After nearly eight years of design and construction, what will soon be China’s tallest and the world’s second tallest building has entered into its final phase of construction. Designed by Gensler, the 632-meter (2,073 feet) spiraling Shanghai Tower is now set to be completed in 2015, becoming the centerpiece of the city’s Lujiazui commercial district.
In light of the tower reaching its final phase of construction, Marshall Strabala, the Chief Architect of the building, has unveiled new photos of the construction process. Enjoy these photos as well as a video interview with Strabala on the construction process after the break…
The Guangzhou Bureau of Science and IT has announced the shortlists for two major projects in Guangzhou. The two museum projects – the Guangzhou Museum and the Guangzhou Science Museum, each worth over $160 million – will be the latest in a host of high profile projects in China‘s third-largest city, a list which includes Zaha Hadid‘s Guangzhou Opera House, the 600m tall Canton Tower, IFC Guangzhou by Wilkinson Eyre Architects and the Guangzhou Circle, among others.
The Guangzhou Museum will be located to the West of Lingnan Square near the Canton Tower, while the Guangzhou Science museum will be located to the East. Practices making the two lists include Bjark Ingels Group, Miralles Tagliabue EMBT, TFP Farrells, MAD Architects and Steven Holl Architects. Read on after the break for the complete shortlists.
Design and engineering firm Atkins has been commissioned by the China Communications Construction Company (CCCC) to design a series of new office buildings in Guanzhou. Their proposed design takes the form of three independent buildings, two of which form large, window-like structures. With a working title “Window of Guangzhou,” these buildings will commemorate the city’s history as the first Chinese port city opened to international trade along China’s legendary Silk Road.
The Tianjin University Research Institute of Architectural Design and Urban Planning (AATU) recently won an international competition to design a hub for Chinese food-processing and stock-breeding company Luoniushan in Sanya, Hainan. With expectations to break ground this year, the 42-hectare multi-functional park will house the company’s new headquarters as well as warehouses, serviced apartments, a tourism and exhibition center, and more. For more images and information, continue after the break.
PLASMA Studio‘s latest project in Xixian City’s Eco-Park isn’t just a restaurant – it’s also a greenhouse, hydroponic garden, and indoor playground. The project, which broke ground this past July, will twist and fold across the green landscape. Future dinners will enjoy meals featuring local ingredients and in-house produce (which they will also have the opportunity to pick themselves), echoing the sustainable approach taken by the rest of the park. Keep reading after the break to learn more about the interrelated, mixed-use program.
Sited in the city of Zhuhai, China, this museum by Ábalos + Sentkiewicz Arquitectos seeks to combine the opposing ideas of a festive, airy aesthetic with the need for a protected and enclosed space to showcase artwork. To that end, they have created a structure that resembles a landscape with sculptural tree-like forms emerging from publicly accessible courtyards. These “trees”, while an important aspect of the building’s visual identity, also play a major role in the climate control of the museum.
Have you ever considered working abroad in China? The thought may be daunting, but there are plenty of reasons why you should take that thought and turn it into a reality. Originally published on Arch-Shortcuts, here are five reasons to take the leap — as written by Arch-Shortcuts founder Chen Tang, an architect currently working in Hong Kong.
1. Bigger Projects
Forget about doing houses and deck extensions! Projects in China consist mainly of large schemes and developments – a small/medium sized project in China would be considered a significant project in other countries. You will be more focused on the overall image and conceptual design as opposed to intricate details – due to the short timelines of a project, which leads to our next point.
The following article, written by Jacob Dreyer and originally published in The Calvert Journal as “Maximum city: the vast urban planning projects of Soviet-era Russia are being reborn in modern China,” analyzes a fascinating phenomenon: the exportation of Soviet urbanism — or rather Stalinist urbanism — shaping Chinese cities today.
As I cycled to work on 20 May this year, the Yan’an Expressway — Shanghai’s crosstown artery, named after the utopian socialist city that was Mao Zedong’s 1940s stronghold — was eerily silent, cordoned off for a visit by President Vladimir Putin. We discovered the next day that the upshot of his visit was the signing a $400bn contract with China for the export of gas and petroleum. As President Barack Obama had once promised he would, Putin made a pivot to Asia, albeit on a slightly different axis. From Shanghai, the terms of the deal — which was immensely advantageous to China — made it seem as if Russia was voluntarily becoming a vassal-state of the People’s Republic, making a reality of both the predictions of Vladimir Sorokin’s dystopian fantasy novel Day of the Oprichnik and of Russian scare stories about Chinese immigrants flooding into Siberia.
The irony is that models of society imported from Russia during the Soviet period — as realised in popular culture, legal apparatuses and, of particular interest to the cyclist, in architecture and urban planning — are as influential as ever in China. If, as Chinese philosopher Wang Hui observed in his book The End of Revolution, Socialism was the door through which China passed on its voyage into modernity, then it was Russia that opened that door, by exporting models and expertise that laid the foundation for much of what constitutes modern China.
Re-Creation is a two-part installation based on a concept by Anssi Lassila. One part of the installation was constructed by a Finnish master carpenter and his team, and the other by a Chinese team. Together the two parts of the installation strike up a subtle and complex dialogue between the architects and local builders.
Presented by the pavilion designed by Alvar Aalto in 1956, the installation “takes a stand on our relationship with the modern legacy and its tradition of international dialogue, and represents a quintessential product of topical international dialogue while at the same time offering its own unique interpretation of the dynamic between tradition and modernity.” See images of the pavilion and enjoy a statement from the curators after the break.
Following the recent announcement of Aedas’ demerger into two separate companies - one retaining the Aedas name and the other now known as AHR - we spoke to Keith Griffiths, Chairman of Aedas’ global board and a practicing architect for close to three decades. The company, which was recently ranked by the Architects’ Journal as the 5th largest and most influential practice in the world, have now moved their head office to London’s Chandos Place and are championing a new approach to urban regeneration in the UK’s capital. Alongside discussing how an international practice of Aedas’ scale successfully operates, Griffiths offered his insight into how the future looks for European cities based on a tried and tested Asian model of densification.
To find out how Aedas approach sustainability in flourishing Asian markets, as well as the significance of the ‘urban hub’ typology for London’s metropolitan future, read the interview in full after the break.
This article from Metropolis delves into China’s urban development of many African cities, and the effect this has had on the architectural quality of those cities. Chinese contractors and architects are able to propel a city’s growth at lower cost and on schedule, but in doing so, they out-compete local companies and ignore cultural context. Is this an acceptable trade-off? Read the full article and decide for yourself.
The factory of the world has a new export: urbanism. More and more Chinese-made buildings, infrastructure, and urban districts are sprouting up across Africa, and this development is changing the face of the continent’s cities.
Or so says Dutch research studio Go West Project , who have been tracking this phenomenon for their on-going project about the export of the Chinese urban model to Africa. Since 2012, the group, made up of Shanghai-based architect Daan Roggeveen and Amsterdam-based journalist Michiel Hulshof, have visited six African cities to do research. Roggeveen and Hulshof recently released their preliminary report in an issue of Urban China, a magazine focusing on Chinese urban development.
“In the ancient culture identity is a touch of spatiality. Our use of space is psychological, you line up sequences of courtyards and buildings in order of importance so it prepares your mood, they get a sense of anticipation. We could reuse this spatially in today’s different types of buildings to achieve different purposes, but it originates from the past — that makes it Chinese.” – Rocco S. K. Yim, Hong Kong, 2013
On the 38th floor of the AIA Tower, Rocco Yim’s office faces the bay, from which you see the quintessential view of the city: the Hong Kong skyline. Rocco Yim is the founder of Rocco Design Architects Limited (founded in 1982) and responsible for the design of iconic buildings like the International Finance Centre in Hong Kong. In this conversation he talks about the importance of the density created and supported by the urban flow in China, and his unique point of view on iconic architecture in relation to ancient culture.
Torre de David (the Tower of David) - the world’s tallest slum and the subject of Urban-Think Tank, Justin McGuirk, and Iwan Baan‘s Golden Lion-winning Pavilion at the Venice Biennale 2012 - is once again making headlines. Venezuelan newspaper TalCual reports that the Venezuelan government is in negotiations with Chinese banks interested in purchasing the building.
Tower of David is an unfinished financial skyscraper in downtown Caracas. Construction began on the tower in 1990, but the death of the principal investor in 1993 and the subsequent banking crisis that hit the country in 1994 froze construction; by the end of the year, the tower was in the hands of the state. Nevertheless, in 2007 two thousand homeless citizens took over and inhabited the skyscraper, making it the tallest vertical slum in the world.