The fifth edition of the show takes on urban questions against the backdrop of China’s rapidly changing cities. At the entrance to the Value Factory site in Shenzhen, Noreen Heng Liu of Node Architecture designed a restaurant standing on columns above an existing concrete structure.
Inserting a precisely detailed retreat for art into a high-rise building in the middle of bustling Hong Kong required some extraordinary measures. In a city like Hong Kong that's largely shaped by its density—where space is tight and often has to be improvised—you can wind up with surreal results.
Image via fosterandpartners.com A rendering of Foster + Partners' scrapped plan for the park that was part of its greater master plan for the West Kowloon Cultural District. It’s back to the drawing board for a major park design in Hong Kong’s nascent West Kowloon Cultural District, and for Foster + Partners, maybe third time’s the charm. The District’s authority announced plans to scrap a Foster + Partners-designed park at the western edge of the development. It’s a familiar story: this is the second time in 14 years that plans for the cultural district have been dropped.“The park competition has
One of the world’s most ambitious civic projects, the West Kowloon Cultural District in Hong Kong gained momentum today. The District announced that Herzog & de Meuron, in partnership with TFP Farrells, won the job to design Hong Kong’s largest contemporary art museum called M+. Herzog & de Meuron and TFP Farrells beat out five other teams: Renzo Piano Building Workshop; Kazuyo Sejima and Ryue Nishizwas/SANAA; Toyo Ito & Associates and Benoy; Shigeru Ban Architects and Thomas Chow Architects; and Snøhetta. The M+ project, slated for completion in 2017, will join several other proposed cultural venues, including the Xiqu Centre designed
Over several decades of designing together, Tod Williams and Billie Tsien have steadfastly emphasized the serene and assured manipulation of spaces, planes, and materials, and exhibited an impeccable sense of craft.
Located inside the 1920s neoclassical Pedder Building, the renovation stripped the interior back to its structure but left some layers of construction from previous renovations visible on a central column and ceiling beam. The spare design by partner David Gianotten and project architect Miranda Lee relies on simple but tough materials, including wood panels for the reception area, bookshelves, and a sliding partition that separates the gallery's two exhibition areas.