Vanke Jiugong Mixed-Use Development by SPARK Architects

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SPARK Architects have shared with us their award-winning design for a new mixed-use development in Beijing. Designed for Vanke in the city’s growing southern suburbs, the project is a mix of retail, leisure, entertainment and office programs.

Currently under construction, Vanke Jiugong is a continuation of SPARK’s investigations into the breaking up of the architectural mass of the shopping mall, and the forging of connections between ‘interiorized’ space and the city. The 127,000 sqm development will incorporate a mall, a cinema, three live-work towers, and a separate retail pavilion, with a pedestrian bridge connection to an adjacent train station.

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While shopping malls traditionally turn their backs on the city, in the context of China, where there is very little urban public space, SPARK director Jan Felix Clostermann says of their design approach, “we typically try to extend the city into the building.”

The scheme proposes a perforated and penetrable building mass of interlocking components of various scales. A base retail block (with traditional curvilinear ‘race-track’ circulation) is prised open with glazing and voids at its periphery and pierced internally by two large conical voids, which draw daylight downward into the center of the building mass and forge visual connections between levels. A sleek white palette contributes to a seamless and flowing retail environment.

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On levels four and five, these volumes terminate with a second ‘ground plane’ – a village of restaurants in an orthogonally planned zone expressed with an alternate material treatment of timber and traditional terazzo tiles. Above is a third ‘ground plane’ – an environment akin to a miniaturized business park, where small office pavilions and larger live-work towers rise from a roof garden. “Level six will be a bit like a hutong in the sky,” says Clostermann, with the fragmented open areas of the garden taking a character similar to courtyards and available for the enjoyment of office users and the wider public.

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The cinema, positioned at one end of level six, will be connected to an external 24-hour circulation route that traverses the façade to allow direct access to and from the entertainment zone after shopping hours. While preventing the disconcerting experience of circulating through a ‘dead’ mall after hours, the external circulatory route will also enliven the exterior of the building, bringing vitality to its principal street façade.

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Thanks to SPARK Architects for sharing their design for the Vanke Jiugong Mixed-Use development. To learn more about the firm and their other exciting work in China, check out their website: http://www.sparkarchitects.com

China In Africa: An Interview With Go West Project

African Union Building A local looks up at the new African Union Headquarters in Addis Ababa, Ethiopia. The complex was funded entirely by Chinese money. Photo Credit: Go West Proejct

In 2009, China surpassed the U.S. to become Africa’s single largest trading partner. Yet the burgeoning relationship between China and Africa is no ordinary trading arrangement. Rather than colonizing the continent as Western powers did in the past century, China is trading infrastructure development and urbanization expertise for access to Africa’s vast natural resources. This re-balancing of trade has yet to be studied in depth as it is probably too early to tell what the impact of China’s involvement in Africa will have on the broader world’s economy.

What we can observe is the immediate impact China is having on Africa’s urban development. Luckily we have Dutch researchers Michiel Hulshof and Daan Roggeveen of the emerging cities think-tank Go West Project to explain to us what is happening on the ground.

I first met Hulshof (a journalist) and Roggeveen (an architect) at the 2011 Chengdu Biennale where they presented their research on China’s developing western metropolises (hence the name of their think-tank). Their research culminated in the book How the City Moved to Mr. Sun – China’s New Megacities (2011), which looks beyond the so-called 1st Tier cities of Beijing and Shanghai to tell the story of urbanization in the country’s heartland.

Now Hulshof and Roggeveen are looking even further, beyond China’s borders, to study what the Chinese urbanization experiment means for Africa’s cities. They were kind enough to take the time to answer some questions for us about their initial research:

Adam Mayer (AM): Please give us a summary about your research in Africa and what interested you about studying China’s impacts on the continent.

Go West Project (GWP): In our book “How the City Moved to Mr Sun” we described the mechanisms behind the emergence of megacities in Central- and West-China. We are currently working on a new study into China’s involvement in African urbanization. Given the growing impact of China in the world, and the strong ties between China and Africa, one could think of the physical impact that China has in Africa.

It seems the Chinese are already exporting parts of their urban model to Africa: new “Special Economic Zones” in Zambia, Nigeria and Ethiopia, Chinese residential models in Angola or Kenya and Chinese roads, airports and railways all over Africa. There’s also a new approach of “soft power” with Chinese-led African newspapers and television stations, Chinese language schools, university grants for African students and professionals, and Chinese medical aid projects in Africa. We think this phenomenon deserves an unprejudiced look as to what this means for the development and the future of African cities.

AM: What are those impacts that China’s economic development has had on Africa? Are there certain regions or countries in Africa that have benefited more from China’s business interest in the continent?

GWP: These impacts are both tangible and non-tangible. On the tangible side, China constructs roads, railroads, ports, airports, but also telecommunications structures, fiber optic networks, dams and even satellites. It builds schools and offices and has even given the African Union their headquarters as a present. On the non-tangible side, there are grants for students, increased influence of the media – CCTV has already 80 journalists in their Nairobi office! – and Confucius institutes. Of course, the countries with resources are very attractive to go to for the Chinese – but not only them Royal Dutch Shell is already for decades involved in Nigeria.

AM: China is trading its development and urbanization know-how to certain countries in Africa in exchange for resources- What are some prominent examples of infrastructure or building projects built by the Chinese in Africa?

GWP: The most symbolic one is the structure of the African Union building: a 200 million dollar gift from China to Africa. The building was designed in China (by the Tongji Architecture Planning and Design Institute), built with Chinese materials, by a team of half Chinese and half local workers. In Nairobi, we came across the Great Wall apartments on Beijing road, a development by a Chinese real estate developer. The most amazing example is of course the new towns of Kilamba Kiaxi in Angola, where CITIC developed and built 750 highrise apartment blocks.

 Kilamba_KiaxiKilamba Kiaxi in Luanda, Angola

WorkersAfrican & Chinese Construction Workers. Photo Credit: Go West Project

AM: One criticism of China’s venture into Africa is their use of imported Chinese labor to construct new cities rather than using local labor which would help job creation in the region. In your research did you find this to be an issue?

GWP: This is only partly true, and differs strongly from country to country and from project to project. More and more, the Chinese are aware of the fact that hiring locals improves the engagement of a project. What you see very often is a construction site (or a factory for that matter) with Chinese site supervisors, and local laborers.

A way to have local people profit more is not to hire Chines companies, but local companies for construction jobs. However, local companies can often not compete with Chinese ones in speed, price and quality.

AM: Based on studying China’s influence in Africa, do you feel that China is setting a new standard for developing county’s around the world that aspire to urbanize and grow their economies?

GWP: Africa’s urbanization is staggering. Africa’s urban population, which was 395 million in 2010, will be no less than 1.2 billion in 2050. That means Africa’s cities will have to accommodate an extra 40,000 people every day for the coming 15 years. If there’s one country in the world that has experience with such an enormous rural to urban transformation, it is China.

However, implementation of Chinese strategies on African soil seems so far hardly possible due to differences in political and economical structures.

Therefore, we think that the impact of Chinese presence in Africa will depend very much on the local conditions, and will strongly differ from country to country and city to city.

Michiel Hulshof is partner at Tertium, an Amsterdam based office for strategic communication. Daan Roggeveen is the founder of MORE Architecture, Shanghai and Curator at the University of Hong Kong/Shanghai Study Centre.

Be on the lookout for further research on this topic as Go West Project is currently preparing a theme issue of the magazine Urban China, with contributions by Brechtje Spreeuwers (NL), Huang Zhengli (CN), Njeri Cerere (KE) and Paulo Moreira (PT).

Interview With Ole Bouman, Curator of the 2013 Shenzhen Bi-City Biennale of Urbanism/Architecture

Value Factory 161The “Value Factory”: Site of the 2013 Bi-City Biennale of Urbansim/Architecture

The 2013 Bi-City Biennale of Urbanism/Architecture is now underway in Shenzhen and Hong Kong. Open until the end of February 2014, the event is the world’s only biennale exhibition based exclusively on the themes of urbanism and urbanization. Now in it’s 5th edition, the Bi-City Biennale takes place across one of the world’s most dynamic economic regions, exploring not only the dichotomy between Hong Kong and Shenzhen, but the larger issues facing urbanization in China (something this blog is always very excited about discussing).

The Creative Director for this year’s Bi-City Biennale is Dutch Curator Ole Bouman. Mr. Bouman answered a few questions about the Biennale for the CUD Blog discussing some of the relevant issues surrounding this year’s event:

Adam Mayer (AM): Hong Kong, Shenzhen and the greater Pearl River Delta is arguably the world’s most dynamic urban region at the moment. What does it meant to curate a Biennale in a place that is very much “of the now” in terms of economic might versus a city like Venice which, while it lingers in our collective cultural imagination, is long past its primacy as a mercantile power center?

Ole Bouman (OB): To work in Shekou, at the heart of the Pearl River Delta conundrum, gives a chance to position this biennale as a real urban laboratory, with real implications for Shenzhen, but perhaps also with effects on the practice of urbanism in China. We have been given a chance to work on the scale of the city, with real investors, real owners, real users. This is only possible when the city is still a battlefield, not a museum. In Venice, history is the background of an event. In Shenzhen, you can make urban history.

AM: The main site for the Biennale is the “Value Factory” – a repurposed space in what used to be the Guangdong Float Glass Factory in the Shekou area of Shenzhen, which operated from 1987 to 2009. Considering that little more than 30 years ago Shenzhen was nothing more than an ambitious economic experiment on paper, how does the city come to terms with such a rapid progression from industrial development to post-industrial metropolis?

OB: In many different ways, of course. And to some extent it doesn’t come to terms at all, because the terms are changing themselves so rapidly. Under the current dynamic conditions, city development happens by stealth almost by definition. Nevertheless, I have been working with people with a growing awareness of the historical opportunities; they increasingly work with a helicopter view which enables them to set up urban relations that matter. That’s also why I am very happy we could realize a panorama deck on top of the factory which reveals all the frictions and storylines at a glance.

AM: Shenzhen is often derided within China as a cultural desert especially when compared with the more traditional cultural centers of the country such as Beijing, Xi’an and Chengdu. How does Shenzhen combat this reputation?

OB: I know this reputation. It can be related to the first stage of an arrival city. And in that sense, time will tell how it matures. But Shenzhen even now is certainly no cultural desert, unless you think that culture is a matter of consuming cultural products. For me essential to Shenzhen is its pioneering mentality. It is about the culture of creating new things, rather than the celebration of creations of the past. What is the meaning of monuments, when you are actually able to make them? What is the meaning of art, when you are able to create it? What is the meaning of theater, when you actually a protagonist yourself everyday?

Ole Bouman, directeur NAI, Rotterdam, 9.3.2012Ole Bouman, Curator and Creative Director of the Biennale

AM: The Biennale takes place across the Mainland China/Hong Kong border. As a Bi-City event, how does the Biennale reflect the sometimes contentious yet symbiotic relationship between the two very different cities of Hong Kong and Shenzhen?

OB: This year I find this relationship different from previous years. Shenzhen got back to using the Biennale as an urban catalyst. It is enormously ambitious but not as a goal in itself. In Hong Kong the biennale also “performs” in a certain way, but more as filter of urban dynamics than as an agent, as far as I can see. On the other hand, in Hong Kong already this filter is enough for serious protests against it.

AM: In Shenzhen’s aspiration to become a global metropolis, several prominent Western architects such as Steven Holl, Rem Koolhaas and BIG have had an opportunity to leave their mark on the city. Moving into the future, do you see Shenzhen continuing to invite architects from the West to design its marquee buildings or will we see more homegrown, Shenzhen-based architects contributing to the urban fabric of the city?

OB: I don’t believe the architects you refer to “leave their mark on the city”. Maybe they do “on the skyline” of a specific neighborhood. But Shenzhen is already way too developed to be reduced to architecture. The urban dynamics are excruciating. The city is exactly doing what a city should be doing in the first place: to work as an emancipation machine, to help people make a living. I am convinced that architects can play a very important role in facilitating this process and I also think that local architects are very able to do so as well.

Many thanks to Mr. Bouman for taking time out of his busy schedule to answer some questions for us. For more information about the 2013 Bi-City Biennale of Urbansim/Architecture please visit the following link: http://en.szhkbiennale.org/

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The State of Seismic Safety in China

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The 7.0-earthquake in Ya’an, Sichuan Province this past April once again brought up the topic of construction quality in China. Images of crumbled buildings also reminded the world of the devastation that overcame the very same region 5 years ago when more than 70,000 people perished in the 2008 Wenchuan Earthquake.

Amazingly, the loss of life in the Ya’an quake was markedly smaller at only 200 (granted, so was the severity of the quake, but 7.0 is magnitude still a very significant tremor). Ideally, the goal of seismic building safety is to minimize casualties, thus April’s earthquake proved that China is stepping it up in the right direction.

I have a unique perspective on the issue having spent 2 years living and working in Chengdu, the capital of Sichuan. And given my position working on the inside of China’s construction boom, industry colleagues and acquaintances outside China frequently inquired about the country’s building safety standards.

The reality is that the discussion of building safety in China is complex. Back in architecture school, our structural engineering professor liked to remind us that “earthquakes don’t kill people, structurally deficient buildings do”. This tends to true, both in Sichuan and other seismically active regions around the world. And while China is generally known for questionable regulations and safety standards, Chinese building codes definitely do not allow any sort of leeway with structural safety.

That being said, it is important to note that an architect and structural engineer can design a building to be structurally sound but the final product will only be as good as the quality of construction, which is ultimately the responsibility of the general contractor. Provided the contractor follows architectural and structural drawings as designed, there should be no concern over seismic safety. Yet the process is never that simple.

By Western standards, construction administration in China is a rather opaque process for a designer. Final decisions during construction are made by owner and contractor without much input from the architect. This can cause issues with oversight, especially with the more unscrupulous contractors and owners who “skim off the top” by switching out building materials for inferior product at the last moment and pocket the difference in price.

While this is an unfortunate practice, the consequences are much less severe when applied to finish materials versus structural materials. Virtually all of the buildings that collapsed in both Sichuan earthquakes were a result of unreinforced masonry construction, meaning that builders stacked bricks or concrete blocks without using sufficient (or any) steel reinforcing bar (rebar). Furthermore, most of these buildings were located in rural towns where they were probably built by individuals not formally trained in construction techniques. This isn’t an excuse, but rather a reflection of a country that is still developing.

Further highlighting the urban/rural gap in China is the fact that in both Sichuan earthquakes, Chengdu proper suffered minimal damage comparatively to its surrounding countryside. And with the mad frenzy of construction going on in the city, never once did I see a cause for concern with the structural reliability of city’s new buildings. In fact, the new high-rise buildings rising in Chengdu’s core fared well in April’s earthquake.

So while there is still improvement to be made in construction processes and techniques, especially in the more rural areas of China, my feeling is that safety standards are only getting better. The architecture and engineering professions in China, as well as government authorities, take seismic safety very seriously and do not lack the know-how in designing and building safe buildings.

The 2008 Wenchuan Earthquake was a wake up call, but given how far China has come in terms of development, there is a very good chance that this will have been the last catastrophic seismic event in country.

Why is Zaha Hadid Being Copied in China?

Zaha_copied in ChinaZaha Hadid’s Wangjing SOHO design (left). Chongqing Meiquan 22nd Century design (right). Image from AFP.

Earlier this year, the architecture world was in shock after a story made the rounds that a Zaha Hadid designed project in Beijing is being pirated by a developer in Chongqing. What’s surprising about this story is not the actual copying of Hadid’s design but the reaction from the design media, as if this is the first incidence of architectural piracy in China.

Of course this is not the case as building designs are routinely copied in China. However, what makes this instance unique is that while Hadid’s design (Wangjing SOHO) is still under construction, the copied version (Chongqing Meiquan 22nd Century) is set to complete first. Pan Shiyi, Board Chairman of SOHO China, Hadid’s client, has not kept quiet about his disapproval, and is now taking legal action against the developers in Chongqing.

This situation brings up the reoccurring discussion about authenticity (or lack thereof) in China. It is no secret that China ‘learns by imitation’ in everything from product design to software development. In the realm of architecture, it is not uncommon to come across functioning replicas of famous buildings from history (like the Chrysler Building, Sydney Opera House, or the entire Austrian Village of Hallstatt) in China’s cities.

Hadid’s office speculates that perhaps someone got hold of their plans for Wangjing SOHO to produce the copy. Yet having seen Chinese architects in action, it would not be far-fetched to speculate that the designers of Chongqing Meiquan 22nd Century saw nothing more than a computer rendering of Hadid’s project on the internet to generate something of similar likeness.

Architects around the world learn from other architects. Websites like ArchDaily are a great resource for architects to promote their work and for other architects to get inspired. Like professional writers, there is an unspoken ethical code among architects about borrowing from other designers: re-using certain ideas or building elements is ok, even flattering at times, but outright plagiarism is never ok.

This code of design ethics doesn’t exist (yet) in China. As is often the case, copying a famous design from another architect can be a good strategy in getting approval from a Chinese client or local government official. In response to the accusation of copying, developer Chongqing Meiquan even said “never meant to copy, only want to surpass.”

This response is very telling of where the value of architectural design lies today in China. While it could be argued that China is still in its “learning phase” of development, it is starting to become clear that the country’s ambitions lie much further beyond not only being the ‘biggest’ but the ‘best’ – even if that means using dishonorable means to get there.

Interview with Bianca Bosker, Author of New Book “Original Copies: Architectural Mimicry in Contemporary China”

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The widespread pirating of architectural motifs in China’s developing urban landscape is a well-documented phenomenon. From Alpine Villages to starchitect-designed superstructures, Chinese builders often seem to have no shame in copy and pasting designs originating from far away places.

This perplexing and culturally intriguing topic is the subject of a new book by Bianca Bosker, Executive Tech Editor for The Huffington Post. Original Copies: Architectural Mimicry in Contemporary China (University of Hawaii, 2013) examines the trend of “duplitecture” in China – the construction of monumental, themed communities that replicate the cities and towns of the West, frequently drawing on historical European archetypes.

Bianca was nice enough to answer some questions to help give us a better idea of what her book is about:

Adam Mayer (AM): What prompted you to write a book about architectural mimicry in China and how did you become interested in this topic? What message are you trying to convey by writing this book beyond showcasing the fact that China likes to copy buildings?

Bianca Bosker (BB): My interest in this architectural movement started during a research trip to China when I first discovered Shanghai’s “One City, Nine Towns” plan, an urban planning initiative devised by local officials that called for ringing the metropolis with ten satellite communities each built as a full-scale replica of a foreign city and designed to house hundreds of thousands of inhabitants. German architects were commissioned to build the German-themed town; British architects were tapped to design ye olde, English-style “Thames Town,” and so forth for the Italian, Scandinavian, Dutch and other European-style towns. The experience of visiting these communities is, to quote the slogan of one of the residential communities, “Out of expectation with common sense.”

I was intrigued by how at odds these developments were with the futuristic, hyper-modern skyscrapers being built – and touted—in China’s metropolises; how dramatically these communities split with China’s own rich architectural traditions; and the gulf between the excitement among developers, residents and officials for these themescapes on the one hand, and the disdain with which they were regarded by many critics and architects on the other. My quest to understand why these were being built – and what they could tell us about the makeup of the 21st century “Chinese dream” – is what led me to my book.

The goal of Original Copies, which takes readers inside the homes in these communities and into the minds of the officials and architects that built them, is to explain what factors have given rise to China’s en-masse importation of Western landscapes, right down to statues of Winston Churchill and Venice’s Saint Mark’s square, and what it means. The message is also that these buildings speak to an important inflection point in contemporary China from closed-off, top-down society to one where individuals are increasingly able to exercise small levers of power and individual choice. And that this architectural movement, which on the surface appears to many observers a sign of China’s infatuation with the West, are actually are monuments to China’s achievements and progress, not to the West’s.

“The hardware may be all Western,” explained a resident of Shanghai’s Thames Town, “but the software is all Chinese.”

AM: Is it fair to criticize China for being a copycat when the U.S. does the same thing (e.g. Las Vegas) with architectural styles from around the world? Is co-opting European stylistic motifs simply just a universal desire for the aspiring global nouveau riche class?

BB: You’re absolutely right to highlight the U.S.’s own lengthy tradition of copying European architectural prototypes, from Italian palazzos to English Gothic designs. The campuses of Princeton and Yale were knockoffs of Oxford and Cambridge in their own way. And before we try to criticize China for building a “Beverly Hills” development or “Venice Water Town” (in Chongqing and Hangzhou, respectively) we might consider New York state is home to towns like Ithaca, Athens and Troy. (The book, I would also note, isn’t focused on casting a value judgment on China’s copycat architecture, but rather explaining why it exists).

However, there are a few important differences between Las Vegas and the “duplitecture” in China. For one thing, Las Vegas is a tourist destination that offers temporary admission into a fantasy experience, while China’s themed communities are homes. Developments such as Stratford or Rancho Santa Fe are living, breathing neighborhoods where Chinese families raise children and live out their lives. What’s surprising about China’s architectural imitation is also the scrupulousness with which communities have been copied and the foreign origins of the originals, like Versailles and Orange County, that are being imitated. The architectural “copycats” in the United States draw from on the architectural styles of peoples who share the same geocultural genealogy. China is pulling from a geopolitically, temporally, and culturally alien and remote civilization.

Certainly we’ve seen the “aspiring global nouveau riche class” embrace these themed developments in countries from the United Arab Emirates to the United States, and I write in Original Copies that many newly minted middle- and upper-class Chinese have embraced Baroque townhouses or Tudor-style homes as a way of showcasing their success and identify themselves as belonging to a certain class. To many, a French villa is as much a symbol of luxury as the Chanel “C’s” on a designer handbag. But to suggest that these copycat-communities are “just something the nouveau riche does” oversimplifies the situation and misses important nuances that illuminate a uniquely Chinese attitude toward replication and a kind of crisis point in the development of China’s own contemporary architectural styles.

AM: Property developers in China often tell me that traditional Chinese architecture is “too difficult and expensive to build”. In your research did you also find this to be an excuse for not continuing with a Chinese vernacular architectural language? 

BB: Yes, though the excuse I encountered was also that traditional Chinese housing styles didn’t allow for high-density construction. The developers I spoke with argued that the Western townhouses and “villas”, though hardly exemplars of “green” building practices, were more efficient in the sense that they could squeeze more properties on a single lot than if they were building, say, traditional Chinese siheyuan courtyard homes (Anyone who’s visited these developments can tell you that even the ones with enormous McMansions  packed the homes extremely close together).  As I note in my book, according to one Hangzhou architect, the “European style is better equipped to increase land use than traditional Chinese architecture of the past.” However, if there’s demand for that particular style, developers can – and have—found a way to make it work (see below).

AM: What is the future for Chinese architecture? When Chinese middle class reaches a point of stability, having met its most basic needs, will more people desire ‘authenticity’ in their buildings? If so, how do you see this manifesting?

BB: Lots and lots of experimentation, with constant reinvention. As we’ve seen from projects like the “One City, Nine Towns” plan or CCTV Headquarters, China has the luxury of being able to execute bold experiments in architecture and urban planning – sometimes for better, sometimes worse – thanks to the government’s power and pocketbook, as well as the sheer speed of urbanization and construction. And these projects sometimes disappear as quickly as they appeared: Shenyang’s New Amsterdam themescape, an incredible, sprawling landscape with a copy of Amsterdam’s train station and a replica of the Peace Palace in The Hague, was demolished not long after it was built. One Chinese developer’s hypothesis has stuck with me: while the U.S. builds buildings meant to last lifetimes, he argued, China is more likely to see buildings as temporary and disposable, due in part to China’s more conservative land-ownership laws.

I don’t think “authenticity” for Chinese architecture necessarily means building siheyuan courtyard homes or shikumen lanehouses. Still, it’s worth noting that some developers are already building themed communities that embrace traditional Chinese architecture as their template, rather than, say, Palm Beach. Developments like Cathay View in Beijing or Fifth Garden in Hangzhou replicate more indigenous architectural styles – and are just one more way for developers to distinguish their offerings in an increasingly crowded real estate market. These communities aren’t exact replicas of traditional Chinese homes, however, and oftentimes have floor plans very similar to the Western residences, only with more “Chinese” exteriors. I envision China developing its own unique style, though what it will look like exactly remains to be seen. Perhaps in another generation Versailles will seem as much Chinese as French.

Many thanks to Bianca for taking the time to answer our questions. Please check out her new book “Original Copies Architectural Mimicry in Contemporary China“, out now, which can be ordered here at Amazon.com

Illuminating Hong Kong’s Bank of China Tower

BankOfChina_LightingHong Kong’s Bank of China building with its original nighttime lighting scheme (left) compared to its current one (right)

The following post was written by John Yuan, a Chinese-American architect who worked on the design of the Bank of China building in Hong Kong during his tenure as an employee of I.M. Pei’s architectural practice:

Since first returning to visit Hong Kong around the time of the handover to China in 1997, I noticed that Bank of China Tower appeared strikingly different at night during subsequent visits over the next decade. I never imagined that the exterior lighting scheme for the tower would ever be altered from the original design done by Fisher Marantz, the lighting consultant to I.M. Pei’s office on the project.

Even from the beginning of the design process, illuminating the tower at night posed great challenges. The tower stands over 300 meters tall and has an exterior covered mostly in reflective glass- characteristics which both posed difficulties for the nighttime lighting design.

By carefully aiming spotlights from the ground up at the tower, Marantz managed to evenly illuminate the soaring tower from top to bottom. The vast area of the dark window panes, sprinkled with lights from the interior spaces and bounded by the illuminated aluminum panels at the corners, created a compelling image. The tower seemed almost transparent outlined by the illuminated borders– a proud structural skeleton standing in the Hong Kong skyline.

I first grasped the death of the original exterior lighting design during a visit in 2006. Arriving in the evening and riding in a cab on my way to a Mid-Levels hotel, I passed by the tower but I couldn’t see it, except for its pencil-thin but brightly lit outline. Strips of LED had been inserted into the originally unlit feature line dark grey aluminum panels. The LED, set at such high intensity, rendered the interior office lighting feeble by comparison.

In my very last visit, the tower illumination further deteriorated from what Bank of China, a Class A office tower, deserves. The LED remain but are now programmed to light up in sequence as if the building is being sketched out in the night sky. The tower might as well be an animated pillar in an amusement park.

Despite the changing illumination schemes, the nighttime view of Bank of China never conveyed what the tower does during the day. Pei referred to the structural cross bracing as ‘diamonds’ (after the client reacted negatively to the ‘X’ shape of the bracing), but the real diamond quality actually comes from the refraction of natural light on the tower’s geometrically accentuated massing during the day.

Lighting the tower at night, even with the original illumination scheme, did not do justice to the unique form of the building. The outlined LED lighting exacerbated the problem further by making the well proportioned edge panels disappear. Unfortunately, the result is a tower lacking presence with the building volume flattened into the night.

Urban Fantasies in China: Architectural Visualization

The following piece appears in the new issue of the architecture journal CLOG:RENDERING

Urban Fantasies in China: Architectural Visualization

Architectural visualization specialists are the overlooked laborers involved in the vast China urban development program. They differ from architects in that they do not have design training beyond very specific knowledge of software programs such as 3D Studio Max© or the Adobe Creative Suite©. While some Chinese architecture firms employ in-house visualization specialists, most rendering work is outsourced to gigantic three-dimensional modeling studios.

Stepping into one of these studios is much like walking into a factory (one office can employ upwards of one thousand people), but instead of workers assembling widgets along conveyer belts, rows of workers hunch over their desktop computers for hours on end, producing images to be used in presentations to high-level officials or real estate marketing brochures. Just as in a factory, workers are assigned to one specific task: three-dimensional modeling, rendering (material and camera view selection) or post-production work in Adobe© Photoshop© – there is no overlap in roles.

Workers in these ‘image factories’ can barely keep up with the lighting-fast pace at which buildings go up in China and this explains much of why renderings take on a different role in China as compared to in many Western countries . Unlike the built reality of China’s growing cities, renderings serve as fantasies of urbanization rather than true reflections of the urban condition. Whereas in the West architectural renderings for proposed projects are most often shown in the true photorealistic context of their surroundings, Chinese renderings invent their own context.

One example of this is the rending of a skyline. It is not uncommon to see the skyline of an American city like Los Angeles or Houston, collaged into the background of renderings for new projects in far-flung third and fourth tier provincial cities. In essence, true representation of context is not important when it comes to image making for these Chinese renderings. What matters is the appearance of urbanism: a fantasy which means dense clusters of tall buildings, even if those buildings come from somewhere else.

The theatrics do not stop with city skylines. Renderings for new commercial projects in China must give the appearance of affluence, even if the targeted demographic is not. Storefront signage must display luxury brand names like Gucci, even if those spaces will eventually be filled with dumpling restaurants. Photoshopped entourage must be abundant, even if it distracts from the architectural design. Palm trees and other non-native plant species are perfectly okay in renderings for projects in freezing northern Chinese cities and daytime skies are blue even if in reality pollution clouds the sky.

Architectural visualization specialists (and some architects for that matter) in China are not involved in design, but the marketing of urban fantasies to government officials.  Classic architectural principles like proportion, scale and how a building responds to context are forgotten matters in the race to build the future in China. The truth is there is no time to be so thoughtful.

An Experience in Contrasts: Redevelopment in Beijing’s Historic Qianmen Neighborhood

Before and After Photos of ‘Quanjude’, a famous Peking Duck Establishment in Qianmen Since 1864

It is a familiar narrative across China’s cities: historic districts routinely razed to make way for new developments comprised of high-rise residential communities and retail mixed-use complexes designed to reflect China’s 21st Century image.

Yet in some of China’s more high-profile historic neighborhoods, redevelopment is conceived to capture the spirit what was once previously on site by rebuilding in traditional Chinese architectural styles. ‘Tourist Streets’, as these kinds of developments are referred to by developers and government officials, are a hot project type in China- nearly every city wants one. They range from accurate recreations of China’s past to cheap pastiche.

In some exceptional cases, such as Xiantiandi in Shanghai and Kuan Zhai Xiang Zi in Chengdu, serious efforts were made to preserve some of what was already there and reuse materials from demolished buildings. In most instances though, the practice of completely demolishing/rebuilding remains the typical Chinese development modus operandi.

One of the most controversial instances of the demo/rebuild type of historic redevelopment is the Qianmen area of Beijing, a neighborhood directly south of Tiananmen Square. Thanks to its adjacency to the heavily visited city center, Qianmen (which translates to ‘Front Gate’) is a popular tourist area with several shops and restaurants.

Similar to other developments around China, thousands of residents were relocated for redevelopment in Qianmen. Yet given its high-profile location, the project received a lot of heat, not only from preservationists but from local Beijing residents as well, many of who have connections to the tight-knit community.

I first wandered into Qianmen on a visit to Beijing back in 2006. At that time, the neighborhood was in full-scale transition, with demolition of old courtyard siheyuan buildings taking place at an alarming pace. Despite the dust and noise, retail commerce, which consisted of small family-owned shops selling touristy knick-knacks and knock off goods, thrived in the area.

Qianmen in 2006: Still Retaining Some Original Character but Redevelopment Commencing

Qianmen in 2011: Pedestrian Street Directly South of Tiananmen Square Rebuilt Completely in Qing Dynasty-era Architecture

Although Qianmen Street, the main pedestrian thoroughfare bisecting the neighborhood, officially reopened just in time for the Beijing Olympics in 2008, I didn’t make it back to the area until last year. When I finally did make it back, the area was completely unrecognizable from what I saw in 2006.

Ramshackle old buildings and maze-like narrow alleys were replaced by new retail buildings evoking Qing-era architecture lining a wide avenue with a trolley car (which reminded me of another outdoor pedestrian mall across the Pacific: The Grove in Los Angeles). Mom and pop shops selling questionable goods were replaced by international retail chains such as Starbucks, Häagen-Dazs, New Balance and H&M. The only landmark that remained (and which I recognized from its memorable sign) was the famous Quanjude Peking Duck restaurant.

Perhaps most interesting though was not the new tourist street itself, but the current state of the surrounding area. Directly east of Qianmen Street, new construction extended for several blocks, continuing in the same new/old Qing style of the tourist street. Much of the construction was already complete, but the retail spaces remained mostly empty..

The other (west) side of Qianmen Street was an experience in contrasts. The narrow and crowded streets flowing through the old single story siheyuans reminded me of what the area looked like back in 2006. Sure enough, this area had escaped development up to this point but given its inconsistency with plans for the overall neighborhood it is a sure thing this area will eventually be redeveloped as well.

It might be too late for preservation in Qianmen, but the public outcry against the redevelopment there prompted preservationists to put a stop to plans for another large project in a historic district not too far away: The Drum and Bell Tower ‘Gulou’ Area north of the Forbidden City. With advocacy from the Beijing Cultural Heritage Protection Center, preservationists were able to convince the government to greatly scale back plans to redevelop a 12.5 hectare area in the Gulou neighborhood.

Once a very sensitive topic in China, historic preservation is now discussed openly among stakeholders. With much of the country’s architectural history lost in the rush to develop, a new generation is ever more aware of the importance of what is left. Given this shift in dialogue, it will be interesting to see how the new leadership in Beijing approaches the subject when it takes office next year.

Lessard Design Wins Competition For Nanjing Technology Community

Lessard Design, an American architecture firm based out of the Washington D.C. area, recently shared with us some images of their competition winning entry for the Nanjing Technology Community. Designed in conjunction with local design institute Nanjing City-Town Architecture Design & Consultants (CTA Architects), the project is a 4,280,000 square foot office complex geared towards technology entrepreneurs.

The minimal, understated architecture of the office towers is a suitable backdrop to the generous amount of public space incorporated into the design. The complex features an elevated, active green space weaving through the central axis of the site. Other inviting public space includes a row of restaurant and retail spaces along the canal front.

Please see the following YouTube link for a very cool fly through animation of the project: Technology Core Community – Nanjing, China

Shenzhen Surging: Yabao Hi-Tech Park by 10 Design

Shenzhen, China’s experimental Special Economic Zone, is often derided for its lack of history and culture. This is in no small part due to the fact that the city is essentially a boomtown that is more or less just over 30 years old. Yet making up for this drawback is the fact that the city has some of the most interesting and innovative new architecture being built in the country.

I was recently informed of a design for a compelling new project that fits the bill for Shenzhen’s growing stock of interesting buildings. The Yabao Hi-Tech Park is a new development by the Shenzhen-based Galaxy Group and designed by the architecture firm 10 Design.

10 Design is relatively new firm based in Hong Kong, started by former employees of the global corporate giant RMJM. Founded less than 2 years ago, 10 Design is an upstart successfully challenging other multinational firms for commissions in the Mainland China market. With the Yabao Hi-Tech Park, 10 Design looks to establish itself as a serious player in the global architecture sphere.

In the designer’s words, the project “is an examination of the relationship between a pristine rural landscape and the advancing forces of a rapidly growing city.” Just over a million square meters in gross floor area, the park features 18 high-rise towers ranging from 100 – 300 meters tall, a 5-star hotel, and 3 residential towers.

The main building, a 300 meter tower flows out of an adjacent stream, twisting up  towards the sky. The 220 meter tower to the right of the main building melds with the retail podium and pulls itself along the freeway edge, creating a bold and iconic public image for the development.

The towers reflect the forward-looking nature of the developer by utilizing high-tech facade systems, including a series of balconies that pull off from the facades to allow vegetation to grow up the sides of the buildings. Interesting enough, included in the vegetated facades is an algae system that neutralizes air pollution 24 hours a day.

The project will be realized soon, as construction broke ground in October of last year. Upon completion, Yabao Hi-Tech Park will be an interesting new addition to the urban fabric of Shenzhen and will solidify 10 Design as a competitive international architecture firm.

Politicizing the Pritzker

Ningbo History Museum by architect Wang Shu

Last month, this year’s Pritzker Prize (architecture’s highest honor) was awarded to Chinese architect Wang Shu. The announcement was surprising for a few reasons. For one, consensus around the architecture blogosphere was that the award would go to a more high-profile architect such as Toyo Ito or Steven Holl, both looked over in recent years. Secondly, assuming that the Pritzker jury intentionally chose a Chinese architect, there were others who could have been considered such as Zhu Pei, Ma Qingyun, or Ma Yansong (perhaps still a bit too young).

The Chinese architects mentioned above derive inspiration from China’s ascendancy towards the future, pushing the limits of avant-garde building form. Wang Shu’s architecture, on the other hand, is rooted more in the past, exuding firmness and strength. In this regard, Wang’s architecture is more like last year’s Pritzker winner, Portugal’s Eduardo Souto de Moura, than his Chinese counterparts.

Stephen Smith, writing for the International Business Times, posits that the decision by the Pritzker jury was in fact a deliberate political decision. Wang is often critical of China’s breakneck mode of development: razing entire cities to build what Chinese leadership view as a modern expression of urbanity while cities lose their historical character.

Western media has been so focused on China’s lack of sensitivity to historical preservation that the mostly Western-comprised Pritzker jury choosing a Chinese architect who is on their side of the debate comes as no surprise. Though in the bigger scheme of things, this is unlikely to have much effect on influencing China’s current urban development blitzkrieg to change course to a slower, more thoughtful model. Taking this into account, this year’s Pritzker decision is no different (or ineffectual) as Chinese activist Liu Xiaobo being awarded 2010’s Nobel Peace Prize.

An Architect’s Guide to Working in China

A few months ago I read a piece from Bloomberg discussing Frank Gehry’s decision to ‘turn to Asia for architecture projects as U.S. growth slows.’ In terms of big name architects from the U.S. and Europe turning to Asia for work, Gehry is late to the party. Nevertheless, it is a very telling sign that Gehry, someone who in the past could be highly selective of his clients, is looking to Asia to keep his office busy.

In the Bloomberg article, Gehry is candid about his desire to work domestically in the U.S. yet lacking the opportunity due to the depressed economic situation. As if another reminder is needed about the sorry state of the industry, Salon published a piece about the dire outlook for the profession last month titled ‘The Architecture Meltdown‘.

So aside from returning to graduate school, designing furniture or leaving the profession completely, most architects in the U.S. and other Western nations have limited options, therefore turning to emerging markets where there is work happening. China is by far the largest of these emerging markets for new buildings.

As such, over the past year I have received many inquiries asking for advice about doing business in the architecture/construction/real estate industries in China. There is never one ‘magic-bullet’ to successfully pursuing architecture work in China as different types of architects have different specialties and varying range of resources. Most of the very large, international corporate firms already have a foothold into the market, and with their wider resources, many have already established locally staffed offices in Beijing and Shanghai.

One of the greatest misconceptions about doing work in China is that it is one great big tabula rasa for trying out wild new architectural ideas. Surely this is the case for a select few, but if your name is not Zaha Hadid, Steven Holl or Rem Koolhaas, you can forget about China being an ideal playground for realizing this kind of fantasy.

The reality is much more stark and the competition for work increasingly fierce. The competition these days is not only between foreign architects operating in China, but also with domestic Chinese architects who are quickly learning and moving up the value chain in terms of design ability.

With that said, China remains a bright spot in the global economy for urban growth and there is still ample opportunity for the courageous and ambitious. Below is a list of ten recommendations to architects looking to do work in China:

(Special thanks to Matthias Bauer, Studio Leader of Urban Design at Atkins Beijing for his insight and contribution to this list)

1. Make sure that your client is able and willing to pay for your work. Insist on being paid up-front, if possible, and never agree to do any unpaid work.

Too many architects jump into the China market only to quickly find themselves caught up in situations where they are not appropriately compensated for their work. Given the current lack of new work in the developed world, property developers in China know that they have the upper hand when it comes to soliciting services from experienced Western architects and will use this fact to undercut design fees.

 2. Many projects may have, at least initially, more to do with ‘market research’, ‘branding’, ‘image’ or ‘positioning’ and not actual design. Your work, especially at the beginning stages, should reflect this.

In addition, don’t expect your client to explicitly tell you what the design is for. What they might not tell you is that there is already a design from a local ‘design institute’ (LDI) planned for construction, but need you to provide something with more of a ‘wow’ factor to satiate government officials. Another reason might be that a developer is trying to win a land bid and wants to show that they can build something cutting-edge to gain an advantage.

3. The Western idea of progressing projects step-by-step, proceeding from the abstract and general to the detailed solution, is on the whole alien to China. Expect to be asked to do everything at once, right now.

Chinese clients like to feel like they are getting their money’s worth and expect the architect to prove it through volume of work produced. Powerpoint presentations with less than 100 slides are not taken seriously and are merely taken as evidence that you haven’t worked hard enough. Even if your design will never be built, you are nonetheless expected to deliver detailed designs right from the start.

4. Don’t expect the project to proceed at lightning speed. Instead, it will be more of a stop-and-go process, as the client will often need some time for internal discussions or for negotiations with the government, during which the project will grind to a halt, sometimes for months.

Planning bureaucracy exists in China just as it does in the West, just in different form. In the West, the transparent nature of the planning process ensures that stakeholders have a clear idea of the various issues to be worked out. In China, the big decisions happen behind closed doors. So expect to modify, adjust or completely change your design over and over without clear explanations as to the reasons why. Moreover, expect this to happen with very short notice and to short deadlines.

5. Understand that the initial schedule agreed with your client is for guidance only. Any deadlines, meeting times, presentation times, etc. will change often at short notice.

This relates to #3 in that clients expect you to cater to their whims, regardless if you have other things scheduled for your day. There were several instances in one of the firms I worked where clients showed up at the office unannounced expecting to hold impromptu meetings. Be aware that Chinese developers like to keep their architects on their toes.

6. Meetings and presentations to high-level government leaders (such as Mayors or Vice Mayors) or real estate executives never take place at the agreed time.

At the day of the presentation, expect the time to be changed frequently every half an hour or so until the meeting is cancelled altogether and then re-scheduled again for the same day, late at night. Also be prepared to be contacted on Sunday night and asked to give a presentation for a new design option Monday morning.

7. Use flashy 3D renderings and multimedia animations to sell your design. Try to show reasonably detailed master plans, detailed architectural design and detailed landscape design right from the start, as nobody will understand simple massing models or abstract diagrams.

Most of the time, Chinese developers and government officials lack the capacity to understand the artsy and abstract presentation drawings coveted by the architecture community. Rather, drawings should be as easily comprehensible and computer renderings should show substantial Photoshopped entourage complete with crowds of people, detailed landscaping, luxury cars, abundant storefront signage, and even fireworks, hot air balloons and blimps in the sky.

8. Don’t assume that as a Westerner you could somehow override and ignore Chinese planning law, Chinese building regulations or any unwritten Chinese rules and standards, even if they seem entirely unreasonable to you.

Your job as a foreign architect in China is to add prestige to a development and maybe a bit of experienced design insight. Don’t let this give you the impression that you have license to single-handedly change local planning laws.

9. Understand that the Chinese are generally not interested in their own architectural legacy. Trying to preserve existing old buildings will be an arduous and mostly futile undertaking.

Likewise, offering contemporary versions of ancient Chinese courtyard houses and hutongs, as so many newcomers to China attempt to do, will likely not get you anywhere. Western architects are hired to bring their expertise from the West to China, not to reinterpret Chinese history (although I must admit as a designer looking for inspiration, it is always tempting to dig through the treasure trove of Chinese history to arrive at an architectural concept even if there is a high probability that the idea will be rejected).

10. Understand that in China, as presumably in your home country, master planning and architecture serve a professional, hard-nosed and profit-seeking real estate industry. In the end, it always comes down to money.

If you pursue design as a form of self-expression, China is likely to deeply disappoint you. If you look at China as a business opportunity and chance to expand your international design portfolio, venturing into the Middle Kingdom can be an exciting and highly rewarding adventure.

On Poor Quality: Corruption and Construction in China

As someone who works in the building industry in China, I am often asked why the quality of construction of most new buildings is so poor. The people who usually ask are expatriates from places like Europe or America; rarely does someone native to China who hasn’t spent time overseas pose the same question.

This perhaps has to do with the fact that building quality in China is relative. Most Chinese first-time home buyers moving into brand new housing tower blocks do not have the frame of reference to evaluate finish material quality. This is exacerbated by the fact most housing developers sell units as empty concrete shells, leaving it up to the owners to fit them out with finishes and fixtures.

This is not to suggest that the thousands of recently built high-rise towers  across Chinese cities are on the verge of collapse. On the contrary, structural engineers in China tend to err on the side of caution when designing structural systems and from what I’ve seen on construction sites, they do not skimp on steel rebar reinforcing (especially here in Chengdu where the destruction from the 2008 Wenchuan Earthquake is still very fresh in memory).

The quality disconnect comes at the level of finish materials; both on the building’s exterior and interior. Unfortunately, architects and designers have very little say in the final finish materials used in their projects in China. In the U.S., quality control is managed through the process of construction administration, where there is ongoing communication between the owner, general contractor, and architect during the construction process.

Architects practicing in the U.S. typically create what is known as a specifications (‘spec’) book to go along with a working drawing set, together which serve as instructions for the general contractor on how to construct the building. The level of detail in spec books varies, and final material selection is ultimately up to the general contractor and owner through bidding processes with building material suppliers. Yet architects maintain a say throughout the process through submittals (of material samples and shop drawings to the architect) and change orders. This creates a system of checks and balances between the owner, general contractor, and architect throughout the construction process leading to better quality control.

The process described above is virtually nonexistent for most new projects in China. One reason has to do with the fact that architects in China are still seen as ‘big idea’ guys rather than technical experts. During the construction phase, the representatives from architecture firms who go out to construction sites to check up on work are typically trained engineers, checking mostly for structural integrity. Designers looking for finish quality are usually not welcome.

The second, more widespread reason that construction projects do not follow strict communication protocols between interested parties is due to corruption. Construction projects require huge budgets and bank loans- by cutting corners here and there, developers and contractors can pocket large sums of money. This means skimping on things like wall insulation, substituting quality exterior and interior cladding materials for inferior ones, and even using cheaper plumbing and electrical equipment.

So in a sense, the complexity and lack of communication is by design. This observation is confirmed in a World Bank report about the construction industry in China, with one of the key challenges facing the industry being:

The respective roles of the “employer”, the “engineer”, and the “contractor” need to be defined and separated. Current overlapping in the roles of owner, contractor, and engineer in government hampers the development of competitive bidding and effective contract management. The required separation in roles will require extensive training programmes.

Unfortunately it does not appear that this will change anytime soon. The real estate development business in China is still like the wild west, and developers who have long-term vision are not easy to come by. Most are still looking to make a buck as fast as possible before the frenzy slows down.

By the time this happens, this may be be a good thing for building integrity as upwardly-mobile Chinese families start demanding higher quality out of their living and working spaces.

Guangzhou’s New Central Business District: Zhujiang New Town

Guangzhou’s New CBD (highlighted in red) sits north of the Pearl River and east of the Old City in what not long ago was agricultural land

Recently I visited Zhujiang New Town, Guangzhou’s newly built central business district (CBD). While Guangzhou itself is hardly a new city (its status as an international trading port goes back centuries), the CBD is brand new, built on what used to be agricultural land well outside of the historic city core. Though thanks to the city’s expanding underground metro and freeway system, Zhujiang New Town doesn’t seem so far away.

Currently Zhujiang New Town is best known as the site for the Guangzhou Opera House and many of the athletic venues for the 2010 Asian Games. One unique aspect about Guangzhou’s CBD compared with others around China is its marriage of cultural buildings with commercial office towers. In this regard, Zhujiang New Town is not much different from the planned ‘downtowns’ of sprawling 20th Century American cities like Los Angeles, Phoenix and Houston.

The iconic Canton Tower sits across the river, just south of the new CBD

View looking north at towers going up in the CBD

Aerial map of Guangzhou CBD

Adjacent to the Pearl River to the north is the site of Zhujiang New Town’s new cultural venues linked by a paved plaza. Directly north of that begins a park stretching four long blocks lined with brand new office towers. Underneath the park, a metro line runs the length of the CBD. This particular line of the Guangzhou metro system has no driver (so far this is the only instance of this I’ve seen in China!).

While the cultural venues were bustling with life when I was there, many of the completed office buildings were for the most part unoccupied and the park was a no-man’s land. This is not to say that the towers won’t be occupied very soon, as the finishing touches were just being put on. It will be interesting to see how this sparkling new CBD fills itself up in the coming months and years ahead.

1. Guangzhou Opera House

2. Guangdong Museum

3. Guangzhou Library

4. IFC Tower

5. New Commercial Office Buildings

6. Agricultural Bank of China Building

7. The Pearl River Tower

8. More Commercial Office Towers Under Construction