum of Motion Pictures in Los Angeles. "However," added Helbig, "even more traditional building materials such as timber can be re-interpreted through an application of the latest design and fabrication technologies." Two cases in point are a double curved multi-layer grid shell in Cologne and a parametrically developed timber grid shading screen for a Dubai high-rise. Knippers Helbig is also known for its sensitivity to environmental performance. Helbig points out that 75 percent of New York City's greenhouse gas emissions can be attributed to the building sector. "As long as we are not able to generate the required energy emission-free and based fully on renewable resources, the reduction of the operational energy will remain a key factor in designing sustainable buildings," he said. Embedded energy is also a concern, leading the engineers to explore materials that are based on renewable resources and/or compostable at end of life. Knippers Helbig recently collaborated on the EpiCenter Expansion for Artists for Humanity (with Behnisch Architekten and Transsolar), poised to become Boston's first LEED Platinum building and the first Energy Plus house in New England. "The facade system will be developed to have the capacity to supply energy back to the building, ultimately producing a building system that generates more energy than it consumes," Helbig explained. To hear more from Helbig and other movers and shakers in the world of facade design and construction, register today for Facades+ NYC. Visit the conference website for more information and a full schedule.