These days, the illicit thrill of sneaking into a hidden bar from the back of a video store is a mere blip on our adrenaline threshold. But a new speakeasy in Shanghai aims to reinvent the game with a sleek underground bar concealed behind the innocent facade of a sandwich shop. The diner setup is intact, but the glossy countertops in bright shades, neon lighting strips and polished minimalist furniture against unfinished walls emit a suspicious whiff of not-diner. Slot some coins into the vintage-looking Coca Cola vending machine in the corner and it suddenly swings outward, revealing a cooly-lit tunnel and the not-too-distant din of sophisticated chatter. A contrastingly different setting reveals itself: a chic, dimly-lit bar clad in dark tones of black and brown. By the entrance, floor-to-ceiling shelving holds bell jar-shaped whiskey bottles, a spotlight beneath each one illuminating the amber liquid within. A canopy of copper-inlaid lighting overhead echoes this warm glow, while white LED lights on a slanted plane behind the bar visibly project the liquor bottles outward. The owners of 'Flask and The Press' commissioned designer Alberto Caiola to create a mysterious, dynamic setting without feeling too try-hard. “Considering that Shanghai has already seen its fair share of hidden speakeasy-themed bars and lounges, we decided to build suspense and break it in an entirely unexpected fashion,” Caiola told Designboom. Suspended from a wall adjacent to the entrance is an installation of flasks covered by a veil so that only their outlines are visible. Rather than partitioning the seating areas, Caiola juxtaposed chesterfield sofas, bar stools and winged armchairs of different heights to visibly section the space. The wooden floorboards underfoot alternate from dark to light to dark again in keeping with this variation, while cascading cubes suspended from above relieve the low-ceilinged space of stuffiness. A wunderkind at visibly expanding a confined space, Caiola plays tastefully with convex mirrors and slanted planes to lengthen and focalize.
Posts tagged with "Shanghai":
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 Mun Summ Wong of Singapore-based WOHA. WOHA's work celebrates human-scale spaces in high-rise buildings. Take the PARKROYAL on Pickering, a cluster of hotels in Singapore that spruces up the standard podium with lush greenery and sleek, curvilinear geometries. Its 15,000 square feet of green space climb up through the towers' balconies and terraces, in a sense extending nearby Hong Lim Park. The project was one of CTBUH's Best Tall Buildings of 2013. In our interview, Wong discussed net-zero skyscrapers, urban sprawl and "using tall buildings as columns." Watch the video above, courtesy CTBUH, in which Wong envisions his ideal future city. "The way forward isn't to continue with two-dimensional master planning where cities can only grow sideways," Wong said. "I think skyscrapers can do more than be themselves."
Having designed what is arguably Beijing's most recognizable building, CCTV, OMA is ready to make a similar, if slightly smaller, mark in Shanghai. They've just won a commission to design the Lujiazui Exhibiton Centre, located on the northern edge of Shanghai Pudong, a famed tower-filled area along the Huangpu River. The project, sponsored by the Lujiazui Central Financial District Development Corporation, takes its cues from its formerly industrial location along the former Shanghai Shipyard, and actually sits on a former ship cradle. It will be wrapped in a metallic mesh, exposing its steel structure and recalling the under-construction boat hulls once common on the site. The firm plans to transform the nautical ramp into a large-scale theatrical space for events, carving out a covered plaza under the elevated, cantilevered building. Completion is set for the end of next year, a lighting fast schedule for anywhere but China.
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 Ole Scheeren—founder Büro Ole Scheeren and former director at OMA. In light of Scheeren's recent work on The Interlace in Singapore and Bangkok's MahaNakhon, we talked about exploring the power of public space and shared experiences in tall buildings. “The city is about sharing,” said Scheeren. “The city is not about individuality per se but it's about how individuals come together and the spaces they share. And in a way the adventure of that space.”
Nike has covered a basketball court in Shanghai with LED sensors and the result looks like a live-action video game. The court is called the “House of Mamba”—not to be confused with the new “House of Vans” in London—and it's topped with reactive sensors that track players' every move. The House is part of Nike’s “Rise Campaign,” which the company described as “the first social basketball documentary drama in Greater China to inspire young people with a passion for basketball.” The House opened this summer with an appearance by Kobe Bryant, for whom the stadium gets its named—“House of Mamba” plays off Bryant’s nickname “Black Mamba.” Gizmag has a helpful breakdown of how exactly this court works: “It has a wooden base layer platform to provide a natural bounce, followed by a layer of over a thousand 2 x 2 ft (0.6 x 0.6 m) interlaced LED screens, a layer of thick glass on top of the screens and an adhesive basketball surface that provides bounce and grip covering the glass layer.”
The Council on Tall Buildings and Urban Habitat, the nonprofit arbiter on tall building design, has named its 2014 picks for best tall buildings. Among the winners are a twisting tower in Dubai, Portland's greenest retrofit, and a veritable jungle of a high-rise. The four regional winners are: The Edith Green-Wendell Wyatt Federal Building, Portland, USA (Americas); One Central Park, Sydney, Australia (Asia & Australia); De Rotterdam, Rotterdam, Netherlands (Europe); and Cayan Tower, Dubai, UAE (Middle East & Africa). Portland’s Edith Green-Wendell Wyatt Federal Building is not a new building. Designed by SOM in 1974, the office tower used a pre-cast concrete façade that had begun to fail by the turn of the 21st century. Bainbridge Island, Washington-based Cutler Anderson Architects and local firm SERA modernized the 18-story, 512,474 square-foot structure that is now targeting LEED Platinum. One Central Park in Sydney uses hydroponics and heliostats to cultivate gardens and green walls throughout the tower, cooling the building and creating the world's tallest vertical garden. OMA’s De Rotterdam is the largest building in the Netherlands, and its form playfully morphs the glassy midcentury office high-rise in a way that’s part homage and part experimental deconstruction. In the Middle East, Dubai’s twisting Cayan Tower (formerly The Infinity Tower) is a 75-story luxury apartment building that turns 90 degrees over its 997-foot ascent. Remarked the CTBUH panel: “happening upon its dancing form in the skyline is like encountering a hula-hooper on a train full of gray flannel suits.” CTBUH will pick an overall “Best Tall Building Worldwide” winner at their 13th Annual Awards on November 6, at the Illinois Institute of Technology in Chicago. Their panel of judges includes Jeanne Gang, OMA’s David Gianotten, Laing O’Rourke’s David Scott, and Sir Terry Farrell, among others. OMA’s CCTV Tower in Beijing won last year’s competition. Most of the 88 contest entries were from Asia, CTBUH said, continuing that continent’s dominance of global supertall building construction. CTBUH's international conference will take place in Shanghai in September. You can find more about the 2014 CTBUH awards, including a full list of finalists, at their website.
Blair Kamin convened a panel of designers at the Chicago Architecture Foundation last Wednesday for a discussion around themes explored in his recent series “Designed in Chicago, Made in China,” in which the Chicago Tribune architecture critic assessed the effects of that country’s rapid development on urbanism and design. “It’s often said that architecture is the inescapable art,” Kamin said to lead off the talk. “If that’s true then China’s urbanization is the inescapable story.” Joining Kamin were Jonathan D. Solomon, associate dean at the School of Architecture at Syracuse University; Thomas Hussey of Skidmore, Owings & Merrill; Ralph Johnson of Perkins + Will; and Silas Chiow, SOM’s China director. The event was part of the Tribune's "Press Pass" series. If you haven’t read Kamin's series, you should. It examined contemporary Chinese cities and some U.S. designers thereof, giving special attention to trends in three categories: work, live, and play. Photographer John J. Kim illustrated with visuals. “In regards to street life and public space,” said SOM’s Hussey, “there can be a lack of an attitude towards it.” Long Chinese “megablocks” in Shanghai’s soaring Pudong district facilitate an urbanism not on the street, which few Americans would find walkable, but it has given rise to a kind of vertical urbanism within mixed-use towers and urban malls. Hussey pointed to SOM’s plan for a new financial district in the port area of Tianjin, China’s fourth largest city, which seeks to restore the street life present in Chinese cities before rapid modern development. And while Chinese cities are growing up, they’re also growing out. Ralph Johnson of Perkins + Will reminded the audience that in the absence of property taxes, Chinese municipalities make money for new development by selling off land. That creates a ripple effect of rising property values and a pressure to sell that is devouring arable farmland. That trend’s not likely to slow down, said SOM’s Silas Chiow, since part of China’s national strategy to turn the largely manufacturing nation into a consumer country is to continue its rapid urbanization. That pressure helped produce China’s enviable mass transit systems and light rail connectivity, but also a homogeneity of design that some have called dehumanizing. Height limits, uniform standards for south-facing units and other design requirements that by themselves improve standard of living can breed sprawling, cookie-cutter developments that are easy to get lost in. Still, housing projects in China don’t carry the social stigma that they do in the U.S., commented a few panel members, in part because they’ve brought modern amenities to so many. Where China’s urbanization goes from here, however, is an open question. Images of smog-choked skylines remind some of Chicago in 1900, but the situation is not a perfect analogue. For one, the problem of carbon pollution is far more urgent now than it was then, and its sources far more potent. “Will China be the death of the urban world,” asked Kamin at the panel’s close, “or its savior?”
A Shanghai building company has erected a small village of pitched-roof, 3-D printed structures—in about a day. WinSun Decoration Design Engineering Co is behind the series of humble buildings, a fully fabricated unit is expected to cost less than $5,000. The homes were created through the use of a 490- by 33- by 20-foot 3-D printer that fabricates the basic components required for assembly. Rather than plastic, the machine behind these structures spits out layer upon layer of concrete made in part from recycled construction waste, industrial waste, and tailings. WinSun intends to construct 100 factories that will harness such waste in order to generate their affordable "ink," which is also reinforced with glass fibers. Purists will note that the WinSun productions are not 3-D printed structures in the traditional sense. Rather than projects like these, or the contour crafting processes championed by USC Professor Berokh Khoshnev, the Shanghai homes are not printed on site layer by layer. Instead they are composites of 3-D printed parts that require human intervention in order to be assembled into something resembling a house. WinSun estimates that their methods can cut construction costs in half and sees the potential for "affordable and dignified housing" for the impoverished.
Joel Sanders Architect with LA-based FreelandBuck have been announced as the winners of an international competition to design the Kunshan Phoenix Cultural Mall, located about an hour west of Shanghai. The project will be the largest to date for both firms. The 262,000-square-foot proposal was designed for Phoenix Publishing and Media Group (PPMG), one of the largest media companies in China. The project consists of a 20-story office tower perched upon a five-story podium, organized around four glass-clad “cultural cores." Each core houses theaters, exhibition halls, a fitness club, and an educational center. A retail loop—compromised of stores, restaurants, and cafes—spirals around each core. The site's cores define the perimeter of a central outdoor atrium, dramatically united by an elevated "Book Mart," whose green roof doubles as both a podium for the office tower and cultural park for the general public. The project's intricate, louvered facade is an example of FreelandBuck's focus on computational patterns as a way to generate tectonic shifts in geometry and space. The construction timeframe for the undertaking has yet to be announced.
Los Angeles-based Synthesis Design & Architecture (SDA) in association with Shenzhen General Institute of Architectural Design and Research have won an invited competition to design the 1.9 million-square-foot, mixed-use Shanghai Wuzhou International Plaza in Shanghai. Their slick “Urban Canyon” concept summons images of a magnificent gorge cutting through the city with its two nested cliff-like structures that have been carved from the landscape by staggered, pebble-looking buildings. The facades’ and roofs’ grooved titanium-zinc cladding adds to the metaphor while mimicking the energy and vibrancy of the city. Divided into two blocks, the northern area houses luxury retail shops and developer Hong Kong Wuzhou International Group’s corporate offices. The southern section is a retail, lifestyle and entertainment complex anchored by two office towers. Sky bridges connect the buildings and outside, plazas, landscaping, seating areas, and dynamic lighting are integrated. Practical details are still being finalized.
Chaohu city in China has been canceled. It wasn’t a small city. In fact the population of more than 4 million is comparable to Los Angeles, the Phoenix metro area, and the whole of South Carolina, but that is now irrelevant data, since Chaohu's official city status was annihilated on August 22. Although buildings and inhabitants remain as proof of a once-coherent city plan and living organism, the land has since been divided into three parts and absorbed by its neighbors, Hefei, Wuhu and Ma'anshan. Situated in eastern China’s Anhui province, about 200 miles west of Shanghai, the idea was to strip the dead wood and make the surrounding cities more competitive, which, unlike the former Chaohu, are rapidly industrializing and urbanizing. In a recent interview for NPR, economics professor Jiang Sanliang from Anhui University explained: "Chaohu's development hasn't been good, but Hefei … needs land, so absorbing Chaohu will benefit Hefei. The government hopes that redistributing the land will improve the entire province's GDP," he says. It turns out, according to this report, Hefei’s average growth of 17 percent was enough of a reason to dissolve an entire city. Though it is an unusual scenario, there are some benefits to the new divisions. For years the city’s namesake, Lake Chaohu, has been undergoing an intensive clean-up effort to meet the countrywide agenda to cleanse its badly polluted lakes. In the new arrangement the lake falls under Hefei’s administration and has more chance of getting the funding it needs to meet the Government’s 2030 deadline. However, there is no doubt that the move is at odds with other city-planning approaches in China; in August we reported on a new kind of utopia in Chengdu. Designed by a New York architect and local developer, it was one that aimed to foster connections and strengthen communities rather than amalgamate and alienate them. Indeed, instead of public consultation and even public announcement many inhabitants of the former Chaohu learnt about its abolishment from local news on the morning it happened; the striking off happened overnight. No ceremony. No funeral. No Chaohu.
Restored London. Building Design reports that after 15 years, St. Paul’s Cathedral in London is scaffolding-free. The £40 million project restored Christopher Wren’s masterpiece to its original glory in time for the cathedral’s 30oth anniversary. St. Paul’s will host a photography competition and display the winning selections in the cathedral crypt to celebrate its complete renovation. Artificial England. While China continues to be a hot spot for architectural and economic development, its many ghost towns lack permanent residents. The Infrastructurist exposes one of China’s English-inspired uninhabited cities, Thames Town, built in 2006 as part of Shanghai’s “One City, Nine Town” initiative at decentralization. The state-of-the-art $9 billion design draws tourists, but not residents. Trucks, not Tanks. At the United States Conference of Mayors, local government representatives vote to reallocate federal funds directed toward the wars in Iraq and Afghanistan for the improvement of American cities. The municipal leaders assert that the conflicts’ $126 billion per year budget would be better spend building urban infrastructure, employing civil servants, and supporting educational and family institutions. Mall City. City Watch LA evaluates Rick Caruso’s latest business proposition: running for public office. The billionaire developer envisions a new Los Angeles comprised of isolated communities each with its own shopping mall, a potential reality if Caruso wins the 2013 mayoral seat.