National Kaohsiung Center for the Arts / Mecanoo

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© Iwan Baan © Iwan Baan
  • Architects: Mecanoo
  • Location: Fengshan District, Kaohsiung City, Taiwan
  • Local Architect: Archasia Design Group
  • Client: Preparatory Office of The Wei-Wu-Ying Center for the Arts of the Ministry of Culture, Taiwan
  • Founding Partner & Creative Director : Francine Houben
  • Artistic And Executive Director: Chien Wen-Pin
  • Area: 141000.0 m2
  • Project Year: 2018
  • Photographs: Iwan Baan
  • Structural Engineer: Supertech
  • Mechanical Engineer: Yuan Tai
  • Electrical Engineer: Heng Kai
  • Acoustic Consultant: Xu-Acoustique
  • Theatre System: Waagner-Biro
  • Theatre Consultant: Theateradvies
  • Lighting Consultant: CMA lighting
  • Fire Safety Consultant: Ju Jiang
  • Organ Consultant: Olivier Latry
  • Roof And Facade Consultant: CWI
  • 3 D Consultant: Lead Dao
  • Traffic Consultant: Su International
  • Contractor: Chien Kuo Construction
  • Steel Skin: Centraal Staal
  • Organ Builder: Klais, Bonn
© Iwan Baan © Iwan Baan

Text description provided by the architects. Designed by Dutch architects Mecanoo, the extraordinary architecture of Weiwuying is inspired by the sinuous canopy created by clusters of banyan trees commonly found in the

© Iwan Baan
© Iwan Baan
© Iwan Baan
© Iwan Baan
© Iwan Baan
© Iwan Baan
© Iwan Baan
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Pure Ruben / Ard de Vries Architecten

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© Kim Zwarts © Kim Zwarts
  • Architects: Ard de Vries Architecten
  • Location: Boijmans van Beuningen , Rotterdam, The Netherlands
  • Lead Architects: Ard de Vries
  • Client: Museum Boijmans van Beuningen
  • Area: 1500.0 m2
  • Project Year: 2018
  • Photographs: Kim Zwarts
© Kim Zwarts © Kim Zwarts

Text description provided by the architects. Museum Boijmans Van Beuningen and the Museo Nacional del Prado in Madrid both have unique collections of oil sketches by Peter Paul Rubens (Siegen 1577-Antwerp 1640). For years they have shared a wish to bring together the finest works from their collections and complement them with masterpieces from other museums to create an unprecedented overview. Rubens was the master of the oil sketch. He was the first artist to prepare a great many of his important compositions by painting sketches on panel. Whereas Rubens’s large works are sometimes described as hackwork, in part because of the contributions often made by assistants, the brilliant, virtuoso –

© Kim Zwarts
© Kim Zwarts
© Kim Zwarts
Plan
© Kim Zwarts
© Kim Zwarts
© Kim Zwarts
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AD Classics: Nordic Pavilion in Venice / Sverre Fehn

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The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman This article was originally published on March 30, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

Three were originally invited to draw up plans for a ‘Nordic’ pavilion: the Finnish partnership Reima and Raili Pietilä, Sverre Fehn from Norway, and the Swede, Klas Anshelm. Following the selection of Fehn’s proposal in 1959, Gotthard Johansson wrote in the Svenska Dagbladet of the project’s “stunning simplicity [...], without too many architectural overtones”[1] – a proposal for a space able to unite a triumvirate of nations under one (exceptional) roof.
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

Over five decades later the 'Nordic Pavilion' (as it would only later become known) has come to reflect, consolidate and embody Nordic architectural traditions. Look a little deeper, however, and it becomes clear that

Plan / NMK.2008.0734.016.012 / Fotolisens: Fri ikke-kommersiell bruk
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman
Sketchbook: Morocco /  NMK.2008.0734.124.018. Image Courtesy of Nasjonalmuseet Digital Archive
Sections / NMK.2008.0734.016.014 / Fotolisens: Fri ikke-kommersiell bruk
Elevations / NMK.2008.0734.016.017 / Fotolisens: Fri ikke-kommersiell bruk
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman
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Eperon d’Or, National Museum for Shoes & Brooms / Compagnie O Architects + Sabine Okkerse + Geert Pauwels

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© Tim Van De Velde © Tim Van De Velde
  • Study Stability: Ingenieursbureau Norbert Provoost
  • Study Techniques: HP engineers
  • Contractor: phase 1: Himpe NV, phase 2: Detrac NV
  • Client: City of Izegem
© Tim Van De Velde © Tim Van De Velde

Text description provided by the architects. In the industrialized port area of the small town of Izegem lies a somewhat odd monument with an art-deco front office and adjacent factory buildings. During the interbellum, for over a decade the "Eperon d'Or” factory received international attention for its luxurious shoe design and production.

© Tim Van De Velde © Tim Van De Velde

After years of neglect, local authorities decide to revitalize the complex by refurbishing it to the national shoe and broom museum. This

© Tim Van De Velde
© Tim Van De Velde
© Tim Van De Velde
© Tim Van De Velde
Section
© Tim Van De Velde
© Tim Van De Velde
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AD Classics: New Museum / SANAA

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© Laurian Ghinitoiu © Laurian Ghinitoiu

This article was originally published on July 22, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

The New Museum is the product of a daring vision to establish a radical, politicized center for contemporary art in New York City. With the aim of distinguishing itself from the city’s existing art institutions through a focus on emerging artists, the museum’s name embodies its pioneering spirit. Over the two decades following its foundation in 1977, it gained a strong reputation for its bold artistic program, and eventually outgrew its inconspicuous home in a SoHo loft. Keen to establish a visual presence and to reach a wider audience, in 2003 the Japanese architectural firm SANAA was commissioned to design a dedicated home for the museum. The resulting structure, a stack of rectilinear boxes which tower over the Bowery, would be the first and,

© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
© Laurian Ghinitoiu
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Museum Ritter / Max Dudler

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© Stefan Müller © Stefan Müller
  • Architects: Max Dudler
  • Location: Waldenbuch, Germany
  • Lead Architects: Susanne Raupach
  • Design Team: Nina Barthélémy, Gesine Gummi, Andreas Enge
  • Area: 4450.0 m2
  • Project Year: 2005
  • Photographs: Stefan Müller
  • Construction Supervision: Unit Gesellschaft für Projektentwicklung
  • Landscape: Specht Landschaftsarchitektur
  • Structural Engineers: König, Heunisch und Partner
  • Building Services: Ingenieurpartnerschaft ip5, Karlsruhe + Krebser & Freyler, Freiburg
  • Facade Consultancy: Dr.-Ing. Karl-Heinz Betz, FFB, Steinau an der Straße
  • Facade: HOFMANN NATURSTEIN
© Stefan Müller © Stefan Müller

Text description provided by the architects. The museum housing the Marli Hoppe-Ritter Collection is situated in a green valley, at the edge of a broad pasture and surrounded by richly forested hills, in the small rural town of Waldenbuch, near Stuttgart. The Ritter company has had its headquarters here since their founding.

© Stefan Müller © Stefan Müller

In 1994, Marli Hoppe-Ritter began building an art collection with works featuring the square form as its central theme. The more

Plan
© Stefan Müller
© Stefan Müller
© Stefan Müller
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AD Classics: Angkor Wat

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© flickr user: chrisjunker, licensed under CC BY-NC-ND 2.0 © flickr user: chrisjunker, licensed under CC BY-NC-ND 2.0 This article was originally published on November 9, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

Angkor Wat is just one of dozens of extant Khmer temples in the Angkor area of present-day Cambodia, but it represents the apex of a building tradition that spanned five centuries, and the height of Khmer power and influence in the region. It is the largest temple complex at Angkor, and intricate bas-relief sculptures line the sandstone structures exemplify the apex of Khmer artistry. Although it has been in continuous use since its construction in the twelfth century, aspects of its history remain unknown. As archaeologist and anthropologist Charles Higham explains, “Curiously, there are no direct references to it in the epigraphic record, so we do not know its original name and controversy remains over its function
Aerial view of Angkor Wat. Image © Wikipedia user: Steve Jurvetson, licensed under CC BY 2.0
© Wikipedia user Hzh, licensed under CC BY-SA 3.0
© Wikipedia user: Bjørn Christian Tørrissen, licensed under GFDL
© flickr user: christophrooms, licensed under CC BY 2.0
Bas-relief of Suryavarman II. Image © flickr user: soham_pablo, licensed under CC BY 2.0
Henri Mouhot's drawing of Angkor Wat. Image via Public Domain, Wikimedia Commons
Floor Plan of Temple Precinct. Image © Wikipedia user: Baldiri, licensed under CC BY-SA 3.0
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AD Classics: Vitra Fire Station / Zaha Hadid

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© Christian Richters © Christian Richters This article was originally published on April 21, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

Although Zaha Hadid began her remarkable architectural career in the late 1970s, it would not be until the 1990s that her work would lift out her drawings and paintings to be realized in physical form. The Vitra Fire Station, designed for the factory complex of the same name in Weil-am-Rhein, Germany, was the among the first of Hadid’s design projects to be built. The building’s obliquely intersecting concrete planes, which serve to shape and define the street running through the complex, represent the earliest attempt to translate Hadid’s fantastical, powerful conceptual drawings into a functional architectural space.
Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects
Model. Image Courtesy of Zaha Hadid Architects Model. Image Courtesy of Zaha Hadid Architects

The Vitra Campus is a vast complex comprising factories,

Model. Image Courtesy of Zaha Hadid Architects
© Christian Richters
© Christian Richters
©  Helene Binet
Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects
Model. Image Courtesy of Zaha Hadid Architects
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AD Classics: Vitra Fire Station / Zaha Hadid

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© Christian Richters © Christian Richters This article was originally published on April 21, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

Although Zaha Hadid began her remarkable architectural career in the late 1970s, it would not be until the 1990s that her work would lift out her drawings and paintings to be realized in physical form. The Vitra Fire Station, designed for the factory complex of the same name in Weil-am-Rhein, Germany, was the among the first of Hadid’s design projects to be built. The building’s obliquely intersecting concrete planes, which serve to shape and define the street running through the complex, represent the earliest attempt to translate Hadid’s fantastical, powerful conceptual drawings into a functional architectural space.
Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects
Model. Image Courtesy of Zaha Hadid Architects Model. Image Courtesy of Zaha Hadid Architects

The Vitra Campus is a vast complex comprising factories,

Model. Image Courtesy of Zaha Hadid Architects
© Christian Richters
© Christian Richters
©  Helene Binet
Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects
Model. Image Courtesy of Zaha Hadid Architects
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Arts Center / taller de arquitectura de bogotá

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© Rodrigo Dávila © Rodrigo Dávila
  • Architects: taller de arquitectura de bogotá
  • Location: Cl. 202 #56-50, Bogotá, Colombia
  • Author Architects: Daniel Bonilla y Marcela Albornoz
  • Design Team: Andrés Gutierrez, Adriana Hernández, David Kita, Rodrigo Montoya, Juliana Lozano, Mauricio Patiño, Cristian Echeverría
  • Area: 2816.0 m2
  • Project Year: 2009
  • Photographs: Rodrigo Dávila, Sergio Gómez
  • Intervention And General Direction: EXACTA Proyecto Total
  • Structure: IPI
© Sergio Gómez © Sergio Gómez

Text description provided by the architects. The building has an interesting dual relationship, the first floor is used for music and dance, while the second floor accommodates plastic arts. The two levels (and therefore the programmatic areas) are linked by a generous open-air (covered) grand staircase-hall-gallery which articulates and simultaneously acts as a meeting, performance and exhibition space.

Floor Plan 1 Floor Plan 1

Brick was chosen as the predominant material for the building, as the Arts Center sought to be integrated with the existing classroom buildings.

© Rodrigo Dávila © Rodrigo Dávila
© Sergio Gómez
Floor Plan 2
© Rodrigo Dávila
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Reading Room – Atlibrary / Sher Maker

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© Chaiyaporn Sodabunlu © Chaiyaporn Sodabunlu
  • Architects: Sher Maker
  • Location: Chiang Mai, Mueang Chiang Mai District, Provincia de Chiang Mai, Thailand
  • Lead Architects: Patcharada Inplang
  • Area: 75.0 m2
  • Project Year: 2018
  • Photographs: Chaiyaporn Sodabunlu
© Chaiyaporn Sodabunlu © Chaiyaporn Sodabunlu

Text description provided by the architects. The project start with try to put the reading program in local community area between group of commercial building for business and investment purposes.   With the simply idea to built a building under budget constrains.

© Chaiyaporn Sodabunlu © Chaiyaporn Sodabunlu

With that condition we use local builder team to make a simple steel structure cladding with translucent wall and roof mix with wooden swing window to give a mix atmosphere of natural material and industrial material together.

Plan / Reading room Plan / Reading room

The interior is designed as a compact.  The mezzanine designed for more useful space and build a small partition for private group meeting room ,   we make public library that

© Chaiyaporn Sodabunlu
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Maya Somaiya Library, Sharda School / Sameep Padora & Associates

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© Edmund Sumner © Edmund Sumner
  • Architects: Sameep Padora & Associates
  • Location: Kopargaon, Maharashtra, India
  • Design Team: Vami Seth Koticha, Archita Banerjee, Manasi Punde, Aparna Dhareshwar
  • Area: 575.0 ft2
  • Project Year: 2018
  • Photographs: Edmund Sumner
  • Structural Engineering: Foundation Design: Sameer Sawant
  • Superstructure: Rhino Vault, Vivek Garg
  • Contractor: Unique Concrete / Rajesh Murkar, Milind Naik
  • Site Supervision: Zubair Kachawa
  • Client: Somaiya Vidyavihar
  • Site Area: 3 acres
© Edmund Sumner © Edmund Sumner

Text description provided by the architects. The site chosen for this small addition of a children’s library within a school in rural Maharashtra, was a sliver between existing buildings and the school boundary, a site that almost implied a linear building footprint to adjust the program for the chosen site.
Alluding to the impetus that children have towards landscape over a building we imagined the library building to be a formal extension of the ground plane. A place inside for study and a place

© Edmund Sumner
Concept Diagram -Load Transfers
© Edmund Sumner
Construction Details
© Edmund Sumner
Section
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Infinite Living / Crossboundaries

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© Mini Liu © Mini Liu
  • Architects: Crossboundaries
  • Location: Beijing, China
  • Lead Archtects: Binke Lenhardt, Hao Dong
  • Design Team: Sidonie Kade, David Eng, Li Gan, Hongyi Hao
  • Area: 100.0 m2
  • Project Year: 2018
  • Photographs: Mini Liu, Hao Dong
  • Curator & Sponsor: Kenya Hara / HOUSE VISION
  • Organizer & Sponsor: GWC China
  • Sponsor & Brand Partner: TCL China
  • Contractor: Beijing Yi Hao Design & Engineering Co., Ltd.
© Mini Liu © Mini Liu

Text description provided by the architects. Modern China is a place of continuously shifting socioeconomics. By 2020, more than 60% of the population will reside in urban areas – a dramatic increase from the 26% of 1990. This massive urbanization and densification puts tremendous pressure on both cities and citizens to adapt quickly. Soon the majority of people in China will live in mid- or high-rise residential towers, whose standardized layouts will become increasingly unaccommodating for the new nuclear family unit,

Solving the urban high-density population living needs with personalized modules
© Mini Liu
© Hao Dong
© Mini Liu
Axon
© Mini Liu
© Mini Liu
Courtesy of CROSSBOUNDARIES
© Mini Liu
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Folk Culture Center / Lacime Architects

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© Qianxi Zhang © Qianxi Zhang
  • Architects: Lacime Architects
  • Location: Jiashan high-speed railway new city, Jiaxing city, Zhejiang, China
  • Lead Architect: Zhiguo Ren
  • Design Team: Yong Yang, Guozhen Lin, Na Li
  • Area: 2200.0 m2
  • Project Year: 2015
  • Photographs: Qianxi Zhang
  • Landscape Design: HWA co.ltd
  • Interior Design: Interscape co.ltd
  • Curtain Wall Design: Shanghai Action Facade System Consulting Co., Ltd.
  • Construction Drawing Design: Zhejiang Hongzheng Architectural Design CO.,LTD.
  • Client: CFLD.co.ltd
© Qianxi Zhang © Qianxi Zhang

Text description provided by the architects. The project is located in the planned 12 sq. Km——Jiashan High Speed Rail New Town. As the origin location of water street core, the importance is self-evident.

© Qianxi Zhang © Qianxi Zhang

The new Water Street rivals the old streets of Xitang. The images of the entire new area are the traditional Chinese-style, Jiangnan ancient architecture. A folk culture center,as iconic architecture, was built using modern construction methods and structural nodes

Analysis
© Qianxi Zhang
Ground Floor
© Qianxi Zhang
© Qianxi Zhang
© Qianxi Zhang
© Qianxi Zhang
© Qianxi Zhang
© Qianxi Zhang
© Qianxi Zhang
© Qianxi Zhang
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CABB Auditorium / GRHOUND OFFICE

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© Ramiro Sosa © Ramiro Sosa
  • Architects: GRHOUND OFFICE
  • Location: Sarmiento 54, B8000 Bahía Blanca, Pcia de Buenos Aires, Argentina
  • Author Architects: María del Pilar Boland, Graciana De Bernardi, Abel Korsmit
  • Area: 245.0 m2
  • Project Year: 2018
  • Photographs: Ramiro Sosa
  • Acoustic Adviser: Antonio Luaces de TL Acoustic
  • Text: Mariana Piqué
© Ramiro Sosa © Ramiro Sosa

Text description provided by the architects. The project of the Auditorium of the CABB resulted from a request to renovate a large disused space on the first floor of a neo-academic heritage building in the city of Bahia Blanca. It had been recently acquired by the College and had functioned as the headquarters of the newspaper ‘The New Province’ since the beginning of the twentieth century. A new wooden-paneled frame was introduced inside the masonry frame, twice the pre-existing height, to form a double cavity. The new prism created was adjusted in proportion to the overall structure, thereby managing

© Ramiro Sosa
© Ramiro Sosa
Floor Plan
© Ramiro Sosa
© Ramiro Sosa
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Flo & Jet / SHoP Architects

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© Robin Hill © Robin Hill
© Robin Hill © Robin Hill

Text description provided by the architects. The environment that SHoP Architects has conceived at the gateway to this year’s Design Miami exhibition seeks to make visible two qualities—one evident, one latent—in the understanding of the city today. It exists at the intersection of Miami’s celebrated spirit of play, represented by a relocated landscape that mimics the beach, but also the city’s emergent function —demonstrated by the art and design fairs themselves— as a center for creative visioning and technological discovery. Symbols commonly associated with the beach—sand, parasols, float toys, and even a hint of nighttime phosphorescence—create a ludic foreground for two printed structures that serve as a locus for social and educational encounter. In its explorations of contour, action, process, and materiality, “Flotsam & Jetsam” also

© SHoP Architects
Diagram
© SHoP Architects
© Robin Hill
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Event Hall / SPACES Architecture

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© Guillaume Girod © Guillaume Girod
  • Architects: SPACES Architecture
  • Location: 278 Route de la Vanne, 38360 Noyarey, France
  • Lead Architect: Guillaume Girod
  • Team: Sarah Gouveia - Clement Daneau
  • Area: 850.0 m2
  • Project Year: 2017
  • Photographs: Guillaume Girod
  • Structural Engineering: CEBEA
  • Environmental Engineering: 1 Pacte Durable
  • Client: City of Noyarey
  • Construction Cost: 1 950 000 €
© Guillaume Girod © Guillaume Girod

Text description provided by the architects. Event Hall is located on the border of the town in a confusing environment made of architectural wanderings constituting a dissonant heteroclite system. The project doesn’t take elements of this existing situation but assumes its ability to drive a new ambition in this district. It dissolves the massive volumetry within a system where the scale is decomposed, and the relation to the building is changing. The ground treatment participates in this device by avoiding large asphalt surfaces in favor of several mineral and vegetable materials.

General Diagram General Diagram
© Guillaume Girod © Guillaume
© Guillaume Girod
Sections
© Guillaume Girod
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Enoura Observatory / Hiroshi Sugimoto | New Material Research Laboratory

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© Marco Zanta © Marco Zanta
© Marco Zanta © Marco Zanta
© Marco Zanta © Marco Zanta

Text description provided by the architects. The Enoura site, situated on a hilly citrus grove in the Kataura district of Odawara, offers breathtaking panoramic views of the Bay of Sagami. The facility was envisioned by contemporary artist Hiroshi Sugimoto as a forum for disseminating art and culture both within Japan and to the world and comprises a gallery space, two stages, a tea house, and other features that make the entire premise into a truly magnificent landscape.

© Marco Zanta © Marco Zanta
Plan Plan
© Marco Zanta © Marco Zanta

The foundation will exhibit a selection of Sugimoto’s artworks in the 100-meter gallery and present events and programs on the outside Stone Stage and Optical Glass Stage. Backing onto the Hakone Mountains and overlooking

© Marco Zanta
© Marco Zanta
© Marco Zanta
© Marco Zanta
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Wuzhou Urban Multi-fiction Center / XAA

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Entrance Perspective View. Image © Changheng Zhan Entrance Perspective View. Image © Changheng Zhan
  • Architects: XAA
  • Location: Wanxiu District,Nanning City, Guangxi Zhuang Autonomous Region, China
  • Lead Architects: Tao Zhan
  • Design Team: Wang Tian, Mengyu Wang, Chao Wu, Shuo Lin, Wei Feng
  • Area: 1736.77 m2
  • Project Year: 2018
  • Photographs: Changheng Zhan, Jian Peng, Chao Wu
  • Structure: Guangzhou Hanhua Architects+Engineers Co.,Ltd.
  • Landscape: Guangzhou Wedo Landscape Design Co Ltd
  • Interior: C&C Design
  • Client: Midea Real Estate
  • Product Manager Team Of Client: Zuoyun She, Shun Fang, Haihua Xu, Wenqinang Hu
Perspective of the day view of the eastern slope. Image © Changheng Zhan Perspective of the day view of the eastern slope. Image © Changheng Zhan

Text description provided by the architects. The Wuzhou Urban Multi-fiction Center (refers as WUMC) locates in the old downtown of Wuzhou city, Guangxi Zhuang Autonomous Region; it is backing the Baiyun mountain and facing the Xijiang river. Some historical architectures could be found around its neighborhood, like the sien temple, arcade corridor mega blocks,

East Side Bird View. Image © Changheng Zhan
West Side Perspective View. Image © Changheng Zhan
South Elevation. Image © Changheng Zhan
South Side Perspective View. Image © Changheng Zhan
Sketch. Image Courtesy of XAA
South Entrance Perspective View. Image © Changheng Zhan
The relationship between the mirror on the south side and the background Baiyun Mountain. Image © Chao Wu
Second Floor Rest Area. Image © Jian Peng
Atrium Second Floor Corridor. Image © Jian Peng
Perspective of the night view of the eastern slope. Image © Changheng Zhan
Continue reading "Wuzhou Urban Multi-fiction Center / XAA"

AD Classics: World’s Columbian Exposition / Daniel Burnham and Frederick Law Olmsted

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Viewed from the far end of the Great Basin, the Administration Building looms over the court of honor and the surrounding great buildings of the fair. ImageCourtesy of Wikimedia user RillkeBot (Public Domain) Viewed from the far end of the Great Basin, the Administration Building looms over the court of honor and the surrounding great buildings of the fair. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)

The United States had made an admirable showing for itself at the very first World’s Fair, the Crystal Palace Exhibition, held in the United Kingdom in 1851. British newspapers were unreserved in their praise, declaring America’s displayed inventions to be more ingenious and useful than any others at the Fair; the Liverpool Times asserted “no longer to be ridiculed, much less despised.” Unlike various European governments, which spent lavishly on their national displays in the exhibitions that followed, the US Congress was hesitant to contribute funds, forcing exhibitors to rely on individuals for support. Interest in international exhibitions fell during the nation’s bloody Civil War; things recovered quickly enough in the wake of the conflict, however,

A map of the 1893 Exposition shows how much of the fair’s buildings were laid out on axis with the court of honor. ImageCourtesy of Wikimedia user scewing (Public Domain)
Courtesy of Wikimedia user scewing (Public Domain
Courtesy of Wikimedia user Tuvalkin (Public Domain)
The magnificent Administration Building set the standard for all the main buildings at the Exposition. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)
The Machinery Hall, or “Palace of Mechanic Arts,” displayed American industrial products and served as the White City’s power plant. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)
The Agricultural Building housed some of the more bizarre displays at the Exposition, many of which were images or objects made of food by participating nations. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)
The vast Manufactures and Liberal Arts Building easily dwarfed any other structure in the White City. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)
Although the building itself was handsome, the exhibits of the United States Government Building failed to entice many of the fair’s visitors. In the foreground stands the Ho-O-Den, a replica medieval Japanese palace. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)
With its colorful glazing and flags, the Fisheries Building stood apart from its Beaux-Arts neighbors and earned the admiration of many visitors. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)
The Midway was a collection of various themed environments and funhouses which entertained visitors while simultaneously persuading them to spend more money on the fair. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)
Towering over a fake Viennese street is the world’s first Ferris Wheel, one of the Exposition’s most popular attractions. ImageCourtesy of Wikimedia user RillkeBot (Public Domain)
Courtesy of Wikimedia user RillkeBot (Public Domain)
Continue reading "AD Classics: World’s Columbian Exposition / Daniel Burnham and Frederick Law Olmsted"