Introduction on Chinese Architecture Practicing in Recent Decade (2005-2014)
Zhao Pei For Universidad Nacional de Mar del Plata Xi’an University of Architecture & Technology 2015.07
1 The brief intro of modern Chinese architecture
1. Something related With Current China
5 basic numbers on China: 1.People 2.Nature 3.Culture 4.Economy 5.Urbanization
1. People: Population Density Map of China, 2009
2. Nature: Natural resources
3. Culture: Main Han Culture and Minority Nations’ Culture
4. Economy: Chinese GDP of Province, 2010
5. Urbanization: Urbanization Rate of China, 2012
2. History on modern Chinese Architecture
a) Traditional Chinese Architecture
b) Passive Modernization (1840-1949)
Beginning Stage: 1840-1900
1840
1840~1842, 1st Opium War, Sino-British
Semi colonial semi-feudal country Settlement, western urban and Architecture Many Chinese cities along the seashore have been opened, and settlements were founded, which will be the core of new urban zone
1856~1860, 2nd Opium War, Sino-British 1858, The Treaty of Aihui, The Treaty of Tianjin
1860
With the colonists and missionaries, western architectural practicing were introduced into China Later, western buildings were full of those settlement
1860, The Treaty of Beijing 1851~1864, Taiping Rebellion (civil war)
1880 1885, Sino-French War
With the westernization movement launched by Chinese local government, industrial buildings also were introduced into China
1894, Sino-Japan
1900
1900, Foreign retaliations by the Eight (EN,FR, GE, US, JP‌)
1910
1901, The Treaty of Xinchou
Architectural form
After Opium War
Before Opium War
Urban-scape
Settlement street
Traditional street
Heinrich Becker, Shanghai 1901-1905
Shanghai YongNian Life Insurance Companies, 1910
Harbin Railway Station 1898
Developing Stage: 1900-1937
1910
National/Capitalism country
1911, Republic of China founded
Professional practicing, education, researching The settlements kept expanding and growing The official building adopted western architectural style, while some western architects began to explore use Chinese traditional style in churches and univ
1920
1912~1927, with the rapid urban developing, the new building system was adopted by main building market. 1927~1937, China reached its first peak of construction in modern history. The first generation of Chinese architects began to practice and explore national form (the first wave). The first architectural school was founded in Northeast Univ in 1928.
Stagnation Stage: 1937-1949
1930
1911~1927, Civil War between the warlords
1927, KMD united whole country temporarily 1927~1937, 1st War between KMD and CCP 1931~1937, Sino-Japan War (Partial War)
1937~1945, Sino-Japan Total War ďźˆIIWW
1940
National/Capitalism country
1945, II World War ending
Due to the IIWW
1945~1950, 2nd War between KMD and CCP
1950
1949, People Republic of China founded
Three practicing ways: 1.Importing: without considering any region context, bringing the western architecture system into China 2.Localization: trying to find a way to combine the style of Western and Chinese architecture 3.Re-constructing: researching and developing Chinese own architectural system through copying western architectural theory
1. Importing - Eclecticism
Sincere Company Limited, Shanghai, LesterďźŒJohnsonMorriss, 1917
Tianjin Bazaar, Tianjin Yonghe engineering department, 1928
1. Importing -Art Deco
Lever House, Tianjin Yonghe engineering department , 1936-1938
Park Hotel Shanghai, Shanghai L.E.Hudec,1934
Henry Killam MurphyďźŒ ďźŒUS, 1877~1954 From the early 1920s to 1930s, Murphy designed many campus plans and buildings in China. He was an advocate of traditional Chinese architectural styles, adapted to modern uses. In 1928, he was hired to design a modern capital for China in the ancient city of Nanjing. He returned to the United States in 1935
2. Localization
Concord Hospital 1917
2. Localization
West China University, 1917
2. Localization
Yanjing University, Beijing 1914-1917
2. Localization
Memorial Hall for Revolutionary Martyrs 1931-1935
2. Localization
Sun Yat-sen Mausoleum, Lv Yanzhi 1926-1931
Liang Tsicheng， ，1901-1972 Recognized as the “Father of Modern Chinese Architecture”, Liang is the author of China's first modern history on Chinese architecture and founder of the Architecture Department of Northeastern University in 1928 and Tsinghua University in 1946.
Brief Conclusions (1840~1949) •In a very short time (main developing period is from 1900~1937), a whole western urban system was imported into China to replace the original urban system. •Mixed many architectural style in different times and regions, but no clearly developing road • Although influenced by modern architectural movement, but the main driving power is social-political change and wars
c) Architecture Nationalism (1949-1978)
Nationalism Stage: 1949-1978
1949
1949, People Republic of China founded
National/Communism country National form, Political movements, In 1950s, a full and complete architectural system(including design institutes, professional education, regulation & building code ) was built in very short time. And then, waves of political movements came, and all stopped
Booming Stage: 1978-2003
Culture Revolution
1978
1978 Reforming and Opening
1990
1993 marketing replaced planning economic
‘National Capitalism’ Modernization & Tradition
1998 Residential system reform
2000
Key Concept： ： LDI System （Local Design Institute） 1949 Several state institutes of architectural design were founded in national regions. Before the 1990s, all architectural design institutes were stateowned and the only ones legally allowed practicing due to their official qualification certificate. They were directly commissioned by the central government based on national wide logistic and economic central planning. 1983 Government stopped financing LDI, which will support themselves by design fee from market The end of 1990’s A significant fact is the private design firms is officially allowed to enter the market.
A Section (Sample) of History Historical Section: impossible to review in panorama way, selecting some event in different but continued timeline to show its profile and evolutionary 10 buildings of Beijing in different decade ( all those 10 buildings is selected not by professional, but by public) •10 buildings of Beijing in 1950s •10 buildings of Beijing in 1980s •10 buildings of Beijing in 2000s
1950s
10 Buildings of Beijing in 1950s
Great Hall of the People
10 Buildings of Beijing in 1950s
National History Museum
10 Buildings of Beijing in 1950s
National Military Museum
10 Buildings of Beijing in 1950s
National Agriculture Exhibition Hall
10 Buildings of Beijing in 1950s
Railway Station, Beijing
10 Buildings of Beijing in 1950s
Beijing Workers Stadium
10 Buildings of Beijing in 1950s
Beijing Cultural Palace of Nationalities
10 Buildings of Beijing in 1950s
Minzu Hotel Beijing
10 Buildings of Beijing in 1950s
Prime Hotel Beijing
10 Buildings of Beijing in 1950s
Diaoyutai State Guesthouse
d) Architecture Reforming & Openning (1978-2003)
1980s
10 Buildings of Beijing in 1980s
New Beijing Library
10 Buildings of Beijing in 1980s
Chromatic Television Center, CCTV, Beijing
10 Buildings of Beijing in 1980s
Beijing Capital International Airport Terminal 1
10 Buildings of Beijing in 1980s
International Hotel, Beijing
10 Buildings of Beijing in 1980s
Anti-Japanese War Memorial Museum
10 Buildings of Beijing in 1980s
Daguan Park
10 Buildings of Beijing in 1980s
National Exhibition Centre
10 Buildings of Beijing in 1980s
Beijing Great Wall Sheraton Hotel
1990s
10 Buildings of Beijing in 1990s
Beijing TV Tower
10 Buildings of Beijing in 1990s
Olympic Sports Center
10 Buildings of Beijing in 1990s
Chong-Guang Supermarket
10 Buildings of Beijing in 1990s
Beijing Botanical Garden
10 Buildings of Beijing in 1990s
The New Library of Tsinghua Univ
10 Buildings of Beijing in 1990s
Hengji Centre
10 Buildings of Beijing in 1990s
New Dong’an Market
10 Buildings of Beijing in 1990s
Beijing CBD Business Centre
10 Buildings of Beijing in 1990s
new Capital library, Beijing
10 Buildings of Beijing in 1990s
Office building for Foreign Language Teaching and Research Press
2000s
10 Buildings of Beijing in 2000s
Beijing South Railway Station
10 Buildings of Beijing in 2000s
Terminal Station 3
10 Buildings of Beijing in 2000s
Beijing National Stadium
10 Buildings of Beijing in 2000s
National Grand Theatre
10 Buildings of Beijing in 2000s
Second Phase – National library
10 Buildings of Beijing in 2000s
National Swimming Centre
10 Buildings of Beijing in 2000s
Capital Museum in Beijing
10 Buildings of Beijing in 2000s
National Indoor Stadium
10 Buildings of Beijing in 2000s
Baoli Centre, SOM
10 Buildings of Beijing in 2000s
CCTV, OMA
Main Stream Design Projects Vanguard Design Projects From the late 1990’s, many architects who studies abroad came back to practice in China. Different with local architects, they have received professional training of modernism architecture, not just copying the form of modern building. Zhang Yongho, Ma Qingyun, Urbanus In the meanwhile, some local architects began to rethink Chinese architectural way even they don't have any abroad experience. Wang Shu, Liu Jiakun In a very short time, their works attracted international attention. From 2002 to 2005, there are several very important international exhibitions for them.
Passive Modernization (1840-1949)
Communism & Nationalism (1949-1978)
Reforming & Openness (1978-1993)
Vanguard 1993-2005 Mass Bone 2005-2012 Emergency 2012-pre
?
Architecture & Big Development (1978-pre)
Zhang Yongho Atelier Feichang Jianzhu
Ma Qingyun Mada Spam
Liu Jiakun
Wang Shu Amateur Architecture Studio
Urbanus Architecture & Design Inc.
2 Architecture & Big Development - Mass Bone (2005-2012)
Four groups: It is always difficult to review those projects in very recent years, specially on identifying their relation in historical context. However, for researching, we have to take this risk to find a framework as some interpretative tool to help people to understand. 1.Regionalism & modern vernacular 2.Urbanization & social 3.Architectural autonomy 4.New Technology
1
Group
Regionalism & modern vernacular
Hua Li received his B. Arch. and M. Arch. Degree from Tsinghua University in Beijing in 1994 and 1997. He then studied at Yale University and received M. Arch. Degree in 1999. He has worked for Herbert Beckhard Frank Richlan & Associate in New York. In 2003 he moved to China and started his own practice in Beijing. In 2009, he established TAO (Trace Architecture Office). Hua Li has lead TAO to complete several award-winning projects in China. His works are well recognized in both China and internationally. Hua Li’s design works and interviews have been published by numerous architectural media including T+A, WA, domus, AREA, A+U, MD, Wallpaper, Abitare, Space, AV, Casabella, Architectural Review and Architectural Record.
TAO (Trace Architecture Office) Founded by Mr. Hua Li in 2009, TAO (TRACE ARCHITECTURE OFFICE) is a Beijing based design studio committed to architecture, urban, and landscape design. Being critical at contemporary architecture as an obsession to fashionable forms in the context of media driven globalized consumerism, TAO visions architecture and its environment as an inseparable whole and architecture is always a part of its surroundings rather than an isolated object. With most projects positioned in particular cultural and natural settings in China, TAO aims to make architecture deeply rooted in its social and environmental context with respect of local condition. The sense of place, response to climate, efficient use of local resource, appropriate material and construction method, such essential issues are always explored in every TAO project responding to its specific situation.
Museum of Handcraft Paper, Yunnan, China Project title: Gaoligong Museum of Handcraft Paper Client: Committee of Gaoligong Museum of Handcraft Paper Location: Xinzhuang village, Tengchong, Yunnan, China Program: Museum, Work space, Guest room etc. Architect: HUA Li / TAO (Trace Architecture Office) Design team: HUA Li, Huang Tianju, Li Guofa, Jiang Nan, Sun Yuanxia, Xu Yinjun, Yang Hefeng Construction team: Local farmer builders led by Long Zhanwen Site area:315 sq. m. Floor area: 361 sq. m. Structural system: timber construction with traditional Chinese tenon connection Roofing: bamboo Facade Construction: timber board, volcano stone Interior finishes: handcraft paper Floor: volcano stone Design: 2008,4-2009,5 Construction: 2009,5-2010,12
The museum is situated in a beautiful landscape next to xinzhuang village under Gaoligong Mountain of Yunnan, a world ecological preserve area in southwest of China. The village has a long tradition on handcraft paper making. To exhibit the history and culture of paper making, this museum will include gallery, bookstore, work space and guest rooms. The museum is conceived as a micro-village, a cluster of several small buildings. The spatial concept is to create a visiting experience alternating between interior of galleries and landscape outside when visitor walks through the museum, so as to provoke an awareness of the inseparable relationship between paper making and environment. The design is aimed at making a climate responsive and environment friendly building. Local materials such as wood, bamboo, handcraft paper and volcano stone are used for exterior finish, roof, interior finish and floor respectively. With time passed, these materials will worn and fade into a more harmonious color with the landscape. The construction is to maximize the usage of local materials, technique and craftsmanship. The building combines traditional timber structural system featuring nail-less tenon (SunMao) connection and modern detailing. It was built completely by local builders.
XiaoQuan Elementary School Client: XiaoQuan Elementary School Location: Xiaoquan town, Deyang, Sichuan, China Program: Classroom, multi-purpose rooms, office, student dormitory, dining hall etc. Architect: HUA Li / TAO (Trace Architecture Office) Design team: HUA Li, Zhu Zhiyuan, Jiang Nan, Li Guofa, Kong Desheng Construction company: Sichuan Huaxiluyi Construction Co. Sponsors: Jiangsu Taicang Red Cross, Canton Liuzu Buddhism Temple, Tsinghua_HKCU MBA Group, Peking University HSBC School of Business PE Fund, Qiaoai Organization, Sichuan Society for Promotion of the Guangcai Program. Site area: 16,967 sq. m. Floor area: 8,900 sq. m. Number of floor levels: 2-4 Structural system: Reinforced concrete Cost: 14,000,000 yuan Design: 2008-2009 Construction: 2009-2010
The old XiaoQuan Elementary School was severely damaged during the catastrophic 5.12 Sichuan earthquake in 2008 and was demolished afterwards. Supported by donations from several sponsors, the project is to build new school in the center of Xiaoquan old town. The program consists of main classroom buildings, classrooms for various activities, teacher’s office, student dormitory buildings, and dining hall. The new school will host more than 900 students. The main idea is to conceive a school as a small city, giving diversified space so as to enrich children's experience and activity. The design is conceived as a cluster of small buildings to create a micro-city like campus. The fragmentary instead of unified building composition defines many typological places such us streets, plazas, courtyards, and steps, analogous to original Xiaoquan's urban space in scale and pattern, so as to provoke a familiar feeling from daily life. These places are intended to encourage diversified and spontaneous activities of children. Various-scale playful corners and labyrinth spaces as passages and playgrounds are created to provoke children’s curiosity and imagination. Through this, we also intend to continue the urban space memory of Xiaoquan town, so as to avoid a rebuilding in brutal, overwritten style without respecting past, which is typical in earthquake area. The design responds to Sichuan's hot and humid climate. Sunshade device, natural ventilation and heat reduction are important elements considered in design. Unlike many rebuilding projects in Sichuan, whose materials and workers was completely imported from other province as a state-organized action, we explore to maximize the use of local resources which can be acquired, including material and technique, so that local workers can get involved. Local materials such as wood, brick and bamboo are used for windows, walls, and ceilings. The recycled bricks from earthquake are used in pavement. Cast-in-situ concrete are used for exposed structure. The construction is completely done by a local contractor. The construction cost is well controlled within the economical budget of RMB 1,500 yuan per square meter.
Li, Xiaodong graduated from the School of Architecture at Tsinghua University in 1984 and later went to do his PhD at the School of Architecture, Delft University of Technology between 1989-1993. He is a practicing architect, educator and researcher on architecture. Li Xiaodong’s design work ranges from interior, architecture to urban spaces. His build projects are few, because his dedication to the projects requires enormous devotion. And this devotion has lead him to win both national and international awards, including most recently winning the inaugural RAIC Moriyama Prize. In addition he has been winner of the AR (review) for emerging Architecture award in 2009 for his design for Bridge School in Fujian Province and the Aga Khan Award for Architecture in 2010. He was also awarded the Honorary Fellowship by AIA and won the Culture category of WAF in Singapore for his Liyuan Library in 2012. Other notable awards include the Architecture of Necessity Award, Sweden in 2013, UNESCO Jury Award for Innovation for his Yuhu elementary school, EDRA/Places annual design awards in United States, AR+D awards, United Kingdom, ARASIA Gold Medal and Business Week/Architectural Records China Awards for best Public Building.
Li Xiaodong Li Xiaodong’s design strategy starts with a careful analysis of the program, the specific site conditions, and the relation to the local resources that will all play a key role in the overall integration of ideas. The concepts are induced by both a cultural and climatic context and seek to capture the spiritual essence of “place�. The designs strive for tranquility and harmony suggested by space, light and structured order. Li believes that a good design product is the result of spiritual exploration of ideas complemented with critical rational thinking, he engages with both technical knowledge and artistic judgment, the richness of a good design rely on how the matrix of detail, scale, proportion and commonsense is carefully orchestrated.
Bridge School at Pinghe, Fujian, China Project team: Chen jiansheng, li ye, Wang chuan, Liang Qiong, Liu Mengjia, Nie junqi Collaborator: Hedao architecture design Contractor: Zhangzhou Steel Client: Xiashi Village Location: Xiashi Village, Pinghe county, Fujian Province, China Use: School, bridge, playground, theatre, library Site area: 1550m2 Bldg. area: 240m2 Bldg. height: 6.5m Material: steel, wood, concrete Design period: 2008, 7-10 Construction period: 2008-09 Completion (year): 2009 Cost: RMB650,000
The ‘Bridge School’ bridges the two parts of the small village of Xiashi that lie on eith side of a small creek running about ten meters below the village. The structure is created by two steel trusses that span the creek with the space between them housing the functions of the school. Suspended from the structure and running below it is a pedestrian bridge for the people of the village to use. Small and modern in design with no reference to the area’s traditional building style, the school, nonetheless, becomes the physical and spiritual center of what was a declining village. Placed in such a way that it addresses its surroundings, the Bridge School connects two villages together, providing a central, social space. The broader social aspect of the project was part of the brief which was developed to answer community needs rather than simply those of a primary school. A public library separates the two classrooms and open stages at either ends of the building enable performances. The result is a project that has successfully invigorated the entire community, encapsulating social sustainability through architectural intervention.
Liyuan Library, Beijing, China Team: Li Xiaodong, Liu Yayun, Huang Chenwen, Pan Xi Location: Jiaojiehe Village, Huairou, Beijing, China Floor Area: 175 Sq. M Client: Jiaojiehe Village Construction Time: 2011.03~2011.10 Construction cost: RMB1050, 000 Commission Donors: Luke Him Sau Charitable Trust And Pan Xi
This project is modest addition to the small village of Huairou on the outskirts of Beijing, just under a two hours drive from busy Beijing urban life. On the one hand it forms a modern programmatic complement to the village by adding a small library and reading space within a setting of quiet contemplation. On the other hand we wanted to use architecture to enhance the appreciation of the natural landscaping qualities. The building blends into the landscape through the delicate choice of materials and the careful placement of the building volume. Especially the choice of material is crucial in blending with the regional characteristics. After analyzing the local material characteristics in the village we found large amounts of locally sourced wooden sticks piled around each house. The villagers gather these sticks all year round to fuel their cooking stoves. Thus we decided to use this ordinary material in an extraordinary way, cladding the building in familiar textures in a way that is strikingly sensitive.
2
Group
Urbanization & social
Urbanus Architecture & Design Inc.
OCT-Loft Renovation, Shenzhen, China -Master Plan and Landscape Design: Urbanus Location: Nanshan District, Oversea Chinese Town (OCT) ， Shenzhen，China Project: 2003-2011 Construction Completed : 2012 Size: South area : 55465㎡ ，Building area: 59000㎡ North area: 95571㎡ ，Building area: 150,000㎡ Building Storey：1-6 Building Height：<30m Client: Overseas Chinese Town Enterprises Co., Ltd. Photographer: MengYan, Wu Qiwei, Chen Jiu
The site currently has over dozens of early factories, dormitories and storages left vacant from the â&#x20AC;&#x2DC;80s. In 2003, the Hexiangning Art Museum decided to set up a non-profit contemporary art center in one of these warehouses, called OCAT. The plugging-in of the OCAT set up an interesting paradigm in the beginning of the industrial areaâ&#x20AC;&#x2122;s regeneration. The master planning teamâ&#x20AC;&#x2122;s intention was to replace and fill up the buildings by applying the new spatial form with small-scale operations and improvements on the infrastructure. They started by adding programs to existing structures to adapt to the function of the art centre; the empty lots between them are intended to be filled with galleries, bookshops, cafes, bars, artist ateliers and design shops, along with lofts and dormitories. At the beginning of the regeneration, the design team addressed the value of these industrial imprints and their extraordinary architectural quality, which provides flexibility for the coexistence of both industrial and creative occupants. The second stage of the renovation aims to reposition the overall branding image, the strategic planning is distinct from the south. The existing network, landscape and post-industrial buildings with the social network are interwoven to encourage public use.
Tulou Collective Housing Location：Nanhai, Guangdong, Design Period：2005-2007 Completion：2008 Site Area：9141㎡ Total Floor Area：13711㎡ Project D-esigners：| Design Director： Liu Xiaodu，Meng Yan | Technical Director：Zhu Jialin | Project Director：Li Da, Yin Yujun | Designers：Huang Zhiyi, Li Hui, Cheng Yun, Huang Xu, Zuo Lei, Ding Yu, Wei Zhijiao, li jing, Wang Yajuan, Zheng Yan, Shen Yandan Client：Shenzhen Vanke Real Estate Co., Ltd. Collaborators：Guoqun Studio (Interior Design)、Archilier Architecture LLC（LDI）、Huangyang Design Photographer：Yang Chaoying
Tulou is a dwelling type unique to the the Hakka people. It is a communal residence between the city and the countryside, integrating living, storage, shopping, religion, and public entertainment into one single building entity. Traditional units in tulou are evenly laid out along its perimeter, like modern slab-style dormitory buildings, but with greater opportunities for social interaction. By introducing a “new tulou” to modern cities and by carefully experimenting its form and economy, one can transcend the conventional modular dwelling into urban design. Our experiments explored ways to stitch the tulou within the existing urban fabric, which includes green areas, overpasses, expressways, and residual land left over by urbanization. The cost of residual sites is low due to incentives provided by the government; this is an important factor for the development of affordable housing. The close proximity of each tulou building helps insulate the users from the chaos and noise of the outside environment, while creating an intimate and comfortable environment inside. The research of tulou dwelling is characterized by comprehensive analyses ranging from theoretical hypothesis to practical experimentation. The study examined the size, space patterns, and functions of tulou. The new programs also inject new urban elements to the traditional style, while balancing the tension between these two paradigms. As a consequence of such comprehensive research, the tulou project has accumulated layers of experiences in various aspects. The project provided a platform for an in-depth discussion on feasibilities and possibilites of contextualizing the variable metamorphoses of traditional dwelling modules with an urban reality. It also introduced a series of publications and forums on future hypothetical designs for a “new tulou project”. The logic and design process of the tulou program set up a solid foundation and excellent precedent for translating research-based feasibility studies to design realization.
Original Design Studio Zhang Ming & Zhang Zi
Power station of art Client : Shanghai ExpoLand, Co., Ltd Location: 200 Huayuangang Road, Huangpu District, Shanghai Architects: Zhangming & Zhangzi (Original Design Studio) Team: Zhangming 、 Zhangzi 、 Dingkuo 、 Dingchun 、 Sunjialong 、 Wangzhigang、Zhanghao Construction: Shanghai 2nd Construction Co., Ltd Site area：19103m2 Building areas：41000m2 Construction Period: 2011.12-2012.9
Following-up the 2010 Shanghai Expo, the Power Station of Art is a renovation and expansion project based on the Pavilion of Future which previously was the Nanshi power station built in 1985. The design process lasting for six years has witnessed the building’s transformation from a giant electric machine to a powerful engine promoting culture and art. The accomplishment of this project would greatly change the inherent structure of Shanghai’s art field and even China’s. The Power station of Art (for contemporary art), China Art Palace (for modern traditional art), and Shanghai Museum (for ancient art) will complement each other and create a more integral structure in exhibition field for Shanghai. Through a controlled intervention, the project aims to keep the building’s existing spatial order as well as industrial characteristics. It also attempts to show the temporal span by placing the new and the old together. The strategy transforms visiting behaviors to a part of daily lives. It also decomposes the traditional single-visiting-path system, and opens multiple-paths system for visitors, creating many possibilities for art exploration.
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Group
Architectural autonomy
Atelier Deshaus was founded in Shanghai in 2001.The principal, Liu Yichun was born in 1969, obtained Master Degree from Tongji University, Department of Architecture in 1997. The principal, Chen Yifeng was born in 1972, obtained Master Degree from Tongji University, Department of Architecture in 1998. While winning the architecture awards such as Business Weeks/Architectural Record China Awards (2006&2009), WA Chinese Architecture Awards (2006&2010), FAR EAST Architecture Awards (2010), Atelier Deshaus has been involved recently in major international exhibitions on contemporary Chinese Architecture in Shanghai, Beijing, Hong Kong, London, Paris, Tokyo，Vienna，Barcelona, Brussels, Prague， Venice, Milan，Rotterdam, Bordeaux, Cincinnati and Dusseldorf etc. In 2011, Atelier Deshaus was selected by the international Journal Architectural Record to be one of the 10 firms in year’s Design Vanguard.
Kindergarten In Jiading New Town， ， Shanghai Architect: Atelier Deshaus (Liu Yichun / Chen Yifeng) Design Team: Chen Yifeng, Liu Yichun, Wang Shuyi, Liu Qian, Gao Lin Location: Hongde Rd, Jiading, Shanghai, China Design: 2008/4-2008/12 Completion:2010/1 Building Area: 6600㎡ Site Area: 12100㎡
Due to located at suburb of Shanghai, designer choose a unitary and powerful solid form for project. Different levels of floors make this building dynamic, which also create the interesting cave space for the outdoor activities where the level changes, arranging the courtyards vertically instead of the traditional horizontal pattern, with the courtyards and childrenâ&#x20AC;&#x2122;s activities as the part of the façade. The atrium with the ramp as the main traffic connection provides a special experience beyond the daily life, exciting, interesting, novel, creating a brilliant kindergarten full of imagination. The ambiguity of the space provides the more possibilities to the use of kindergarten.
Spiral Gallery, Shanghai Architect: Atelier Deshaus (Liu Yichun / Chen Yifeng) Design Team: Liu Yichun, Chen Yifeng, Fan Beilei Location: Tianzhu Rd, Jiading New Town, Shanghai, China Design: 2009/7-2010/1 Completion: 2011/6 Building Area: 250ă&#x17D;Ą
The intention of spiral is to establish a way to see scenery. People may enter the annular space directly, or step on to the roof, enter this building in the constantly changing of spot, angle and height of view. There would be a pleasure of promenade, which arises from rhythm alternating between open and closed and within the intentionally lengthened path .This is an abstract method of gardens. Thus, in this place, to see the scenery is also a way to enter the architecture.
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Group
New Technology
Zhenfei Wang, graduated with an advanced master of architecture from Berlage Institute in 2007. In 2001, he gained his Bachelor of Architecture in Tianjin University, China.His working experience includes UNstudio in Amsterdam (2007-2008) and HHDesign (20012005). In 2008, he founded up HHDFUN with Luming Wang in Beijing and acted as Principal.
Rizhao Visitor Center, Rizhao Architect: HHD_FUN Interior: HHD_FUN LDI: HHD & XinChao Design Civil Engineer: H&J International Faรงade Consultant: FUDA Photographer: Zhenfei Wang, Chenggui Wang
Rizhao Visitor Center was located at east China. Visitor Center is adjacent to a plaza which will attract massive tourists during the high season. The form of the building above ground was minimized in order to fit into the natural environment. Pedestrians will mainly enter the plaza from the east side, either through 3 open stairs into the building or 4 different pathways towards the sea. All 19 individual buildings were developed out of one prototype. Special steel structure was designed to fit the complex building form at the same time create big span column free space. Parametric design technique has been adopted throughout all design process i.e. form finding, structure optimization, facade penalization and construction documentation, which make sure the complex shape can be "made" by local low technology manufacturer. "Low Technology Parametric Design" is our strategy to face China's current construction situation.
The Pedestrain Bridge,Rizhao Architect: HHD_FUN Interior: HHD_FUN LDI: HHD & XinChao Design Civil Engineer: H&J International Faรงade Consultant: FUDA Photographer: Zhenfei Wang
Alongside the beach, the key feature of the park is its 50 year old black pine forest and the design challenges are to minimize the construction impact to the natural environment. The curved form was strategically designed to allow the 45 meters long bridge fit into the natural environment while at the same time provide a connection between the city and the beach park.