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Design Awakening in Chongqing (EN+ZH)

I was drawn to China for its powerful sense of future, for its boundless confidence that change is for the better, and first came to Chongqing in 2009. The vivid topography of forested hills and carving rivers, deep history and feisty ‘hot city’ culture were powerful attractions for me. On winning an architectural competition, set up our architecture and urbanism studio here. Chongqing is constantly changing: new bridges, tunnels, MTR system, roads, high speed railway lines, increasingly dramatic skylines, key-note buildings and thousands of residential towers.

Construction responds to topography and the extreme vertical emphasis of the city to create hybrids that are unique to Chongqing: For instance, like an urban iceberg, GuoTai Plaza combines deep level connection to the MTR system, vast car park, underground shopping, and a fine public square and iconic Art Museum on top.

Road grids and real estate roll-out has consumed vast areas of greenfield land, but that formula is on pause. So now we talk about uncovering narratives, patterns and histories, about optimisation and urban enrichment. Now we think of repairing the city, traffic issues, new functions for new industries, open space and street improvements and re-purposing buildings. Meanwhile, the memory or rural life endures - people still farm inner urban land, perhaps as their antidote of permanence to constant change.

Chongqingers travel more - into the countryside, around china and abroad, and more are educated abroad too. Outsiders - including foreigners - settle here more, so that the city is becoming more outward looking and cosmopolitan. Taste is changing as new ideas and flavours arrive. In this context we enjoy working with the new aspirations of the day, with many scales and typologies.

Nanshan, Chongqing

我被吸引到中国,因为其强大的未来感,其无限的信心, 相信改变是为了更好,并于2009年第一次来到重庆。森林覆盖的丘陵和冲刷蚀刻的河流构成栩栩如生的地势,深厚的历史底蕴和活跃的“火热城市”文化,对于我来说是强烈的吸引。赢得了一个建筑竞赛之后,在这里建立了我们的建筑和城市设计工作室。

重庆在不断的变化:新的桥梁、隧道、地铁系统、道路、高铁线路、越来越引人注目的天际线、特殊的 建筑和无数的住宅塔楼。






from WATCH magazine

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