The Maison de la littérature (House of Literature) is located in the historic neighbourhood of Old Québec, a site part of UNESCO’s World Heritage List. In this particularly dense urban setting, Chevalier Morales designed a contemporary annex, a simple and refined volume, to the Wesley Temple, a neo-Gothic heritage church. Since its opening, the Maison de la littérature has rapidly become a vibrant home to Québec literature and a popular touristic destination in Old Québec.
Stemming from an architecture competition, the winning project by Chevalier Morales proposed an unforeseen solution, a response exceeding the initial commission’s expectations. The architects chose to move part of the program into a new annex outside the church space to provide a more transparent and universal entrance.
This base is a high-end commercial complex with 6 high-rise towers containing offices, hotels and business apartments. Adjacent to the CBD district, it is also located between two central parks in Shenzhen. URBANUS’ design task was to construct a 100,000 m2 loft of apartments and offices on top of a shopping center larger than 60,000 m2.
To release the enormous pressure from the vertical dimension of the high-rise tower, we take advantage of the large area of the LOFTs, creating two artificial mountain volumes, in response to the huge scale of the towers. At the same time, the design connects the project to the natural form of the surrounding Lianhua and Bijia Mountains. This design also encloses a quiet space, by connecting the 3-4 level high-density office LOFT through exquisite sidewalks, creating a small town with rich spatial variation. There are also some public spaces, such as the LOFT Theater and the Trading & Exhibition Center that gradually transform the “big” and “solid” periphery space to the “small” and “dynamic” inner region. The Loft Town has accommodated a shopping mall, business offices and apartments, creating a new model of settlement which integrates residents, offices, shopping malls and cultural spaces.
Team: Su Yan, Zhang Haijun, Lin Junyi, Wang Yanping, Sun Yanhua, Zang Min, Cao Jian, Han Xiao, Zhang Ying, Wang Ping, Li Nian, Chen Guanhong, Yu Xinting, Xie Shengfen, Liu Kan, Silan Yip, Darren Kei, Sam Chan, Neo Wu, Danil Nagy, Daniel Fetcho, Yuan Nengchao, Lian Lili, Wang Lianpeng, Chen Hui, Zheng Zhi, Li Weibin, Milutin Cerovic (Architecture) | Fang Xue, Liu Nini, Chen Biao, Li Xintong, Li Yongcai, Zhu Yuhao, Gao Jieyi, Chen Zhenzhen (Interior) | Lin Ting, Zhang Yingyuan (Landscape) | Xu Luoyi (Technical Director) | Wang Fang, Wang Yingzi, Wen Qianyue, Tang Disha, Guo Xusheng, Su Wushun, Tian Ye, Wang Jiahui, Tian Tao, Li Jiapei, Yu Kai, Shi Xianlin, Zhang Zhimin, Lin Xiaoyan (Internship)
Shangrao is a developing inland city. Like most other inland cities, Shangrao is undergoing a period of urban construction and rapid upgrading and expanding. A large comprehensive building group, consisting of a number of smaller city cultural buildings, is typical in similar cities, which is often discussed by architects in urbanization process.
The museum is located on the east side of the central axis of Shangrao city center, covering an area of about 40,000 square meters and a total construction area of 42,000 square meters, including museums, urban planning exhibition halls and urban construction archives. From the north to the south, the central axis of the city connects the administrative center, the Citizen Park, the Entrepreneurial Park and the landscape mountains, and extends to Xin River in the south end. Around the grand City Square, there are high-density urban building groups, forming a sharp contrast between high density outside and zero density in the square. The museum base is 360 meters in length, traversing spaces with totally different densities. The biggest problem designers face is how to conciliate the two parts with proper construction features. The overall layout to purse huge building group is avoided. From the south to the north, the urban construction archives, the urban planning exhibition hall and the museum are laid out according to users, area and mode. The three buildings of different sizes are well-proportioned. Outdoor spaces of different sizes are formed in the City Square and the road around the base, and these spaces are equipped with different contents and landscape elements according to functions of the buildings. Thus, the entrance and the route of visitors are clear. In addition, these outdoor spaces play the role of transition between the roads and the Square, creating the impression of space, enriching the functionality of the City Square, and endowing the Square with a lively atmosphere.
The Linda Pace Foundation announced today the new naming of its contemporary art center, Ruby City, as well as the rollout of a new graphic identity and website. The new identity, keyed to Linda Pace’s vision and Sir David Adjaye’s design, emphasizes the San Antonio experience, while the website will function as a resource for Ruby City’s development and programming as well as Linda Pace Foundation’s collection. Previously associated solely with the Sir David Adjaye-designed building, Ruby City will now denote the overall institution, comprising of Chris Park and the auxiliary exhibition space, Studio, formerly known as CHRISpark and SPACE. The Linda Pace Foundation will continue to operate as the owner and steward of Pace’s collection.
M50 Art Hotel Project is located in Pingle, Sichuan. Pingle Ancient Town is planned to be a music theme town. Therefore, the starting point of this project is around “Music”. In this project, MUDA- Architects strives to explore and activate local culture genes, and to create a landmark building that can inherit the historical context and also is forward-looking. It is an architecture which is able to talk to the future.
MUDA-Architects hopes to further explore the relationship between architecture and music in the design: tapping into the local history and culture, we learnt that the love story between Zhuo Wenjun and Sima Xiangru happened in Qionglai. Taking the song “Feng Qiu Huang” as the starting point, guqin was found, and the strings was extracted. The project abstracts the action of “touching the strings” into architectural form. When the strings solidify at the climax, the final form of the building is obtained, which also responds to the theme “Architecture is frozen music”.
The Moscow based architecture bureau Nowadays designed an exhibition space to display the winner work of the ‘Best of Russia’ photography competition. The exhibition took place in two shop floors of a former factory that had been transformed into an influential Moscow center for arts and culture. The top floor — a former white wine shop — is a square and neutral exhibition space with a high ceiling where the Nowadays office placed several cruciform exhibition stands to make the space more complex and multifaceted whereby perspective — a central concept in photography — is reflected within the very exhibition space.
The Vasco da Gama Aquarium is an old navy facility that opened to the public in 1898 for scientific investigation and educational purposes. It continues to have an important role in the knowledge of the sea and the sea-species. To celebrate the importance that the Portuguese King Carlos had on the origins of the aquarium and in the investigation of the ocean, the entrance hall was restored to receive this exhibition.
Atlas, the renovated main building of Eindhoven University of Technology (TU/e), is an award winning, smart and sustainable university building, which has officially been opened on the 21st of March 2019. By combining state-of-the-art materials with optimal reuse, the robust Atlas building dating from the sixties is transformed into a light and energy efficient university building by Team V Architecture, Van Rossum, Valstar Simonis and Peutz. It is now one of the most sustainable education buildings in the world.
The project is located in Changzhou which has been one of the major towns in Jiangnan (the south of the Yangtze River) since ancient times. It maintains people’s hope for life and spiritual relations to Jiangnan-style architecture. Two major limitations can be found in this design. First, since it is located among high buildings, usable land is limited. Second, the functions of a sales center should be fulfilled and then it will be transformed into a community center. With these two limitations, the designer reconsidered the relationship between building and the land and then decided to design a demonstration area by starting from “Jiangnan-style habitats”. Jiangnan-style habitats have two aspects. First, it creates residential buildings. Jiangnan-style habitats consist of the roof, well and wall. Second, it also refers to Jiangnan gardens that are both house and garden.
The new Opera House is an important part of a new urban c for Shanghai that aims to place the city at the forefront of the globe, economically, scientifically, and culturally. The Opera House is expected to become one of the major cultural landmarks of Shanghai – the country’s 13th Five-Year Plan names it as the most important initiative to strengthen Shanghai’s cultural and global influence.
“The Shanghai Grand Opera House is a natural progression of our previous work with designing performing arts centers,” says Snøhetta Founder Kjetil Trædal Thorsen. “It is a culmination of the competence and insight gained through projects such as the Norwegian National Opera and Ballet, the Busan Opera House in South Korea, the Isabel Bader Centre for the Performing Arts in Canada, and the Théâtre Nanterre-Amandiers renovation in Paris. The Shanghai Grand Opera House is a product of our contextual understanding and values, designed to promote public ownership of the building for the people of Shanghai and beyond”.
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