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Old July 4th, 2013, 06:51 AM   #521
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Nanjing Airport - July
Source : http://pic.feeyo.com/posts/588/5882421.html



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Old July 8th, 2013, 01:05 PM   #522
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Nanjing goes back on two land deals
The Standard
Monday, July 08, 2013

Local governments in the mainland have made a rare move by taking back two sites sold earlier for 5.6 billion yuan (HK$7.08 billion) to a state-owned enterprise, sparking speculation that China is tightening its land market.

Two premium plots in Nanjing were taken back from the buyer, a unit of the Metallurgical Corporation of China (1618), the Nanjing Land Bureau said.

The bureau blamed the resumption on the continued presence of residents on the sites, which make removal works complicated. As such, it will not be able to deliver the plots to the MCC subsidiary on schedule.

Also, the city's plans have changed and so has the development blueprint for the plots, it said.

In November 2012, MCC spent 5.6 billion yuan to purchase the two mixed- use plots to create "synergy" with two adjacent parcels it already owned. The two plots were the most expensive sites in Nanjing that year.

MCC lost 7.2 billion yuan in 2012 and it cannot afford the huge development costs, China News quoted analysts as saying yesterday.

The Nanjing's government's move comes against a background of a heated land market as developers bid aggressively for premium plots.
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Old July 9th, 2013, 05:56 PM   #523
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http://www.gaoloumi.com/viewthread.p...extra=page%3D1

Wuxi Taihu New City Extensive Renderings. Also stuff about Wuxi downtown itself...
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Old July 11th, 2013, 07:27 PM   #524
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Around China: American professor helps develop aerotropolis in C China

ZHENGZHOU, July 11 (Xinhua) -- Clutching a pile of design sketches and watching planes pass by, American professor John H. Kasarda is mapping out China's first aerotropolis.

Kasarda, a professor at the University of North Carolina, the founder of the aerotropolis theory, and an expert in aviation economics, is now serving as a consultant to help Zhengzhou, capital city of central China's Henan Province, build itself into an aviation-oriented metropolis.

He believes that in the future, cities will be oriented around a central airport. Around that airport, clusters of aviation-linked businesses and associated residential developments will crop up, marking the next step in globalization.

Zhengzhou was approved as the nation's first air economic zone by the State Council, China's Cabinet, early this year. Since then, it has been on a fast track of transitioning from a railway-pivoted economy to an aerotropolis.

The construction of a modern aerotropolis covering 356 square km is currently under way, with Zhengzhou Xinzheng International Airport at its center.

Guo Gengmao, secretary of the Henan provincial committee of the Communist Party of China, has recommended Kasarda's book, "Aerotropolis: The Way We'll Live Next," to the province's 2 million officials.

"What attracts me the most is the understanding by Zhengzhou City and Henan Province government leaders of the potential the aerotropolis model has for their region and their strong will to move forward in applying the model," Kasarda said.

"I first learned about Zhengzhou and its economic potential when doing research on China four years ago. However, it wasn't until the past three times that I fully appreciated just how dynamic and promising Zhengzhou is," he said.

Dubbed "Super Ka" by local media, he has become somewhat of a local celebrity. He said he feels like the hero of his favorite movie, "Up In The Air" -- a frequent flyer enjoying his life full of air travel.

"I am currently focusing exclusively on Zhengzhou and its Airport Comprehensive Experimental Zone," he said, praising the city's historic culture, great foundation of labor forces and how easily it connects to other parts of China.

Zhengzhou has a great location advantage, as it takes only about an hour and a half to travel to two-thirds of China's cities that hold three-fifths of the nation's population.

Worldwide, some aerotropolises, including those in Amsterdam, Chicago, Dubai and Hong Kong, have become a significant driving force for the economy, according to Kasarda.

Despite the lackluster world economy, enthusiasm for developing aertropolises has remained high in China.

Statistics from the Civil Aviation Administration of China (CAAC) show that the number of airports nationwide will increase to 244 by the end of 2020, 61 more than in 2012.

Altogether, 54 air economic zones are planned to be built around the country, a 2012 CAAC report suggests.

"Aerotropolis development is more like a marathon than a hundred-meter dash," he advised the city planners, adding that achieving the goal requires 1 percent vision and 99 percent hard work.

"With intelligent planning and dedicated efforts, Zhengzhou has a real opportunity to get its aerotropolis right, and in so doing, generate a remarkably positive economic impact on the city, the province, the nation, and perhaps surrounding countries," Kasarda added.
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Old July 26th, 2013, 12:30 PM   #525
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Giving ancient Lhasa a facelift


Puntsog, from Lhundrub county, and his teacher spent 18 months restoring a 12-square-meter fresco in Lhasa's Ramoche Temple. (Photo: Wang Huazhong / China Daily)

BEIJING, July 23 (Xinhuanet) -- Six months' work and $244 million have restored an ancient area of the city, as Wang Huazhong and Da Qiong report.

Small shops along Barkhor Street in Lhasa had not yet opened at 6 am, but new lamps, adorned with an auspicious Tibetan knot, Buddhist symbols and scripture texts, cast a warm glow over those who had risen early to pray.

The devotees moved around Jokhang Temple in a clockwise direction, chanting sutras that echoed each other.

The air smelled of night rain, local flowers, and the barley and pine branches that burned in the street.

Flower vendor Drolkar, from Doilungdeche county, said: "I grew the galsang metog flowers myself. You can offer them at the temple or take some home. I'm very grateful for the recent clearance of the drainage area. Otherwise, I'd have no place to sell my flowers. Before, the sewage flooded the street when it rained."

The old urban area of Lhasa, which sprawls from the center of Barkhor Street, has a rich traditional and religious flavor. It is home to 27 temples, including Jokhang Temple, which is a World Heritage Site, and 56 vintage courtyards.

The government has renovated 1,300-year-old Barkhor Street many times before; in 2002 alone, it spent 170 million yuan ($27.6 million) on improvements.

But the infrastructure still lagged far behind the needs of the burgeoning businesses, booming religious activities and people's lives. More than 6 million tourists flock to the Tibet autonomous region annually and the population of the 1.33-square-km old town has risen to 80,000.

Before the latest renovations, cables intertwined like cobwebs hung over Barkhor's 35 alleys. Power and water supplies were inadequate and inaccessible in many areas.

The city government started the latest renovation drive, the third in recent history, in late December, investing 1.5 billion yuan in the six-month project.

Its primary aims were: to protect the historic heritage, improve the lives of the locals, and conserve the culture, according to the feasibility study for the effort.

"The project's main priority was to improve the civil infrastructure and eliminate safety hazards, such as fire risks," the report said.

Infrastructure update

Nyima Tsering, 79, was born and raised on Barkhor Street and remembers clearly how the place looked when he was a child.

He said the wind blew dust into the stalls along the narrow earth road during the hot summer. At the time, Nyima Tsering's house was the property of Tashilhunpo Monastery and beggars gathered around it.

Previous renovations freed his six-member family from drinking water from a well, using a non-flush toilet and having to light candles for illumination, yet he said their lives had remained "not so convenient" until recently.

The courtyard in which he lives is home to several families, about 26 people in all, including seniors aged 80 and older. They all shared one water tap on the ground floor before the latest renovation was completed at the end of June.

Before that, water couldn't even be pumped up to the second floor.

Because the pipes were just 20 cms in diameter, the drainage system failed to discharge sewage from many households. Foul water gushed out onto the street on rainy days, Nyima Tsering said.

In all, 199 courtyards are scattered along 35 alleys in the Barkhor Street area.

Tashi Dorje, a deputy in Lhasa's city congress, said that in the old house-intensive district, sewage and the fires used for cooking and heating threatened the safety of the crowded courtyards.

The renovation project has helped change the situation, the project leaders said.

Now all the overhanging cables have been buried underground in 31 km of piping tubes and tunnels.

More than 17,000 households now have their own electricity meters, which means they no longer share the bill with other courtyard residents.

To date, 1.2 km of new water pipes have been laid and 7 km of existing pipelines have been renovated. About 650 truckloads of mud were cleared from the drainage intakes.

Forty-six fire hydrants were installed and 2,200 km of decayed or illegally connected cables have been removed.

Yet what satisfies Nyima Tsering most is that the road he travels every day to pray has been widened and flattened.

The surface of the new roadway on Barkhor Street uses anti-slip bluestones that absorb, rather than reflect, strong sunlight and a lane in the middle of the road has been paved with smooth stones for the worshippers who prostrate themselves along its length.

More than 1,000 new street and wall lamps, all bearing Tibetan designs, have also been installed.

The old lamp bulbs were shaped like flowers, but the new designs look like prayer wheels and incorporate many Tibetan elements, such as the greeting tashi delek, which means "good fortune".

"The street was very busy and noisy. But now, I don't have to turn up the TV volume much because of the new windows," said Tsering lhamo.

The windows of her living room along Barkhor Street are double-glazed, insulating the house from noise and cold. A yellow wooden lattice painted with auspicious Tibetan signs hangs outside the window.

"I'm pleased to see that the old district has changed for good," Nyima Tsering said. "My children will live a better life and the old district will become more beautiful."

When the project was completed, the government of Chengguan district, where the renovation took place, conducted a survey to solicit public feedback on the quality of the work.

All the respondents from the 12 local communities said they were "satisfied" or "very satisfied" with the results.

The old district is the original soul of Lhasa and a mirror that showcases the city's charm and history.

Conserving heritage

Wu Yingjie, deputy Party chief of the Tibet autonomous region, asked local authorities and builders to "take people's living conditions as the top priority, and to make the protection of the culture and heritage one of the most important tasks" during the project.

The goal was "to help the old district of Lhasa spark vitality and dynamism against the backdrop of a new era", he said.

According to the project administrators, the design department conducted surveys about the old buildings and asked Tibetan architects for their guidance so the area could be "rebuilt as it originally was".

At a news conference, officials said, "The renovation rigorously abides by Tibetan culture in the choice of construction materials, range of colors and style."

"We tried to save the original facades of the buildings as much as possible," said Tsedar, deputy head of the restoration project. "We didn't make major changes if minor alternations could meet the demand. We avoided using replacement elements and moving objects around."

Structural engineer Liu Yu said before-and-after blueprints have been kept for each of the 172 buildings with unique and spectacular elements.

The Lhasa government has also invested 300 million yuan on nine major cultural protection projects, including an upgrade of the firefighting system in Jokhang Temple and the restoration of frescos and the statues of the Four Heavenly Kings in Ramoche Temple.

Family members taught Asong, from Gonggar county in Lhokha, to make clay figurines and he has practiced the art for 22 years. He joined the project and led apprentices on a six-month project to rebuild the Four Heavenly Kings.

"Only two other temples house statues of equivalent size to the Shakyamuni in Lhasa. One is Jokhang and the other is Ramoche Temple. I'm very honored to have the opportunity to restore statues at temples with centuries of history."

He said the Four Heavenly Kings are the biggest statues in Lhasa: "Our restoration will make the statues last for a long time regardless of the cost," adding that the Four Heavenly Kings have a human look and so allow the artists license to use their imaginations.

"Despite the requirement that we should follow the body scale of the deities strictly in accordance with descriptions, we can illustrate their characters in different ways," he said. "We give the same deity different looks. That's the amazing thing about clay."

Erik Ziarczyk, a Belgian journalist who toured the old district, said he liked it very much. "I want to walk around more to see the little stores and I also want to have dinner there in one of those little restaurants," he said. "It's all very interesting."

(Source: China Daily)
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Old July 29th, 2013, 12:57 AM   #526
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Sky gardens and meandering waterways define winning proposal for Yongjia WTC

A competition to design the Yongjia World Trade Centre in the new Chinese city of Wenzhou has been won by international practice UNStudio. The 500,000 sq m complex comprises 5 towers from 287m to 146m in height stitched together with a meandering network of open green spaces and waterways.

Situated on the banks of the Oujiang River in the Oubei Sanjiang Area, the Yongjia World Trade Centre is located in a dense economic zone which benefits from a deep water sea port and inland channel leading to the sea, enhancing trade operations.

Of their design inspiration, UNStudio details: “The notion of precious objects on a tray drives the main design concept, where the continuous podium landscape occupies the entire site and serves as a tray-like, green plain for the towers. The harmonious composition of the towers affords a unique image of the development from all different views.”

The development is mixed-use, with office towers to the north of the plot topped with high-end residential apartments, and additional residential units and a hotel to the south. The blend of uses ensures that the entire development stays active throughout the day and night.

The total above ground area adds up to 500,000 sq m, including shopping and commercial areas of 150,000 sq m, office areas of 160,000 sq m, hotel area of 50,000 sq m and a high-rise condominium are of 140,000 sq m.

Public walkways and social spaces play a major role in the design, with the carefully landscaped plot largely accessible to residents and the public. The lower podium benefits from a winding stream where local people can congregate and employees of the commercial portions can enjoy their downtime. Also available to users of the scheme are a number of sky gardens and lounges with far-reaching views across the economic region and nearby waterway.

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Old July 31st, 2013, 07:12 AM   #527
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Jinan Cultural Centre Updates
By French Architects Paul Andreu Architecte + Richez Associes + BIAD


Jinan / 济南, Capital of Shandong province, Northern China



from archdaily.com

Quote:


Architects: Paul Andreu Architecte + Richez Associes + BIAD
Location: Jinan, China
Design Team: Katharina Kriener, Stephanie Boufflet
Area: 70,000 sqm
Year: 2013
Photographs: Courtesy of Paul Andreu Architecte



From the architect. Jinan stretches out westward to the high-speed Beijing-Shanghai train station. Planned for the neighbourhood: a cultural centre with three auditoriums. Our proposal: to build the three auditoriums (the Philharmonic Orchestra Hall, 1494 seats; the Opera, 1640 seats, the Multifunctional Hall, 472 seats) in the three separate spaces on the neighbourhood’s main thoroughfare, in the centre, facing three towers.

The local authorities saw in this configuration three mountains above three springs – feng shui perfection – and a true Chinese portrait of Jinan and its region, the Shandong.


Water Park and Green Axis

The project is located at the axis cross of the new metro line and the Lashan River.

The east–west axis extends from the new high speed train station to the town center the north-south axis along the Lashan River. Both axes are leisure zones, composed out of public space and public gardens. The character between the two perpendicular parks should be differentiated.


The place where the two parks intersect will be of course the most symbolic one in the new town, concentrating its ambitions as a living space for “better life”.

Relations of the cultural centre with the environment

The main relation of the culture Complex is with all the residential areas of Jinan City, ancient and recent, since the Cultural complex above all an equipment for Jinan City Citizens. This relation has to be made mainly by public transportation systems, metro and buses. The distance to the metro is particularly important and should be one of the most decisive factors considered in the final choice of the site for the Culture Complex.

The relation with the region and more distant places, less important, can take benefit of the link of the central metro line with the high speed train terminal.


Site description

People can walk from each side of the Water Park and green axis to the site without crossing directly the street. The pedestrian access is provided by bridges on an upper level 6 to 7 meters higher than the street. The “bridges” are designed to disconnect the pedestrian from car noise and danger.


The building complex of the Provincial Cultural& Art Center Plaza is situated in the middle of the Central Park at the gravity centre of the new metro line. The geometry of the whole complex takes reference to the centre of a partially covered public space the Central Plaza.

In the north of the project 3 towers border the building complex with their common base. The towers will have hotel, short-term apartments and office functions, the base provides common services of these functions.


The complexes’ south is occupied by the Grand Theatre. Each of the 3 audience halls, the Opera Hall, the Concert Hall and the Multifunctional Hall forms a big “shell type” building, so that a composition with the towers is formed,

In the centre, between the Towers and the Grand Theatre a commercial centre will be constructed around the metro line. The two stories commercial centre takes its name from

the public space the “Central Plaza” which is situated above the commercial centre at the same level as the bridges who give access to the site.

The metro station is on the east edge of the side. In the west of the Central Plaza a large terrace can be found where public animation, restaurants and bars profit from the river border.


Building concept

The building complex is situated in the park surrounded by landscape. All building parts form a composition around a gravity centre in the middle. The 3 roof shells of the Grand Theatre span a force line to the 3 towers. The common architectural language of all building parts will give the identity to the site and the whole New West Jinan area. The building has a highly memorisable icon effect. Public life will be concentrated in the centre of the complex so that cultural exchange can happen. The roof on each side of the Central Plaza will give shelter to the visitors while the in-between space is open and glazed to bring in light into that open space. The glazed centre part will permit to cross from one to the other side even during the rain periods.

















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我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!


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Old August 2nd, 2013, 03:44 PM   #528
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City in Sky : A kids' Playground in Wuhan / 武汉
Wuhan, Capital of Hubei Province, the largest city in Central China


from archdaily.com



Quote:
Architects: Mu Wei + Sam Cho + Yu Hui
Location: Wuhan, China
Architect In Charge: Yu Hui
Contractor: 39 kids and families from Natur Organic Life, AaL volunteer students
Area: 100 sqm
Year: 2013
Photographs: Li Xiao & Jiang Jiang




This kids’ workshop is organized by Natur Organic Life, 36 children and their parents participated in the 3-month workshop at weekend.

“City In Sky” is an experimental project. In other words, we’re trying to use such kind of project to explore the boundary of architecture, when we are 30 years old.

It’s dubious to define “City In Sky” as a house or building. Because I regard it as a city belongs to children; it’s also hard to tell “City In Sky” designed by a certain architect, because 39 children, the “kid-architects” demonstrated the design in their minds by sketching and modeling; I’m even not willing to see it as a complete artificiality. Due to the alive bamboo as part of the structure, that makes it possible to allow the floating city to grow.


When I was a child, the first time I was standing in the bamboo forest, I began to imagine if there would be an invisible city floating among the bamboo. So “City In Sky” provides us with the potential possibilities of architecture:

1 Materials and Structures: Can alive bamboo be part of the structure?

2 Who can design: Do young children possess the ability to describe the architectural space and make it real?

3 The way of Construction: Can a building be built by planting? Are the structure elements light enough to allow children to join on-site work?

4 Relationship between Architecture and Nature: Does architecture mean physical creation?Or it can be another approach of materiality by operating nature?

Bamboo is an amazing material for structure. We transplant alive bamboo to make two bamboo houses by 3m*3m*8m standards. Jointed and fixed by transverse components, as open-air terraces and playroom for children, the bamboo houses are also part of the whole architectural landscape.

We use natural bamboo as bear loading structure of “City In Sky”. The building is separated into 8 bamboo structural units by 3m*3m standards. We create 90㎡ floorage by using only 3㎡ foundation area. The inverted pyramid form makes the houses seem floating in the air. Two “planted” building can be regarded as space prototype of upward cities. Every kid could work on their own house. And the gathering of bamboo houses make it a urban spatial form of neighborhood.

In 2012, 60% global concrete production was contributed by in China, which consumed 42% aluminum material in the world. Fewer and fewer architects know how to build besides using concrete and steel structure. Chinese exam-oriented education makes children’s childhood occupied by extra-curricular training. Based on the theme of architecture, by allowing children taking part to build the house blending with nature, “City In Sky” makes it more vivid to help children understand the nature, tools, building and even the real life itself.

I’d like to quote Italo Calvino to express my feeling about this workshop:

Cities and the Sky 3.

Those who arrive at Thekla can see little of the city, beyond the plank fences, the sackcloth screens, the scaffoldings, the metal armatures, the wooden catwalks hanging from ropes or supported by sawhorses, the ladders, the trestles. If you ask “Why is Thekla’s construction taking such a long time?” the inhabitants continue hoisting sacks, lowering leaded strings, moving long brushes up and down, as they answer “So that it’s destruction cannot begin.” And if asked whether they fear that, once the scaffoldings are removed, the city may begin to crumble and fall to pieces, they add hastily, in a whisper, “Not only the city.”

If, dissatisfied with the answers, someone puts his eye to a crack in a fence, he sees cranes pulling up other cranes, scaffoldings that embrace other scaffoldings, beams that prop up other beams. “What meaning does your construction have?” he asks. “What is the aim of a city under construction unless it is a city? Where is the plan you are following, the blueprint?”

“We will show it to you as soon as the working day is over; we cannot interrupt our work now,” they answer.

Work stops at sunset. Darkness falls over the building site. The sky is filled with stars. “There is the blueprint,” they say.




One message I texted to Chenfeng from Natur Organic Life recently: someone maintaining the house? Did you water the house?

“Did you water the house? ”

This might be the best way to describe the project.

















































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我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!

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Old August 6th, 2013, 02:41 PM   #529
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Pingtan Art Museum / MAD


Quote:
Architects: MAD
Location: Pingtan, China
Architects In Charge: Ma Yansong, Dang Qun, Yosuke Hayano
Design Team: Zhao Wei, Huang Wei, Liu Jiansheng, Jei Kim, Li Jian, Li Guangchong, Alexandre Sadeghi
Area: 40000.0 sqm
Year: 2011
Photographs: Courtesy of MAD

Chinese firm MAD sends us their latest museum project: Pingtang Art Museum. With a projected area of over 40,000 square meters and as the largest private museum in Asia, the museum will display thousands of pieces of national treasures.

From the Architect. Being the largest island in the Fujian province, Pingtan is also the Chinese island nearest to Taiwan. In 2010, the ‘Comprehensive Experimental Zone’ project in Pingtan was officially launched; the island is expected to become the primary location for trade and cultural communication between Taiwan and the mainland in the foreseeable future. The island, which is currently home to fisheries and a military base, will quickly be transformed into an large-scale urban development zone.

This new city, which is still under planning, will hold the museum at its center. The museum itself acts as a smaller scale island off the Pingtan Island itself, connected to land only by a slightly undulating pier, which, in turn, bridges artificial and natural, city and culture, as well as history and future. The museum represents a long-lasting earthscape in water and is a symbol of the island in ancient times, with each island containing a mountain beneath it.

The island is firstly a public space that is then turned into a museum. The sea, the beach, the oasis and the slope all interconnect with each other, forming a harmonious capacious space with the mountains in the distance. The building is constructed with concrete that is blended with local sand shells. The indoor space, formed by the rise and fall of the formal movements, looks similar to ancient caves.

Pingtan Art Museum is built in a landscape setting of an urban city. After its completion, it will create a new space for the city and the city’s inhabitants and further inspire them to reflect on the impact made by time and nature.
Source: www.archdaily.com

















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Old August 7th, 2013, 10:14 PM   #530
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Kaishengyuan Towers/West Harbin Station Towers
http://www.spatialpractice.com/proje...tation-towers/

By Spatial Practice
2012
Harbin, China

Client
Harbin Kaisheng

Program
Office, SOHO, Residential, Retail

Area
75,000m2 Tower A above ground
75,000m2 Tower B above ground

Status
Tender Proposal

Team
Dora Chi
Effi Meridor
Erik Amir
Calvin W. Liu
Cathal Peter Quinn
James Beadnall
Max Gerthal
Sarah Ge Xiaorui
Victor Quiros Quiros

Consultants
ADRI - Local Architect
Buro Happold - Structure & Sustainability
Glessner Group - Render
ADRI Render - Render
Great Models - Model Maker


Illustration by Glessner Group


Illustration by Glessner Group
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Old August 7th, 2013, 10:19 PM   #531
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more models and renderings.


















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Old August 11th, 2013, 10:54 AM   #532
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Yingkou Bayuquan Theatre / 营口鲅鱼圈大剧院
Yingkou City, Liaoning Province, NE China




By Shanghai-based architects: DSD (Dushe Architecture Design / 都设建筑设计)

from archdaily.com

Quote:

Architects: DSD
Location: Yingkou, China
Architect In Charge: Kege Ling, Qi Xu
Assisted By: Yin Qin, Ding Wu and Long Chen from Shanghai Zhongsen Architecture Design
Interior Design: DSD, China Architecture Design & Research Group, Tsinghua Gongmei
Interior Designer: Jianguo Wang, Ye Zhang
Photographs: Courtesy of DSD
Acoustic Design: China IPPR International Engineering Corporation
Stage Facility: China PLA General Armament Department






Bayuquan Baoli Theatre has 3 levels above the ground level. The main construction contains a large Dance Theatre which is specific for dancing and musical performaces with a capacity of 1600 people and a multi-functional theatre which can hold 800 people for drama play.

The dome of the main Dance Theatre was designed for both structural purpose and a special function. The steel-frame dome can be rotated, opened and closed to meet different performance requirements. The interior U-shape plan adopts the form of roman traditional theatre and the space is separated into 3 levels vertically. Sight analysis was carried out to allocate the seats in the theatre. To ensure best acoustic performance, the main source will be natural and each seat for audience takes up 7.7 m³(the total volume is 12300 m³). The reverberation time could be adjusted due to different performance requirements.































__________________
我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!


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Old August 11th, 2013, 11:04 AM   #533
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Yingkou Bayuquan Library / 营口鲅鱼圈图书馆
Yingkou City, Liaoning Province, NE China



By Shanghai-based architects: DSD (Dushe Architecture Design / 都设建筑设计)

from archdaily.com

Quote:
Architects: DSD
Location: Bayuquan, Yingkou, Liaoning, China
Architect In Charge: Kege Ling
Assisted By: Yin Qin, Ding Wu and Long Chen from Shanghai Zhongsen Architecture Design
Interior Design: DSD, China Architecture Design & Research Group, Tsinghua Gongmei
Interior Designer: Jianguo Wang, Ye Zhang
Acoustic Design: China IPPR International Engineering Corporation
Stage Facility: China PLA General Armament Department
Photographs: Courtesy of DSD





From the architect. Bayuquan library is another project designed by DSD in Bayuquan near Bayuquan Theatre. The idea of this design was from two rotated books. And the rotated blocks provide a best view. The library is mainly made up of 3 parts including the basement block containing 2 levels, the cantilever (3rd floor) and the connection.

The roof of the lower block provide exterior space for outdoor activities. In order to have a better view inside, the cantilever employs a full curtain wall. Additionally, the triangular atrium ensures enough daylight of the reading room.
































__________________
我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!


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Old August 11th, 2013, 11:17 AM   #534
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Yingkou Vanke Brand Center
Yingkou City, Liaoning Province, NE China





By Beijing-based Vector Architects / 直向建筑
From Archdaily.com


Quote:

Architects: Vector Architects
Location: Yingkou, China
Design Partner In Charge: Gong Dong
Design Team: Chen Liang, Qifeng Wang, Zhimin Zhou, Jian Wang, Mary Jane Kwan, Pingdong Sun, Feng Xu, Qing Chang
Area: 2,000 sqm
Year: 2013
Photographs: Shu He & Shengliang Su
Structural And Mep Engineer: Dalian Urban Construction Design & Research Institute
Project Advisor: Nan Wang, Yue Han, Xiangdong Kong
Project Architect: Bin He



Between space and scenery

The site is flat and vast, with the endless ocean view at one side. The “height” and “distance”, consequently, becomes the key factors through the concept generating process. We set up an observatory platform on the roof of the building, where people could enjoy the maximum view of the landscape. The climbing progress from the grade level to the top platform is the indivisible prelude of the entire spatial experience. Starting with a gentle ramp, visitors will go through a preserved gingko grove, before walking into the inner space caring out the architectural volume. After going up along a defined stair space, eventually they arrives the top level, turning around, facing the bondless ocean in the distance.

The platform is enclosed at 2 sides and the top, but fully open to the sea. Such a directional gesture assists to relate the limited place to the endless landscape, and mentally diffuse the boundary between the near and far, small and vast. The surface of the space, made of the matt finished aluminium panel, bounces the light and colour from the environment to inside, through different season, climate, and the time of the day, subtly changing the ambience of the space. The perforated wall facing east, acting as a time machine, casting the ever-shifting pattern of light and shadow to the platform, following the course of the sun.

Between public and private

By establishing such a platform, we hope to build up a positive relationship between the public visitors and the program of the client’s brand presence. The platform is completely open to the public, and the climbing ramp and stair system is independent from the interior circulation, which could avoid the interfering by each other. Following their own path, both public and private users have the chance to meet up at the platform. People could relax here, feeling the ocean breeze, taking photos with their friends and family, and being served by the brewery restaurant at the 3 rd floor. Occasionally, concerts and musicals take place at the platform at night time, making such a place as a focal point of the public activities at the seashore park.


















































__________________
我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!


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Last edited by little universe; August 11th, 2013 at 11:24 AM.
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Old August 11th, 2013, 11:37 AM   #535
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Wuhan Zhang ZhiDong & Modern Industrial Museum Updates
Zhang ZhiDong / 张之洞 was one of the most important figures behind China's Early Industrialization in the late Qing Dynasty.

Wuhan City / 武汉市, Capital of Hubei Province, Central China




By Daniel Libeskind (The Architect of the Jewish Museum in Berlin) from archdaily.com


Quote:

Architects: Studio Daniel Libeskind
Location: Wuhan, China
Architect Of Record: Zhong Nan Design Institute
Contractor: G.C Wisco Construction
Area: 7,240 sqm
Photographs: Studio Daniel Libeskind




From the architect. Zhang Zhidong was a 19th century leader in government who inspired the move towards modernization that established the steel industry in Wuhan. He also was responsible for city planning with industrial, cultural and financial districts that compose the contemporary city of Wuhan.

The steel industry in Wuhan was a model for China and the world. At the turn of the 20th century Wuhan was at the center of the nation connected by railroads to all the provinces of China. The story of the city of Wuhan is narrated by its aspirations for the future inspired by the unique history of the past. The Xinhai Revolution, in October, 1911, was a remarkable moment in that crystallized the modernization started by Zhang Zhidong and carried forward by modern industry.

The Zhang Zhidong and Modern Industrial Museum, in Wuhan, was designed to balance three narrative themes within an integrated building and landscape. Each of the three floors of the museum is committed to one theme; Zhang Zhidong, industry, and the city of Wuhan. The highest peak of the museum has a view toward the city. The museum floors look toward the garden which is composed of radiating lines and rings to connect past and future. The museum floors and the garden are united by the spherical geometry of the building form. The project is currently under construction.












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我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!


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Old August 11th, 2013, 11:56 AM   #536
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Mianzhu Museum / 绵竹博物馆
Mianzhu City, Sichuan Province, SW China


By local architect Zhenggong Feng from archdaily.com


Quote:
Architects: Zhenggong Feng
Location: Mianzhu, China
Design: Suzhou Industrial Park Design&Research Institute Co.,Ltd
Area: 3,100 sqm
Photographs: Courtesy of Zhenggong Feng


From the architect. Since the Wenchuan Earthquake in May 12th, 2009, local residents not only need the physical reconstruction, but also need the spiritual revival. As a stage revealing human society development and cultural value, museum architecture has important meaning for cities and people who both have been hurt by natural disasters. Secondary, the architectural trend of designing globally and internationally is becoming more and more serious. In this process, local architectural culture and regional culture are fainting that fewer buildings have regional culture characteristics.

Mianzhu Museum reflects introspection for the phenomenon that globalization and urbanization erode regional architecture features, trying to discuss regional culture’s constructing strategy in the new context based on site spirit, spatial experience and material behave. It firms our future confidence of proposing regional culture.


As an essential place and emerging cultural position for public communication, museum directly states culture and history information of the region. Just because of this, throughout the deigning process of Mianzhu history museum, we focus on the regional perspective. In the designing of Mianzhu history museum, our primary objective is shaping particular site spirit. Museum’s site is selected adjoining to “Zhu GeShuangZhong” Shrine which is used to souvenir Zhu Ge Zhan and Zhu Ge Shang, who are the decedents of Zhu Ge Liang, a famous person in Three Kingdom Period. Mianzhu people established cenotaph for Zhuge family for later viewing. Shuangzhong Shrine was established based on tomb that it started in Qianlong three year in Qing dynasty (1738), including several parts named as Zhongxiaomen, Baidian, Guoting, Zhengdian….

Mianzhu history Museum puts buildings among the specific memorial place, focusing on creating a historical continuity site spirit and realizing echoing between new and old buildings. Shuangzhong Shrine is not only the originality of Mianzhu history museum, but also the biggest precious display in the new museum. In the design, we put Zhu GeShuangZhong Shrine as a part of museum exhibition. Visitors will walk through Shuangzhong Shrine first and then reach the entrance of museum. In the process of walking, dimension of time has been introduced in that intangible communication between new and old building has been shaped. Visiting process will be like a history axis within the contrast of new and old buildings that new museum and Shuangzhong Shrine are meshed into one. Finally, the museum’s exit will face with Shuangzhong Shrine’s entrance. Site spirit reaches its climax.

In the designing process, Mianzhu history Museum tries to blend in West Sichuan building’s characteristics and abandon its traditional closed position so that it could remind vistors’ memories of regional space. West Sichuan residences are the representative of traditional West Sichuan Building that they have open and flexible layout by using courtyard. They present space’s ambiguity and mobility. New and old buildings are planned integrate that the new one uses 4 whole rectangular to correspond to Shuagzhong Shrine. False and true exist between the newly established entity and old buildings. New building’s size is similar to that of Shuangzhong Shrine: latitude is controlled, skylines are mild, and the highest point of the new building is as same height as that of Shuangzhong Shrine; plants and local stones are used between new and old buildings so that visitors could experience true and false.

Space deconstruction and space infiltration are the major design methods for Mianzhu history Museum that deconstructed wall body and functional kernel shape intermittent, continuous, linear or open space. New space focuses more on the infiltration between new and old space. This is also an explanation for the sentence, “Shuangzhong Shrine is the most precious display in the new museum”. In the new museum, “new courtyards” are designed. Common points are the introverted hipped tile roof. It is from West Sichuan’s traditional courtyard but we vertically overlapped original courtyard with modern box body so that three concave type courtyard will combine together and become “品” pattern.

This design will form the “new courtyard” with both meeting display function requirement and shaping regional phenomenon. Water feature will work as the second line of the space which is like Sichuan province’s intention—“never ending”. The surrounding area of the courtyard could display some tall exhibitions combining natural light. Display stages could be put in the lower space. The visiting sequence produces relaxed and pleasant feeling similar to walking in the local buildings by deconstructing and reconstructing West Sichuan residences.


Mianzhu History Museum uses 5 kinds of materials—stone, wood, tile, transparent glass and “U” glass. Except “U” glass, others are from local. The most utilized is stone. At first, local stone provided by contractor couldn’t meet architects’ requirements. However, a piece of simple stone mill in the corner of original museum attracted their attentions. That stone was randomly chiseled that it has concave and convex texture. It reflects local craftsmen superb artistry. Therefore, designers have the idea of applying the millstone’s texture on metope. Architects guided the workers to carve randomly but preliminary test showed that artificial carving traces were too heavy. Thus, they tried to burn the artificial chiseled stones. Those burnt stones have profound historical sense both in the sun and in the rain.

Local Residence attaches importance to the relationship between nature, environment, and human. In order to make the best of the new museum design, architects carefully selected stone, wood, and tile, which are three kinds of commonly used local materials. With citing the “U” glass as the modern material, so that it is not only economical, but also very harmonious with environment. The modern and tridition embraced each other, showing the beautiful of texture and natural. On the Sep, 1951 New Yorker magazine, Mumford criticized the international style. He said, “Regionalism is not relevant to use the most readily available local materials, or copied from our ancestors used by some simple structure form and construction.”

This point means that in the architecture design, we should creatively explore the potential of material and be flexible to history in order to meet the changing local needs. The using of “U” glass strengthens contrast of traditional and new material and reflects the creativity of generations in historical atmosphere. The light transmitting “U” glass is harmonious and quiet. In another way, outdoor nature and historic buildings are solidified in the new building’s space. The mix of “U” glass and transparent glass not only creates diffuse light but also limits the scope of poor light.


Region decides different develop directions of architectural culture. Because of differences of weathers, materials, geography and civilization, the confusion of architectural cultures indicate significant change in the architectural history again and again. The regionalism which we have practiced is not a simple geography climate physical determinism. We always consider that architecture should not only meet process and functional demands, but also create a sense of place. Furthermore, it should be able to explain regional culture inheritance and then, to construct regional culture in the new context. Mianzhu History Museum practices the new regionalism, carries our expectations of reviving local architectural culture and rebuilding home.
















































__________________
我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!


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Last edited by little universe; August 11th, 2013 at 12:05 PM.
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Old August 17th, 2013, 05:13 PM   #537
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Southwest International Ethnic Culture and Art Center (Kunming) / 西南民族文化艺术中心
Winning Proposal

Kunming City, Capital of Yunnan Province, SW China





By Shanghai-based Architects Tongji Architectural Design and Research Institute / 同济建筑设计研究院

from archdaily.com


Quote:

Architects: Tongji Architectural Design and Research Institute
Location: Kunming, China
Design Team: Wang Wensheng, Damian Donze, Sidney Gong
Site Area: 17,540m2
Total Area: 42,005m2
Far: 1.97
Footprint: 38.05%
Size: Green Area 9,214m2; Above Ground 34, 500m2; Underground 7,505m2; 1st Floor 7,200m2; 2nd Floor 5,700m2; 3rd Floor 6,000m2; 4th Floor 6,300m2; 5th Floor 6,500m2; 6th Floor 3,200m2
Total Height: 36m
Floors: 6 + Underground
Car Parking: 169
Year: 2013
Photographs: Courtesy of Tongji Architectural Design and Research Institute


Located in the core area of Kunming Chenggong New C.B.D, the main challenge for the design of the Southwest International Ethnic Culture and Art Center was to integrate the local cultures plus various functional programs into one contemporary yet harmonious form. Designed by team members Wang Wensheng, Damian Donze and Sidney Gong of the Tongji Architectural Design and Research Institute, their winning proposal takes on an abstract path to integrate the local cultures. More images and architects’ description after the break.

The Culture Department of Yunnan Province has conceived the Southwest International Ethnic Culture and Art Center as a multi-functional international cultural exchange place in order to increase the protection of the national cultural heritage, to strengthen the cultural relics, to take full advantage of the rich cultural resources of Yunnan Province, and to deepen cultural exchange and cooperation with Southeast Asia. The project is 6-stories/36m high, and has a floor area of about 35,000 square meters.

In the preliminary analysis, we extracted two main aspects for the building to focus on. First, the different local cultural identities with their traditional dresses, dances and songs. Second, the Hani rice terraces together with the local subtropical plant diversity.

The method for the manifestations of cultural identity was an important issue for us. Many cases show that a growing number of new cultural buildings try to directly imitate traditional buildings or even objects. Generally speaking, these new buildings build with new construction methods and new materials can’t successfully portray the original. Hence, we decided to refrain from that method in order to take on a more abstract path which is more fitting to today’s situation.

The footprint of the building was simply derived from the building site while the interior got divided into four, round parts that were cut by the building outline. This dialog between the outside and the interior creates a rich spatial effect. The contour of each segment enlarges towards the top, in a cone-like manner, to the point where they finally intersects. The resulting public atrium is illuminated by a number of skylights that let the sun shine in. Though the four segments could function individually, they are interconnected with many pedestrian bridges to ensure the possibility of free movement throughout the building.

For the facade, we tried to implement the local cultures in an abstract way. It is made up of alternating perforated and non-perforated metal panels that cover and protect the building, yet let sunlight enter and lets people see outside. At each entrance, however, the facade opens up, much like a theater curtain, and creates the entrance situations. The facade acts like a dress for the building, and in its own way, takes reference from the local minorities. Even more so at night when the LEDs of the facade create a colorful play, almost as if the building was dancing it’s own dance.

Kunming, having a mild climate all year around, is an ideal location to create an extensive landscape design. Our focus didn’t stop at the site itself, though; we gave special attention to the roof. Taking reference from the surrounding subtropical nature and the Hani terraces, we created a green roof garden. Most of the roof is laid out like a small park and is reserved for the offices on the top floors. Right in the middle of the garden, however, there is a great exterior amphitheater with 1000 seats that can host big cultural events.

The underground contains mechanical rooms and an underground parking garage with 169 parking lots. The first floor of the building is mostly open to the public and accommodates national culture and art displays, heritage protection spaces and a cafe. From here the building gets divided up into four parts: the exhibition center in the North, the art academy in the East, the theater in the South and the art studios in the West.

Exhibition Center:

Each floor has different types of exhibition spaces for topics such as heritage, culture, art and photography. The top two floors, however, are occupied by a cinema complex which contains a 100 seat cinema, a 70 seat cinema and four 56 seat cinemas. This segment is accessible through two panorama elevators as well as the central escalators that are located between the exhibition segment and the theater segment.

Art Academy:

The lower floors contain an art school/education center while the top three floors contain volunteer offices and accommodation for the aforementioned school.


Theater:

Located in this segment are: a medium-sized theater with 700 seats, suitable for dramas, dances, symphonies and other multi-functional activities; a small theater with 300 seats, suitable for theatrical performances and film viewings; a convention center and an amphitheater on the roof with 1000 seats. To be able to cope with the large flow of people at the beginning and at the end of a performance, four elevators were strategically located at two main entrances while additional support was created with the escalators in the center. All the backstage functions such as: the backstage, a V.I.P. room, admin offices, production studios and rehearsal studios are located in the back and have their own circulation flow.

Art Studios:

This segment contains A.V. labs as well as art studios. It is accessible through its own elevator.


















__________________
我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!


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Old August 17th, 2013, 05:22 PM   #538
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Hefei 1912 Commercial Street
Hefei, Capital of Anhui Province, Central China

By Lacime Architectural Design



from archdaily.com

Quote:
Architects: Lacime Architectural Design
Location: Hefei, Anhui, China
Design Team: Song Zhaoqing, Wang Ya, Cai Jingkai, Chen Bin, Jin Guangxian, Liu Yang
Client: Golden Land Real Estate
Collaborators: Chen Bing, Jin Guangxian, Liu Yang
Area: 83452.0 sqm
Photographs: Shi Jinzhong


We create a rich and diverse commercial district in this no characteristic plots, which including tourism, catering, display and leisure street. Furthermore, by comparing the relationship between inside and outside, we create a group building volume featuring modern architectural characteristic. In the inside part, we take siheyuan as the prototype and designed neo-Chinese style building. The east- west pedestrian street associate several extensive square blocks, people will experience traditional artistic conception when they pass through the area.

Meanwhile, the main street tightly connected with a plurality of lanes, which form the transition hierarchy and could lead visitors into secluded alley. The design aims to break the conception of big shopping mall and market, it provide new possibilities for visitors and meanwhile emphasis the relationship between streets, square and yard.






























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我爱北京天安门,天安门上太阳升。
我爱北京朝阳门,朝阳门外高楼起!

I love Beijing TiananMen, Rising Sun upon it.
I love Beijing ChaoyangMen, Rising Skyscrapers beyond it!


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Old August 20th, 2013, 01:05 PM   #539
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Anyone ever heard of this project supposed to be in Wuxi? It is not the South Steel City one...







Text from galoumi and Link:


China & Riverfront Park

last June, Southern District with the domestic first-class "industrial town expert" China happy Foundation Limited in hand, the two sides signed a cooperation agreement, the total investment will reach 27 billion yuan, jointly 3.52 km2 Wuxi (Nanchang ) National Information Center for depth sensing the overall development, including land management, infrastructure construction, investment, industry promotion, branding, park operations, integrated services. Happiness Foundation East China regional headquarters located in the Park.

http://www.gaoloumi.com/viewthread.p...extra=page%3D1
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Old August 20th, 2013, 01:06 PM   #540
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Masterplan of the development in Wuxi alongside Yunhe Xi Lu

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