“Three floors in a day is China’s new normal,” says a representative for this 57-floor skyscraper that was built in just 19 days. Known as the “Mini Sky City” tower in Changsha, the 180,000-square-meter mixed-use building was built in record speed with modular, “LEGO-like” blocks. The process also claimed to have required less materials and significantly reduced the amount of air pollution commonly caused by dusty construction sites.
A time-lapse of the construction process, after the break.
These days, many of China's largest urban areas are easily recognizable to people from all over the world, with the skylines of coastal mega-cities such as Shanghai and Beijing taking their place in the global consciousness. Far less known though is the inland city of Chongqing - another of China's five top-tier "National Central Cities" - where in 2010 the Chinese government embarked on a plan to urbanize a further 10 million of the region's rural population, with around 1,300 people now moving into the city every day.
Since his first visit to the city in 2009 photographer Tim Franco has been on a mission to document the rapid change in what he believes is "maybe the most widely unknown megacity in the world." The result is Metamorpolis, a forthcoming photographic book by Franco with text by British journalist Richard Macauley, which documents the colossal scale of development juxtaposed against the people of Chongqing - many of whom still live an incongruous rural lifestyle among the concrete sprawl. Read on after the break for more images from the book and an interview with Franco about the experience of documenting one of the world's fastest-growing cities.
“If we look at architecture from a cultural point of view, we see we are in a special moment where we are trying to figure out our identity. I think we are too focused on how to transform old Chinese architecture into contemporary architecture; but in no way can you transform it, you can see it with your own eyes. For instance you cannot transform a Roman building into today’s buildings! Sometimes you have to forget about history to create contemporary and unique architecture.” - Zhu Pei, Beijing, 2013
Spanish studio Rafael de La-Hoz and Chinese design institute Architectural Design and Research Institute of Harbin Institute of Technology (ADRI-HIT) have been announced as the winners of a competition to construct a new cultural centre in Meishan, China. Located in Sichuan province in the nation's south, the complex will combine a sports centre with five museums, a library, and exhibition hall.
Occupying a sprawling 260,000-square-meters, the new complex is sited near the campus of the University of Meishan, and responds to the terraced topography of Sichuan's rice paddies. Learn more about the project and view selected images after the break.
Ennead Architects has won an international competition to design the Shanghai Planetarium. The “celestial” design hopes to elevate the Shanghai Science and Technology Museum’s (SSTM) “scientific and technological capacity” while redefine the district Lingang upon its completion in 2018.
“Drawing inspiration form astronomical principles, our design strategy provides a platform for the experience of orbital motion, and utilizes that as a metaphorical reference and generator of form,” says Ennead Architects.
The Guardian Art Center features none of the dramatic cantilevers and futuristic formal experimentation of Büro Ole Scheeren's other works. Instead the "hybrid art space" - located in the heart of Beijing, just a stone's throw from the Forbidden City - references the scale and materiality of the adjacent traditional buildings. The lower floors, containing an auction house and a museum with a 1,700 square meter exhibition-events space, comprise an aggregation of small "pixelated" blocks, clad in stone with a pattern of perforations derived from a 700-year-old Chinese landscape painting. Though the upper portion of the building, containing a 120-room hotel and a restaurant, is larger in scale, it is broken down by a facade of oversized glass "bricks," again a reference to the materials of the hutong next door and a "humble and non-elitist symbol in Chinese culture," according to the press release.
To find out more about this intriguing building, we spoke to Ole Scheeren, who assured us that in spite of its appearance, the Guardian Art Center is just as radical as his previous works. Read on after the break for the full interview.
ArchDaily is continuing our partnership with The Architectural Review, bringing you short introductions to the themes of the magazine’s monthly editions. In this editorial from AR’s February 2015 issue, AR Editor Catherine Slessor reflects on Álvaro Siza's ouevre, from his early work in Évora to his latest effort in China. Though the latter is admittedly elegant, Slessor concludes that in comparison to his older transformative designs the recent incarnation of "brand Siza" is a "predictable triumph of style over content."
The great Portuguese Modernist Fernando Távora once remarked "Style is not of importance; what counts is the relation between the work and life, style is only the consequence of it." His friend and protégé Álvaro Siza echoed this sentiment when he said: "Architecture does not have a pre-established language nor does it establish a language. It is a response to a concrete problem, a situation in transformation, in which I participate. In architecture, we have already passed the phase during which we thought that the unity of language would resolve everything. A pre-established language, pure, beautiful, does not interest me."
The project is part of a high density office park masterplan in Ordos City, located in Inner Mongolia, in which developments are subject to stringent zoning regulations. Offices included in the area must be comprised of multiple cubic volumes, and lack what NADAAA and Himma Studio describe as "an immediate urban context." Learn more about the project and the architects' response to these considerations after the break.
At the end of 2014, we had the opportunity to catch up with Xiaodu Liu, one of the three founding partners of Chinese firm URBANUS. Telling us about the role of architects in today's society - especially in China - he discusses how the creativity which URBANUS is known for plays a part in the business of their practice: "Innovation is actually everything for URBANUS, because the firm is doing projects for very challenging jobs. That's the only way we do marketing; we have to do something creative, otherwise we don't have any marketing tools to get something more conventional... we push ourselves to the limit."
Connected to this, he sees intellectual exchange as the foundation of their success, a mechanism that has allowed them to eschew more traditional marketing: "We have some people similar to us, that are well connected, people understand our work and support our work and they like us. Then we have that network and people refer to us and they actually bring jobs to us... networking is more like in the academic level - a more intellectual exchange."
Watch the full interview above and check out our past coverage of URBANUS below.
RTA-Office has released its first-prize winning proposal for the Wuhu Urban Planning Exhibition, Office, and Archive. The design stems from the idea of an “urban cultural container,” holding both knowledge and space, and extracts its sculptural form from the surrounding mountainous landscape.
Pushing for the Exhibition Hall to be a recognizable landmark, the design is largely driven by its surrounding context. The building as a whole derives its shape from the rocky faces of the nearby Yashan Mountain, giving it a strong sense of place. Similarly, the structure is divided into three distinct sections all grounded by a central public space, each informed by the same rocky inspiration. The cracks in the rocks’ surfaces are mirrored in the irregular entrances and windows carved into the building’s volumes.