Download - Conferencia Zhao Pei -FAUD- Mar del Plata
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Introduction on Chinese Architecture Practicing Introduction on Chinese Architecture Practicing
in Recent Decade (2005-2014)
Zhao PeiFor Universidad Nacional de Mar del Plata
Xi’an University of Architecture & Technology
2015.07
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11The brief intro of
modern Chinese
architecture
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1. Something related 1. Something related With Current China
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5 basic numbers on China:
1.People2.Nature3.Culture4.Economy4.Economy5.Urbanization
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1. People: Population Density Map of China, 2009
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2. Nature: Natural resources
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3. Culture: Main Han Culture and Minority Nations’ Culture
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4. Economy: Chinese GDP of Province, 2010
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5. Urbanization: Urbanization Rate of China, 2012
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2. History on modern Chinese modern Chinese
Architecture
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a) Traditional a) Traditional Chinese Architecture
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b) Passive Modernization Modernization
(1840-1949)
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1840
1860
1840~1842, 1st Opium War, Sino-British
1851~1864, Taiping Rebellion (civil war)
1856~1860, 2nd Opium War, Sino-British1858, The Treaty of Aihui, The Treaty of Tianjin
1860, The Treaty of Beijing
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
With the colonists and missionaries, western architectural practicing were
introduced into China
Beginning Stage: 1840-1900
1910
1880
1900
1885, Sino-French War
1894, Sino-Japan
1900, Foreign retaliations by the Eight (EN,FR, GE, US, JP…)
1901, The Treaty of Xinchou
introduced into China
Later, western buildings were full of those settlement
With the westernization movement launched by Chinese local government,
industrial buildings also were introduced into China
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Architectural form
After Opium War Before Opium War
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Urban-scape
Settlement street Traditional street
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Heinrich Becker, Shanghai 1901-1905
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Shanghai YongNian Life Insurance Companies,
1910
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Harbin Railway Station 1898
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1910
1920
1930
1911, Republic of China founded
1911~1927, Civil War between the warlords
1927, KMD united whole country temporarily1927~1937, 1st War between KMD and CCP
National/Capitalism country
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
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
Developing Stage: 1900-1937
1950
1930
1937~1945, Sino-Japan Total War (IIWW)
1940
1949, People Republic of China founded
1945, II World War ending
1945~1950, 2nd War between KMD and CCP
1931~1937, Sino-Japan War (Partial War)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
National/Capitalism country
Due to the IIWW
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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 architectureand Chinese architecture
3.Re-constructing: researching and developing Chinese own
architectural system through copying western architectural theory
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1. Importing - Eclecticism
Sincere Company Limited, Shanghai,
Lester,Johnson&Morriss, 1917
Tianjin Bazaar, Tianjin
Yonghe engineering department, 1928
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1. Importing -Art Deco
Park Hotel Shanghai, Shanghai
L.E.Hudec,1934
Lever House, Tianjin
Yonghe engineering department , 1936-1938
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Henry Killam Murphy ,,,,US, 1877~1954From the early 1920s to 1930s, Murphy designedmany campus plans and buildings in China. He wasan advocate of traditional Chinese architecturalstyles, adapted to modern uses. In 1928, he washired to design a modern capital for China in theancient city of Nanjing. He returned to the UnitedStates in 1935
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2. Localization
Concord Hospital 1917
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2. Localization
West China University, 1917
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2. Localization
Yanjing University, Beijing
1914-1917
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2. Localization
Memorial Hall for Revolutionary Martyrs
1931-1935
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2. Localization
Sun Yat-sen Mausoleum, Lv Yanzhi
1926-1931
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Liang Tsicheng ,,,,1901-1972Recognized 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.
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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 •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
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c) Architecture Nationalism Nationalism (1949-1978)
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1949 1949, People Republic of China founded
Culture Revolution
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
Nationalism Stage: 1949-1978
1978
1990
2000
1978 Reforming and Opening
1993 marketing replaced planning economic
1998 Residential system reform
‘National Capitalism’
Modernization & Tradition
Booming Stage: 1978-2003
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Key Concept ::::
LDI System(Local Design Institute)
1949Several state institutes of architectural design were founded in national regions. Before the 1990s, all architectural design institutes were state-owned 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 government based on national wide logistic and economic central planning.
1983Government 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.
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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 decade10 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
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1950s
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10 Buildings of Beijing in 1950s
Great Hall of the People
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10 Buildings of Beijing in 1950s
National History Museum
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10 Buildings of Beijing in 1950s
National Military Museum
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10 Buildings of Beijing in 1950s
National Agriculture Exhibition Hall
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10 Buildings of Beijing in 1950s
Railway Station, Beijing
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10 Buildings of Beijing in 1950s
Beijing Workers Stadium
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10 Buildings of Beijing in 1950s
Beijing Cultural Palace of Nationalities
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10 Buildings of Beijing in 1950s
Minzu Hotel Beijing
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10 Buildings of Beijing in 1950s
Prime Hotel Beijing
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10 Buildings of Beijing in 1950s
Diaoyutai State Guesthouse
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d) Architecture Reforming & Openning Reforming & Openning
(1978-2003)
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1980s
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10 Buildings of Beijing in 1980s
New Beijing Library
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10 Buildings of Beijing in 1980s
Chromatic Television Center, CCTV, Beijing
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10 Buildings of Beijing in 1980s
Beijing Capital International Airport Terminal 1
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10 Buildings of Beijing in 1980s
International Hotel, Beijing
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10 Buildings of Beijing in 1980s
Anti-Japanese War Memorial Museum
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10 Buildings of Beijing in 1980s
Daguan Park
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10 Buildings of Beijing in 1980s
National Exhibition Centre
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10 Buildings of Beijing in 1980s
Beijing Great Wall Sheraton Hotel
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1990s
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10 Buildings of Beijing in 1990s
Beijing TV Tower
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10 Buildings of Beijing in 1990s
Olympic Sports Center
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10 Buildings of Beijing in 1990s
Chong-Guang Supermarket
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10 Buildings of Beijing in 1990s
Beijing Botanical Garden
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10 Buildings of Beijing in 1990s
The New Library of Tsinghua Univ
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10 Buildings of Beijing in 1990s
Hengji Centre
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10 Buildings of Beijing in 1990s
New Dong’an Market
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10 Buildings of Beijing in 1990s
Beijing CBD Business Centre
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10 Buildings of Beijing in 1990s
new Capital library, Beijing
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10 Buildings of Beijing in 1990s
Office building for Foreign Language Teaching and Research Press
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2000s
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10 Buildings of Beijing in 2000s
Beijing South Railway Station
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10 Buildings of Beijing in 2000s
Terminal Station 3
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10 Buildings of Beijing in 2000s
Beijing National Stadium
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10 Buildings of Beijing in 2000s
National Grand Theatre
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10 Buildings of Beijing in 2000s
Second Phase – National library
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10 Buildings of Beijing in 2000s
National Swimming Centre
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10 Buildings of Beijing in 2000s
Capital Museum in Beijing
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10 Buildings of Beijing in 2000s
National Indoor Stadium
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10 Buildings of Beijing in 2000s
Baoli Centre, SOM
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10 Buildings of Beijing in 2000s
CCTV, OMA
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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.
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Passive Modernization (1840-1949)
Communism & Nationalism (1949-1978)
Architecture & Big Development
Reforming & Openness(1978-1993)
Vanguard1993-2005
Mass Bone2005-2012
Emergency2012-pre
& Big Development(1978-pre)
?
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Zhang YonghoAtelier Feichang Jianzhu
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Ma QingyunMada Spam
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Liu Jiakun
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Wang ShuAmateur Architecture Studio
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Urbanus Architecture & Design Inc.
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22Architecture
& Big Development - Mass Bone(2005-2012)
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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
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1 Group1Regionalism &
modern vernacular
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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 bothChina. 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.
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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 inrather 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.
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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 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
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The museum is situated in a beautiful landscape next to xinzhuang village under GaoligongMountain of Yunnan, a world ecological preserve area in southwest of China. The village has along tradition on handcraft paper making. To exhibit the history and culture of paper making, thismuseum will include gallery, bookstore, work space and guest rooms. The museum is conceived asa micro-village, a cluster of several small buildings. The spatial concept is to create a visitingexperience alternating between interior of galleries and landscape outside when visitor walksthrough the museum, so as to provoke an awareness of the inseparable relationship between papermaking and environment.
The design is aimed at making a climate responsive and environment friendly building. Localmaterials 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 intoa more harmonious color with the landscape. The construction is to maximize the usage of localmaterials, technique and craftsmanship. The building combines traditional timber structural systemfeaturing nail-less tenon (SunMao) connection and modern detailing. It was built completely by localbuilders.
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XiaoQuan Elementary School
Client: XiaoQuan Elementary School Location: Xiaoquan town, Deyang, Sichuan, ChinaProgram: 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 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: 2-4Structural system: Reinforced concreteCost: 14,000,000 yuanDesign: 2008-2009Construction: 2009-2010
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The old XiaoQuan Elementary School was severely damaged during the catastrophic 5.12 Sichuan earthquake in2008 and was demolished afterwards. Supported by donations from several sponsors, the project is to build newschool in the center of Xiaoquan old town. The program consists of main classroom buildings, classrooms forvarious activities, teacher’s office, student dormitory buildings, and dining hall. The new school will host more than900 students.
The main idea is to conceive a school as a small city, giving diversified space so as to enrich children's experienceand activity. The design is conceived as a cluster of small buildings to create a micro-city like campus. Thefragmentary 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 afamiliar feeling from daily life. These places are intended to encourage diversified and spontaneous activities ofchildren. Various-scale playful corners and labyrinth spaces as passages and playgrounds are created to provokechildren’s curiosity and imagination. Through this, we also intend to continue the urban space memory ofchildren’s curiosity and imagination. Through this, we also intend to continue the urban space memory ofXiaoquan town, so as to avoid a rebuilding in brutal, overwritten style without respecting past, which is typical inearthquake area.
The design responds to Sichuan's hot and humid climate. Sunshade device, natural ventilation and heat reductionare important elements considered in design. Unlike many rebuilding projects in Sichuan, whose materials andworkers was completely imported from other province as a state-organized action, we explore to maximize the useof 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 bricksfrom earthquake are used in pavement. Cast-in-situ concrete are used for exposed structure. The construction iscompletely done by a local contractor. The construction cost is well controlled within the economical budget ofRMB 1,500 yuan per square meter.
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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 andinternational awards, including most recently winningthe inaugural RAIC Moriyama Prize. In addition he hasbeen winner of the AR (review) for emergingbeen winner of the AR (review) for emergingArchitecture award in 2009 for his design for BridgeSchool in Fujian Province and the Aga Khan Award forArchitecture in 2010. He was also awarded theHonorary Fellowship by AIA and won the Culturecategory of WAF in Singapore for his Liyuan Library in2012. Other notable awards include the Architecture ofNecessity Award, Sweden in 2013, UNESCO JuryAward for Innovation for his Yuhu elementary school,EDRA/Places annual design awards in United States,AR+D awards, United Kingdom, ARASIA Gold Medaland Business Week/Architectural Records ChinaAwards for best Public Building.
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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,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.
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Bridge School at Pinghe, Fujian, China
Project team: Chen jiansheng, li ye, Wang chuan,Liang Qiong, Liu Mengjia, Nie junqiCollaborator: Hedao architecture designContractor: Zhangzhou SteelClient: Xiashi VillageLocation: Xiashi Village, Pinghe county, Fujian Province, China Province, China Use: School, bridge, playground, theatre, library Site area: 1550m2Bldg. area: 240m2Bldg. height: 6.5mMaterial: steel, wood, concreteDesign period: 2008, 7-10Construction period: 2008-09Completion (year): 2009Cost: RMB650,000
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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,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.
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Liyuan Library, Beijing, China
Team: Li Xiaodong, Liu Yayun, Huang Chenwen, Pan XiLocation: Jiaojiehe Village, Huairou, Beijing, ChinaFloor Area: 175 Sq. MFloor Area: 175 Sq. MClient: Jiaojiehe VillageConstruction Time: 2011.03~2011.10Construction cost: RMB1050, 000Commission Donors: Luke Him Sau Charitable TrustAnd Pan Xi
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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 isthe 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.
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2 Group2Urbanization
& social
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Urbanus Architecture & Design Inc.
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OCT-Loft Renovation, Shenzhen, China-Master Plan and Landscape Design: Urbanus
Location: Nanshan District, Oversea Chinese Town (OCT),Shenzhen,ChinaProject: 2003-2011Construction Completed : 2012Construction Completed : 2012Size:South area : 55465㎡,Building area: 59000㎡North area: 95571㎡,Building area: 150,000㎡Building Storey:1-6Building Height:<30mClient: Overseas Chinese Town Enterprises Co., Ltd.Photographer: MengYan, Wu Qiwei, Chen Jiu
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The site currently has over dozens of early factories, dormitories and storages left vacant from
the ‘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 area’s regeneration. The master planning
team’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.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.
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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 | 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
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Tulou is a dwelling type unique to the the Hakka people. It is a communal residence betweenthe city and the countryside, integrating living, storage, shopping, religion, and publicentertainment into one single building entity. Traditional units in tulou are evenly laid out alongits perimeter, like modern slab-style dormitory buildings, but with greater opportunities forsocial interaction. By introducing a “new tulou” to modern cities and by carefully experimentingits 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, whichincludes green areas, overpasses, expressways, and residual land left over by urbanization. Thecost of residual sites is low due to incentives provided by the government; this is an importantfactor for the development of affordable housing. The close proximity of each tulou buildinghelps insulate the users from the chaos and noise of the outside environment, while creating anintimate and comfortable environment inside.
The research of tulou dwelling is characterized by comprehensive analyses ranging fromtheoretical hypothesis to practical experimentation. The study examined the size, spacepatterns, and functions of tulou. The new programs also inject new urban elements to thetraditional style, while balancing the tension between these two paradigms. As a consequenceof such comprehensive research, the tulou project has accumulated layers of experiences invarious aspects. The project provided a platform for an in-depth discussion on feasibilities andpossibilites of contextualizing the variable metamorphoses of traditional dwelling modules withan urban reality. It also introduced a series of publications and forums on future hypotheticaldesigns for a “new tulou project”. The logic and design process of the tulou program set up asolid foundation and excellent precedent for translating research-based feasibility studies todesign realization.
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Original Design StudioZhang Ming & Zhang Zi
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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、ZhanghaoWangzhigang、Zhanghao
Construction: Shanghai 2nd Construction Co., Ltd
Site area:19103m2
Building areas:41000m2
Construction Period: 2011.12-2012.9
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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 (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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3 Group3Architectural
autonomy
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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 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.
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Kindergarten In Jiading New Town,,,,
Shanghai
Architect: Atelier Deshaus (Liu Yichun / Chen Yifeng)Design Team: Chen Yifeng, Liu Yichun, Wang Shuyi, Liu Qian, Gao LinLiu Qian, Gao LinLocation: Hongde Rd, Jiading, Shanghai, ChinaDesign: 2008/4-2008/12Completion:2010/1Building Area: 6600㎡Site Area: 12100㎡
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Due to located at suburb of Shanghai, designer choose a unitary and powerfulsolid form for project. Different levels of floors make this building dynamic,which also create the interesting cave space for the outdoor activities where thelevel changes, arranging the courtyards vertically instead of the traditionalhorizontal pattern, with the courtyards and children’s activities as the part of thefaçade. The atrium with the ramp as the main traffic connection provides afaçade. The atrium with the ramp as the main traffic connection provides aspecial experience beyond the daily life, exciting, interesting, novel, creating abrilliant kindergarten full of imagination. The ambiguity of the space providesthe more possibilities to the use of kindergarten.
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Spiral Gallery, Shanghai
Architect: Atelier Deshaus (Liu Yichun / Chen Yifeng)Design Team: Liu Yichun, Chen Yifeng, Fan BeileiLocation: Tianzhu Rd, Jiading New Town, Shanghai, Location: Tianzhu Rd, Jiading New Town, Shanghai, ChinaDesign: 2009/7-2010/1Completion: 2011/6Building Area: 250㎡
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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 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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4 Group4New Technology
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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 (2001-2005). In 2008, he founded up HHDFUN with Luming Wang in Beijing and acted as Principal.
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Rizhao Visitor Center, Rizhao
Architect: HHD_FUN
Interior: HHD_FUNInterior: HHD_FUN
LDI: HHD & XinChao Design
Civil Engineer: H&J International
Façade Consultant: FUDA
Photographer: Zhenfei Wang, Chenggui Wang
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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 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.
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The Pedestrain Bridge,Rizhao
Architect: HHD_FUN
Interior: HHD_FUNInterior: HHD_FUN
LDI: HHD & XinChao Design
Civil Engineer: H&J International
Façade Consultant: FUDA
Photographer: Zhenfei Wang
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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 45 meters long bridge fit into the natural environment while at the same time provide a connection between the city and the beach park.