Location: Wenzhou, China
Architects In Charge: Ben van Berkel, Astrid Piber
Design Team: Hannes Pfau, Ger Gijzen, Juliane Maier, Martin Zangerl and Sontaya Bluangtook, Amanda Chan, Albert Gnodde, Jan Kokol, Patrik Noome, Mo Lai, Jan Rehders, René Rijkers, Stefano Rocchetti, Shuang Zhang
Photographs: Courtesy of UNStudio
Aedas recently won the competition to design Xuhui Binjian Media City 188S-G-1 Tower and Podium with their very dynamic and unique shaped proposal. Located in Shanghai, their tower begins with an extruded rectangular plan, and independent from the podium, meets the ground to allow circulation around its base. More images and architects’ description after the break.
Dutch architecture firm UNStudio has announced that their proposal for the Yongjia World Trade Center Competition has been selected as the winning entry. Unlike the typical world trade center—which usually represents only a concentration business or financial programs—UNStudio has incorporated recreational and cultural facilities and residential units into their plan. For the site in the riverside city of Wenzhou, located in the southeastern Zhejiang province of China, UNStudio identified the driving force behind the project as the “notion of precious objects on a tray…where the continuous podium landscape occupies the entire site and serves as a tray-like, green plain for the towers.”
Gehry Partners has just released their highly anticipated proposal for the National Art Museum of China (NAMOC) in Beijing. Though rumors from last year reported Frank Gehry and Jean Nouvel as the competition’s top contenders, with Nouvel taking the lead, a winner has yet to be confirmed.
Gehry’s design, which is intended to promote cross cultural understanding and appreciation for Chinese contemporary art, aims at setting a new standard for 21st century Chinese architecture. Perhaps the most defining element of the design is the “translucent stone” facade, which is made of a new type of glass developed by Gehry Partners that is said to have the qualities of jade.
More images and the architect’s description after the break…
JAPA Architects shared with us their proposal, Dyv-net, Dynamic Vertical Networks, which deals with the development of modern, efficient and environmentally acceptable farming structures. Located in the Tai Po District, the second largest administrative district in Hong Kong, the architects foresee a paradigm shift to vertical agriculture structures which can be integrated into a territorial network along the country. More images and architects’ description after the break.
Titled ‘Between earth and sky’, this proposal for the new Gateway of Shenzhen Southern University of Science and Technology by penda is a metaphor of formal contrasts to design a campus landmark. Their design for an entrance sculpture at the University is a connection of 2 opposites: the fluid, lower part connects the gate to the gentle hills of the landscape in the background and carries a grid of lights, which can be seen as a connection to the cosmos – a contrast of the earth and the sky. More images and architects’ description after the break.
Although Dubai has held claim to the world’s tallest building for a few years, China is now claiming to now have the worlds largest building. Measuring at 500 meters long, 400 meters wide and 100 meters high, the newly constructed Century Global Center in Chengdu is reportedly capable of housing 20 Sydney Opera Houses in its 1.7 million square meter interior.
A little over thirty years ago, Shanghai was a fairly dense, mid-rise city with no skyscrapers. Now, Shanghai has been transformed into a global metropolis with over 4,000 skyscrapers – twice as many as New York. In an attempt to capture the “diversities and eccentricities of the metropolis that is Shanghai beyond the famous skyline,” photographer Rob Whitworth and urban identity expert JT Singh joined forces to create ‘This is Shanghai.’
Located inside Chengdu East village, Aedas recently unveiled their ice mountain-inspired design for the Greenland Group Chengdu East Village CBED Plots. Comprised of office, retail, residential spaces and a 486-meter-high tower, the design stayed in line with the ice mountain concept, which expands to the continuity of the mountain range and landscape terrain with fissures located on the foot of the mountain. More images and architects’ description after the break.
Chinese University of Hong Kong (Shenzhen Campus) Master Plan Winning Proposal / Rocco Design Architects
Rocco Design Architects Ltd., in collaboration with Gravity Partnership Ltd. and Wang Weijen Architecture, recently won the international competition for the new campus for the Chinese University of Hong Kong in Shenzhen. Currently in construction, the planning concept for the new campus is “Academic Clusters, Campus Green and Natural Terrain”. Phase one of the campus is expected to be completed by the third quarter of 2015. More images and architects’ description after the break.
Designed by HYHW Architects and Planners, the local development strategy and strategic focus of the Madong Masterplan is aimed at building upon history, automotive culture, sports culture, encouraging advances in manufacturing and modern services, with cultural charmand continual innovation in a technologically advanced green city. Serviced by a highway to the North and with Jiading Forest to the South-West, it benefits from convenient transport connections and the close proximity to the ecological landscape. More images and architects’ description after the break.
Designed by penda, the cola-bow installation is a public art installation made out of more than 17,000 recycled plastic bottles, which were braided to create a shape inspired by the swings of the Coca-Cola logo. Designed for the 2nd Beijing University Creation Expo, which turns into the Beijing Design Week, the installation aims to also serve as a statement against plastic pollution by taking trash and turning it into a shelter. More images and architects’ description after the break.
The problem with articles like “China’s Great Uprooting: Moving 250 Million Into Cities”, recently featured in The New York Times, is that they contribute to a misleading and simplistic narrative about China’s economic development, casting it as a story of “good” versus “evil”.
This was recently highlighted by a critique authored by the NYU Stern Urbanization Project in which The New York Times article in question was called out for being overly sensational and reductive in how it covered China’s policies concerning internal migration from the countryside to urban areas.
The Chinese government is pushing forward with a plan that will move 250 million Chinese people from rural communities into newly constructed towns and cities over the next 12 years. The government has been bulldozing ancient villages, temples and open-air theaters as well as paving over farmland to make way for mega-cities that will raise the number of city-dwellers in China to nearly the total urban population of the US.
To find out how and why this is happening, keep reading.
The architecture world has been abuzz over news that a Chinese construction company plans to build the world’s tallest building— and to do it in just 90 daysusing a proprietary prefabrication technique.
After the project was announced, we reached out to Christian Sottile, the Dean of the School of Building Arts at the Savannah College of Art and Design,who gave us his takeon why the project is a terrible step for architecture and urban living.
But not everyone is skeptical about Sky City One.Stan Klemanowicz, an architect and planner in Los Angeles with Project Development Associates, reached out to tell us why the project is actually revolutionary. He has allowed us to publish his response to Mr. Sottile’s critique.
Read Sottile’s and Klemanowicz’s conflicting opinions, after the break…
Displayed earlier this month in a Qing Dynasty courtyard garden at Wu Hao in Beijing, Ma Yansong‘s ‘Shanshui City exhibition featured more than twenty architectural models and works of art that are scattered around the ancient courtyard. Among rocks, screen walls, bamboo groves, pools of water and beneath the sky, the scale of each piece varies and collectively they form a futuristic utopian urban landscape. The newly issued book “Shanshui City” – released simultaneously with the exhibition – is an important turning point for Ma Yansong’s ten years of architectural practice and theory. More images and information on the exhibition after the break.