conferencia zhao pei -faud- mar del plata

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

11The brief intro of

modern Chinese

architecture

1. Something related 1. Something related With Current China

5 basic numbers on China:

1.People2.Nature3.Culture4.Economy4.Economy5.Urbanization

1. People: Population Density Map of China, 2009

2. Nature: Natural resources

3. Culture: Main Han Culture and Minority Nations’ Culture

4. Economy: Chinese GDP of Province, 2010

5. Urbanization: Urbanization Rate of China, 2012

2. History on modern Chinese modern Chinese

Architecture

a) Traditional a) Traditional Chinese Architecture

b) Passive Modernization Modernization

(1840-1949)

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

Architectural form

After Opium War Before Opium War

Urban-scape

Settlement street Traditional street

Heinrich Becker, Shanghai 1901-1905

Shanghai YongNian Life Insurance Companies,

1910

Harbin Railway Station 1898

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

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

1. Importing - Eclecticism

Sincere Company Limited, Shanghai,

Lester，Johnson＆Morriss, 1917

Tianjin Bazaar, Tianjin

Yonghe engineering department, 1928

1. Importing -Art Deco

Park Hotel Shanghai, Shanghai

L.E.Hudec,1934

Lever House, Tianjin

Yonghe engineering department , 1936-1938

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

2. Localization

Concord Hospital 1917

2. Localization

West China University, 1917

2. Localization

Yanjing University, Beijing

1914-1917

2. Localization

Memorial Hall for Revolutionary Martyrs

1931-1935

2. Localization

Sun Yat-sen Mausoleum, Lv Yanzhi

1926-1931

Liang Tsicheng ，，，，1901-1972Recognized 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.

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

c) Architecture Nationalism Nationalism (1949-1978)

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

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.

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 1950s

Great Hall of the People


National History Museum


National Military Museum


National Agriculture Exhibition Hall


Railway Station, Beijing


Beijing Workers Stadium


Beijing Cultural Palace of Nationalities


Minzu Hotel Beijing


Prime Hotel Beijing


Diaoyutai State Guesthouse

d) Architecture Reforming & Openning Reforming & Openning

(1978-2003)


New Beijing Library


Chromatic Television Center, CCTV, Beijing


Beijing Capital International Airport Terminal 1


International Hotel, Beijing


Anti-Japanese War Memorial Museum


Daguan Park


National Exhibition Centre


Beijing Great Wall Sheraton Hotel


Beijing TV Tower


Olympic Sports Center


Chong-Guang Supermarket


Beijing Botanical Garden


The New Library of Tsinghua Univ


Hengji Centre


New Dong’an Market


Beijing CBD Business Centre


new Capital library, Beijing


Office building for Foreign Language Teaching and Research Press


Beijing South Railway Station


Terminal Station 3


Beijing National Stadium


National Grand Theatre


Second Phase – National library


National Swimming Centre


Capital Museum in Beijing


National Indoor Stadium


Baoli Centre, SOM


CCTV, OMA

Main Stream Design Projects

Vanguard Design Projects

From the late 1990’s, many architects who studies abroad came back to

practice in China. Different with local architects, they have received

professional training of modernism architecture, not just copying the form of

modern building.

Zhang Yongho, Ma Qingyun, Urbanus

In the meanwhile, some local architects began to rethink Chinese

architectural way even they don't have any abroad experience.

Wang Shu, Liu Jiakun

In a very short time, their works attracted international attention. From 2002

to 2005, there are several very important international exhibitions for them.

Passive Modernization (1840-1949)

Communism & Nationalism (1949-1978)

Architecture & Big Development

Reforming & Openness(1978-1993)

Vanguard1993-2005

Mass Bone2005-2012

Emergency2012-pre

& Big Development(1978-pre)

?

Zhang YonghoAtelier Feichang Jianzhu

Ma QingyunMada Spam

Liu Jiakun

Wang ShuAmateur Architecture Studio

Urbanus Architecture & Design Inc.

22Architecture

& Big Development - Mass Bone(2005-2012)

Four groups:

It is always difficult to review those projects in very recent years, specially on

identifying their relation in historical context. However, for researching, we

have to take this risk to find a framework as some interpretative tool to help

people to understand.

1.Regionalism & modern vernacular

2.Urbanization & social

3.Architectural autonomy

4.New Technology

1 Group1Regionalism &

modern vernacular

Hua Li received his B. Arch. and M. Arch.

Degree from Tsinghua University in Beijing in

1994 and 1997. He then studied at Yale

University and received M. Arch. Degree in

1999. He has worked for Herbert Beckhard

Frank Richlan & Associate in New York. In 2003

he moved to China and started his own

practice in Beijing. In 2009, he established TAO

(Trace Architecture Office). Hua Li has lead TAO

to complete several award-winning projects in

China. His works are well recognized in 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.

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.

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

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.

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

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.

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.

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.

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

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.

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

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.

2 Group2Urbanization

& social

Urbanus Architecture & Design Inc.

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

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.

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

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.

Original Design StudioZhang Ming & Zhang Zi

Power station of art

Client : Shanghai ExpoLand, Co., Ltd

Location: 200 Huayuangang Road, Huangpu District, Shanghai

Architects: Zhangming & Zhangzi (Original Design Studio)

Team: Zhangming、Zhangzi、Dingkuo、Dingchun、Sunjialong、

Wangzhigang、ZhanghaoWangzhigang、Zhanghao

Construction: Shanghai 2nd Construction Co., Ltd

Site area：19103m2

Building areas：41000m2

Construction Period: 2011.12-2012.9

Following-up the 2010 Shanghai Expo, the Power Station of Art is a renovation and expansion project based on the Pavilion of Future which previously was the Nanshi power station built in 1985. The design process lasting for six years has witnessed the building’s transformation from a giant electric machine to a powerful engine promoting culture and art. The accomplishment of this project would greatly change the inherent structure of Shanghai’s art field and even China’s. The Power station of Art (for contemporary art), China Art Palace (for modern traditional art), and Shanghai Museum (for ancient art) will complement each other and create a more integral structure in (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.

3 Group3Architectural

autonomy

Atelier Deshaus was founded in Shanghai in 2001.The

principal, Liu Yichun was born in 1969, obtained

Master Degree from Tongji University, Department of

Architecture in 1997. The principal, Chen Yifeng was

born in 1972, obtained Master Degree from Tongji

University, Department of Architecture in 1998.

While winning the architecture awards such as

Business Weeks/Architectural Record China Awards

(2006&2009), WA Chinese Architecture Awards

(2006&2010), FAR EAST Architecture Awards (2010),

Atelier Deshaus has been involved recently in major Atelier Deshaus has been involved recently in major

international exhibitions on contemporary Chinese

Architecture in Shanghai, Beijing, Hong Kong,

London, Paris, Tokyo，Vienna，Barcelona, Brussels,

Prague， Venice, Milan，Rotterdam, Bordeaux,

Cincinnati and Dusseldorf etc.

In 2011, Atelier Deshaus was selected by the

international Journal Architectural Record to be one

of the 10 firms in year’s Design Vanguard.

Kindergarten In Jiading New Town，，，，

Shanghai

Architect: Atelier Deshaus (Liu Yichun / Chen Yifeng)Design Team: Chen Yifeng, Liu Yichun, Wang Shuyi, Liu Qian, Gao LinLiu Qian, Gao LinLocation: Hongde Rd, Jiading, Shanghai, ChinaDesign: 2008/4-2008/12Completion:2010/1Building Area: 6600㎡Site Area: 12100㎡

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.

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㎡

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.

4 Group4New Technology

Zhenfei Wang, graduated with an advanced master of architecture from Berlage Institute in 2007. In 2001, he gained his Bachelor of Architecture in Tianjin University, China.His working experience includes UNstudio in Amsterdam (2007-2008) and HHDesign (2001-2005). In 2008, he founded up HHDFUN with Luming Wang in Beijing and acted as Principal.

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

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.

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

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.

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