Chao Hotel Beijing / gmp Architects

© Christian Gahl

( c) Christian Gahl

Architects: gmp Inventor

Location: Workers’ Stadium E Rd, Chaoyang, Beijing, China

Architect In Commission: Meinhard von Gerkan, Stephan Schutz, Stephan Rewolle

Design Crew: Liu Xiao, Xiao Wenda, Yang Ying, Lin Da, Ding Qiao, Zhou Yihan

Project Management: Su Jun

Area: 31372.0 m2

Project Year: 2018

Photographs: Christian Gahl

Facade Consultant: SuP Ingenieure GmbH, Beijing

Interior Design: CITI( Beijing) Construction Co ., Ltd; gmp

Structural Design& Hvac: Beijing Institute of Architectural Design( Group) Co ., Ltd( BIAD)

Patient: Chao Hotel

© Christian Gahl

( c) Christian Gahl

Text description provided by the designers. The brand-new facade by von Gerkan, Marg and Spouse Architects( gmp) channels a lightness and a sculptural consequence to the renewed inn pillar, which can be seen from afar. Its angled vertical points and the rotate shut and glazed committees create a play of light and shadow. Horizontal ledges are put every 2 stories, thus creating a allay facade geometry with balanced proportions. In addition to the external envelope, gmp designed the multifunctional “Glasshouse” to compute a venue with a special atmosphere to the inn complex.

© Christian Gahl

( c) Christian Gahl

Masterplan

Masterplan

Courtesy of gmp

Courtesy of gmp

Since its modernization and reopening in 2016, the 80 -meter-high hotel tower is one of the popular destinations in the Sanlitun business quarter of Beijing. The former “Beijing City Hotel” was established in 1990 as China began to open up. The onetime look of the building and its scant relationship with the urban issues context were an expression of the results of Beijing’s fast urbanization process. The motif by gmp poses a peer and hitherto long-term functional hotel architecture that reestablishes the position of the tower in the urban context.

© Christian Gahl

( c) Christian Gahl

The three-dimensional zig-zag-like building envelope shows the triangular footprint of the 26 -story tower and reinforces the recognizability of the building. Curtain-wall elements in light-footed gray-headed glass-fiber concrete change with gray-tinted glass bodies and the angled grouping of these panels and aspects means that, depending on the considering inclination, the sides of the building appear to change between open and closed.

© Christian Gahl

( c) Christian Gahl

Slender horizontal steps made of glass-fiber concrete have been inserted every other story, thus creating a amicable rhythmic disagreement of the facade. The geometric organisation and the story-high glazing opens the formerly introverted building to the circumventing urban cavity and appoints a brand-new spatial aspect in the hotel rooms.

Standard Floorplan

Standard Floorplan

The materials and structure of the high-rise facade continue in the new lengthened admission expanse of the hotel. A colonnade on the west and south line-ups of the building consisting of ten-meter-high glass-fiber concrete ingredients visually defines the entering and screens the semi-public forecourt to the south of the hotel.

© Christian Gahl

( c) Christian Gahl

The vertical panels with triangular cross-sections are stood at different directions, which has the effect of navigating inn patrons intuitively from the noisy Workers’ Stadium North Road to the adjourned, formerly terribly concealed, hotel entry. Likewise, the venue modernise by gmp and be called “Glasshouse” shows the clear geometry of the facade designing. Subscribed by an arched organization, a double-skin ceiling with an external mantle of glazing and internal louvers admits daylight into the opening below, which has aptly been reputation “Glasshouse”.

© Christian Gahl

( c) Christian Gahl

The louvers run as solar screening inventions, lightening the natural flare, and as a means of attenuating music. The interplay of emblazons of the concrete archways and wooden louvers in combination with the play of light and shadow create a practically spiritual atmosphere in the seat below.

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Cloud Tower / tnE Architects

© Lukas Schaller

( c) Lukas Schaller

Inventors: tnE Inventor

Location: Grafenegg 10, 3485 Grafenegg, Austria

Lead Designer: tnE Inventors ZT GmbH- harnoncourt | fuchs& partner

Area: 651.0 m2

Project Year: 2007

Photographs: Lukas Schaller, Alexander Haiden

Overall Planning: ARGE tnE Architects | Land in Sicht

Landscape Planning: Tract in Sicht, Vienna, A; Thomas Proksch

Structural Engineering: Ingenieurteam GmbH Bergmeister, Varna-Vahrn, I; Josef Taferner, Jochen Ehmann

Acoustics: Muller-BBM GmbH, Munich, D; Prof. Karlheinz Muller

Light Design: Christian Ploderer, Vienna, A

Light Planning: Wiltschko Lichtplanung, Berndorf, A

Calculation: sglw architekten, Wien; Werner Silbermayr

Reinforced Concrete Materials Consulting: Ingenieurburo Prof. Schiessl, Munich, D; Christian Sodeikat

Project Management: NO Hypo Bauplanungs- und Bautragergesellschaft m.b.H ., St. Polten, A; Johannes Reiterlehner

Controlling: Azberger-Hoss ZT GmbH, St. Polten, A

Construction Supervision: BM Horst Pratter, Judendorf-Strassengel, A

Supervision Landscaping: Acre in Sicht, Vienna, A; Andreas Benes

Building Related Physic: Wolfgang Hebenstreit, Vienna, A

Geological Survey: Mario J. Potoschnik, Vienna

Site Survey: Gerhard Senftner, St. Polten, A

Hvac Planning: Christian Koppensteiner, Vienna, A

General Contractor: Alpine Mayreder Bau GmbH, Horn, A

Structural Steel: Pagitz Metalltechnik GmbH, Vienna, A

Prefabricated Concrete: Alfred Trepka GmbH, Ober-Grafendorf, A

Drywall: Perchtold Trockenbau GesmbH, Wiener Neudorf, A

Metal Works: Heinrich Renner Ges.m.b.H ., Langenlois, A

Carpenter: Pochlhacker Holzbau GmbH, Ybbs, A

Glazing: Rigo-Glas GmbH, Wien

Painter: Farben Traht, Etsdorf am Kamp, A

Electrical Installation& Equipment: Eichinger& Stuber, Langenlois, A

Plumbing Equipment& Installation: Caliqua Gebaudetechnik GmbH, Wiener Neudorf, A

Landscape Gardening: Kanovsky Gmbh, Klagenfurt, A

© Lukas Schaller

( c) Lukas Schaller

Text description provided by the designers. In May 2005 the next Firm and the landscape architects Land in Sicht won the rivalry for a contemporary restructuring of the historic park and for the purposes of an open-air pavilion. The pavilion was designed as a landmark, as an attractor to the park but too as an outstanding execution space for classical music during festival season in summer.

© Lukas Schaller

( c) Lukas Schaller

Conceptually the pavilion is based on the idea of a anatomy “thats really not” bound by any particular purpose and is perceived as a theatre only during performances. How can such a free design serve as an acoustical instrument, able to focus phone vigor and aim it to 1700 posteriors for an ideal music event?

© Lukas Schaller

( c) Lukas Schaller

As a spatial flesh the pavilion is generated from elements of the landscape- the depression, the ascent, the incision, the hillock- and the architectural folding of the roof.

Situation plan

Situation program

The ‘Schneise'( loosely restated: an opening in the landscape) starts a vista joining the going institution to the ‘Black Gate’ and dishes as an entering to and a excerpt through the auditorium orbit. The placing of perspectives and spatial strings, the framing and concealing of targets of attraction, often achieved by the wandering layout of courses in the traditional scenery garden, is a theme taken up by varying the elevation of the incision to achieve these effects.

© Alexander Haiden

( c) Alexander Haiden

Coming from the central enter, the visitor is pulled to proceed by the silhouette of the stage ceiling, discernible behind an artificial embankment. Immersing himself into the opening, he tunnels through the hill and- after progressing this penetrating and narrow-minded seat- opens the broad arena of the auditorium and the stage, the stage ceiling suspended above it.

Plan

Plan

The pavilion is inserted into the existing relational field of acces door, going academy, palace, ‘Black Gate’ and the ‘Grosse Senke'( well-lighted. transl .: sizable dip) and in the process re-contextualizes the network of views in the landscape. Through its topographical configuration it reinterprets formal elements of the landscape garden- the play with attitude and visual relations, with reduction and swelling, with paddock and opening.

Section AA / Section CC

Section AA/ Section CC

The basic rule of acoustics for open-air stages, ‘what you see is what you hear’ helps as a cue to explore affinities between position and acoustic opening. The terrain of the existing dip- the ‘Grosse Senke’- was pointed out by modeling the terrain. Artificial hillocks are created by further trenching the depression and subsequently redistributing the grunge at its boundary, thus creating the auditorium ranks. Clearly distinguished from the natural terrain by their geometry, stage and auditorium nonetheless merge fluidly with the topography of the site.

© Lukas Schaller

( c) Lukas Schaller

Conceptually, cloths were chosen to underscore the open-air reference of the place and to strengthen the bond between built arrangement and scenery. The place is a monolithic organize of fair-faced material, steel and glass embedded into an cover hillock. The public ranks were designed exerting prefabricated concrete factors, compacted gravel surfaces and lawn-covered, geometrically accurate hillocks.

Section BB

Section BB

The stage roof is designed as an autonomous, sculptured objective. Suspended above the landscape on a level with the tree canopies it is arranged among the groups of trees as if it were one more of them. The burnished metal face on the outside manifests the sky and the trees, turning the ceiling into a cloud-tower.

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