Contrasting Dualities in the Architecture of Ping Jiang by Vladimir Belogolovsky
Atelier Ping Jiang | EID Arch
Awards & Recognitions
Exhibition & Lectures
Project Credits
Ping Jiang Biography
Picture Credits
river delta. While that reconciles the narrower floors of the upper-level hotel with the wider floors of the offices below, it also recalls the curving form of the flanking river and the unfolding of the plant life along it.
“Manifest plainness, embrace simplicity.” 4
Atelier Ping Jiang’s projects in older, urban areas have the self-effacing character central to East Asian culture. The Minsheng Wharf development, for example, stands next to existing, concrete grain silos. So as not to upstage them, the architects have broken down the bulk of the new buildings into smaller units to help them visually dissolve into the surrounding city, and clad the structures in glass so that they do not compete with the mass of the silos. Ping Jiang has used a related strategy in the Times Guangzhou E-PARK Phase II project. The architects have reduced the bulk of the buildings’ base with smaller blocks that make the streetscape more pedestrian friendly, and they have changed the fenestration patterns and inserted breaks in the towers’ mass to make the architecture appear less overbearing. Their simplicity and plainness has the paradoxical effect of helping these towers stand out from the busy complexities of the buildings around them.
“Non-being is the greatest joy.” 5
Chengdu National Giant Panda Research and Breeding Center offers perhaps the most complete evocation of Chinese philosophical ideas. Consisting of four circular structures that have outdoor and indoor activity and living areas for the pandas, as well as staff spaces and open and covered viewing areas for researchers and visitors, the center seems one with nature. Walkways undulate through the grounds and encircle the panda areas to bring the public as close as possible to nature, while the pavilions themselves rise out of the ground like geological formations, with vertical wood-colored fins that recall the bamboo around them. The architects also locally sourced many of the materials to minimize their impact on the environment. As a result, the architecture dissolves into nature, while nature infuses the spirit of the architecture, as people and pandas become one harmonious whole.
1–5 Lao Tzu, Tao Te Ching
Thomas Fisher, the former Editorial Director of Progressive Architecture magazine and the former Dean of the College of Design at the University of Minnesota, he currently directs the Minnesota Design Center and continues to write and publish widely about architecture and urban design.
Introduction
Reimagining Environmental Identity
By Ping Jiang
Back in late 2015, shortly after my tenure with MAD and several other international architectural firms, a couple of my colleagues and future stakeholders convened to discuss the possibility of creating a new entity as a design-driven practice based in both Hong Kong and Shanghai. The idea of establishing a design platform for architecture and urbanism came to my mind immediately. Rather than forming a conventional architectural practice, I was extremely interested in building a new type of practice that addresses the ever-evolving urban realities in China and beyond, whilst engaging with social, cultural, technological, and environmental issues. We envisioned a design practice across scales and typologies, ranging from small-scale product design to architecture to largescale urban design.
During a brainstorming session with some colleagues, EID was proposed as a polysemous connotation for the studio concept, as it could be interpreted in several ways: evolution in design, exchange | dialogue, emergence of innovative design, etc. In particular, the idea of environmental identity and referencing the philosophical state of coexisting with nature which is so significant in Asian culture, struck a chord with us. Norwegian architect Christian Norberg-Schulz wrote that architecture has an identifiable essence, the understanding of which is essential both to the discourse and practice of architecture. Perhaps, in search of its identity in the built environment, architecture can be conceived as an ongoing negotiation with the surrounding environment, a mediator between the environment and humanity.
Reimagining Environmental Identity is a collection of 19 design and research projects selected from our studio’s work completed in the last eight years since its inception. It documents and illustrates the exploration of our practice and research in architecture, urban design, and artwork. Ranging from highly identifiable tall buildings to large-scale urban mixed-use complexes to micro-scale civic buildings to macroscopic urban design, our studio aims to actively intervene in a multi-dimensional urban environment and respond to the context, culture, climate, and geographical characteristics of the site.
This book is also a reflection of our practice, influenced by the unprecedented urban growth in China that continues to shape and define our understanding of meaningful architecture in urban environments. In an environment where the scale and speed of development have been hyper-valued for decades, we are rooted in creating unique and culturally relevant projects that connect people meaningfully to time and place.
Our design approach is a non-linear process; it involves interwoven threads of various elements of designdriven by spatial experience, cultural relevance, and specificity of the place. It is not formalistic, but rather in a methodical and philosophical sense. The interplay of natural and artificial elements, and the juxtaposition of rationality and sensibility have always been evident in our work, reflecting the complexity and dynamism of evolving urban conditions in which we live today.
Nicholas of Cusa described God as the coincidence of all opposites (Coincidentia Oppositorum). Traditional Chinese architecture has always worked according to this principle by connecting geometric linearity with elements of nature. Organic objects and linear geometry coexist in a calculated relationship of tension: something new arises from the duality of nature and human activity.1
Among the selected projects, MicroNature Pavilion demonstrates a modern form of urban furniture as a playful intervention. This installation hybridizes rational geometries and organic form, and it promotes humanurban interaction whilst creating a sensory experience of wonder and mystery. Parametrically designed and fabricated digitally, MicroNature serves as a prelude for this monograph.
Minsheng Wharf E15-3 Block is conceived as an urban infill to revitalize an industrial heritage waterfront site with historical significance. The new office building of the E153 block creates an architecture of the city by responding to its multilayered neighborhood with an urban gesture. In turn, this understated, formless building is energized and synergized by the adjacent grain silos and restored colonial houses.
LAND Community Center reimagines how architecture engages with its community, and it is an exploration of blurring the boundary between building and its landscape by integrating digital fabrication with local craft.
The Panda Pavilions are conceived as the convergence of architecture, landscape, and land art. By offering a sanctuary for extinguished rare animals, it adopted an environmentally sensitive approach to minimize its impact on local ecology while promoting biodiversity conservation. Local sourcing, climate-responsive approaches, and sustainable material and craft are deliberately considered in the entire life circle of the expansion project. It heightens the importance of coexisting with nature.
Shanghai Qingpu Metro Station investigates the role of architecture in relation to agriculture, landscape, and infrastructure. New Yangsi Urban Design extends this concept to the urban scale to promote infrastructure urbanism. Medog Meteorological Center reinterprets the vernacular syntax of Tibet architecture into contemporary building. It prioritizes an economic construction and geologically responsive approach to ensure the authenticity and civic identity of the south Tibet highland.
In the past few years, a number of large-scale urban mixed-use projects have been completed by our studio with an emphasis on quality open space of the public realm, humanistic scale, permeability of urban interface, accessibility, and connectivity to public transportation. A series of experimentations has been conducted on flexible framework for densification, hybridization, and integration with landscape to promote multi-dimensional vertical urbanism within high-density Asian cities. As a result, our buildings have a restrained, minimal approach with quiet urbanity. And yet they are juxtaposed with dynamism and exuberance to energize the daily life of its community and urban environment, contributing to creation of unique urban experiences and sceneries. These attributes are consistent threads in both Shimao Riverfront Wisdom Towers and Times E-Park Phase II projects, shaping their identities and experiences through relevant place making.
It is our belief that architecture is a profound form of communication, one capable of giving form to a new generation of culturally relevant and environmentally responsive design solutions. Forging a sense of place and identity in the built physical environment encompasses the memories of place, spatial experiences, relationships with surroundings, and socio-cultural relevance. Architecture can convey human emotions, heighten sensory perceptions, and foster social interactions. This abovementioned work may serve as a blueprint for our future endeavors, while marking a trajectory of continuing quest for place identity and collective memory in our dynamically evolving environment.
—March 22, 2024
1 Oliver Herwig, (2023) ‘MicroNature Pavilion by Atelier Ping Jiang in Shanghai’, DETAIL
Conversation
with Vladimir Belogolovsky
In less than a decade, architect Ping Jiang, the founder and design principal of Atelier Ping Jiang | EID Arch, a dynamic collective of 40 professionals based in Shanghai and Hong Kong, has amassed an impressive portfolio of remarkable projects; 19 are presented in this book: from MicroNature Pavilion — a tiny object to be explored by one person at a time — to community, culture, art, and research centers, to residential, office, commercial, and educational complexes, as well as innovation and transportation hubs built or under construction across China.
Like many leading independent Chinese architects, Jiang was educated in China and the West — first at Tsinghua University in Beijing and then earning his Master of Architecture from Dalhousie University in Halifax, Nova Scotia, Canada. Except in his case, both influences are more balanced, diffused, and referenced in ways that are transformative and refined. This has to do with the fact that Jiang feels equally at home in China and America. He immigrated to Canada with his family immediately following his graduation from Tsinghua. Between Canada and the US, where the family eventually moved, he spent as much time in the West as in China; Jiang carries dual Canadian and American citizenship.
Ping Jiang was born in Sichuan province in Southwestern China in 1969. His father, an electrical engineer, worked at a power station, and his mother taught philosophy and political science in high school and college. Jiang’s early interest in drawing, film, and theater led to the advice of his high school teacher to pursue architecture. After Tsinghua and a short apprenticeship in Vancouver, the architect moved to Chicago, where he worked at SOM for nearly a decade, becoming a studio head. He describes his professional experience there as “a journey of learning the craft.”
In 2009, Jiang returned to China; it was shortly after that the country wowed the whole world by completing spectacular structures for the Beijing Olympics and giving opportunities to architects from around the world to work on projects unmatched by their complexity and ambition. First, he was invited to join Ma Yansong’s MAD studio in Beijing as a partner. After managing MAD’s several striking projects in Beijing, Harbin, and Toronto, the
architect started Atelier Ping Jiang | EID Arch in 2015. He told me, “I was looking to work on more regionally sensitive and culturally relevant projects. I wanted to pursue my own interests in architecture. I felt ready.”
Vladimir Belogolovsky: Formally, materially, and programmatically, you tend to work with sort of yinyang dualities. Such design strategies are employed in your LAND Community Center and Ao’jiang Community Cultural Center. What is your design process like?
Ping Jiang: I agree that these two projects share some key ideas, particularly integrating architecture and landscape and blurring the boundaries between the two. In the LAND Community Center, most programs are located in the upper part of the building, which freed up space for public and civic use below. The idea was to form a building as if growing out of the ground. You are right about the interplay of dualities in my architecture, such as natural versus artificial. I am interested in the tension between different forces. In the case of the Ao’jiang Community Cultural Center, we pushed the way architecture engages with landscape even further. Design is never linear for me. Social, economic, cultural, contextual, and other circumstances drive different projects in specific ways. Each place makes a difference. Every time, it is about identifying the character of the site and the project’s unique potential. It is about identifying architectural opportunities. I start with sketching right away, and then we quickly move to making physical and digital models.
VB: What are some of the primary sources of your inspiration?
PJ: I am fascinated with art, music, theater, and other art forms. But more often than not, it has to do with the site itself, geology, and climate. Sometimes, you bring ideas to the project, and sometimes, you develop them as you start working. Combining architecture, landscape, and urbanism is our most recurring idea. To me, architecture is an ongoing negotiation with the surrounding environment. In our projects, we try to engage with whatever surrounds them — the city, environment, and architecture. Regardless of scale or building type, we focus on engaging our projects with the public.
VB: Your work juxtaposes natural and artificial elements while exploring both rationality and sensibility. What a some of the references for this playfulness?
PJ: If you look at traditional Chinese architecture, you will find mostly repetitive rectilinear volumes. But it is typically integrated intricately with nature. Together, they work very organically and complement each other well. It is that kind of tension that I look for in my work. That inspires us, and we try to express such qualities in our work.
VB: When you talk about your architecture, you use such words and phrases as accessible, inclusive, restrained, holistic, a dialogue, open space, dynamism and exuberance, quiet urbanity, maximization of public space, park-like environment, and juxtaposition of rationality and sensibility. How else would you describe your work, and what are you trying to achieve with your architecture?
PJ: We try to connect architecture and nature and add meaning to the environments we create. Another thing is that architecture should be identifiable. It should create a sense of place and a sense of community and bring a positive impact on the environment around it. We try to be contextually sensitive and environmentally responsible. Formally, I don’t think I have a prescribed language that I bring with me to different projects. There is a methodology I try to follow. We identify the opportunities and potential of each place.
Duality is an approach that I find very interesting. I also like the idea of ever-evolving and when a project can adapt to future growth. Some of our projects are very simple, but our urban projects articulate the complexity of their conditions. I also like the idea of iconic buildings. Yet, they don’t have to scream about being iconic. That’s what I mean by quiet urbanity, buildings that are understated, calm, and elegant. I favor simple forms and complex facades. We like manipulating our buildings’ surfaces, creating depth, and introducing insertion cuts to produce unique expressions.
For example, many of our high-rise projects share almost basic geometry and complex, fluid facades. The reason
is to bring buildings closer to a human scale and thus to humanize the urban condition. This is how we can break down and scale down very large buildings. I also like to introduce voids and interstitial spaces, especially in the south of China, where shaded areas are much more appreciated. Introducing pedestrian areas to projects is another way to humanize urban spaces. The fluid facades also reference the complexity and dynamism of the evolving urban conditions.
VB: Your architecture doesn’t seem concerned with regional sensibilities, which many Chinese architects explore. For example, Zhang Ke said, “We can invent the future without forgetting history.” In your work, the differences between China and the West are blurred. What is your position?
PJ: We intend to address the regional condition. But I treat it from the point of view of culture, not symbolism. I pay attention to how people are accustomed to using spaces. Climate is another condition that I pay a lot of attention to. Geology is another factor. Choosing appropriate local construction methods is also important. Our project in Tibet addressed that. The same is true with Panda Pavilions. Sustainability, resourcefulness, and materiality are all part of our design approach. It is not about being regional per se but choosing an organic and specific approach. I look for possibilities in every place. It is like finding that spark that makes each place unique. I also look for different solutions. It is more interesting that way. We particularly pay attention to building typologies. We try to find unique solutions.
VB: When I talked to Zhu Pei, he said, “As an architect, you need to create the experience that people know; then you need to try to create the experience that people don’t know.” What is innovation for you?
PJ: I like that. We try to push innovation as well. In the past, we turned down many projects for which we did not see good potential. Clients usually approach us because they are interested in finding unique solutions for their projects. Our clients know that we cannot be rushed. Our projects are unique, and they continue in a certain direction, although I would not say we have a signature style or if it is even our aim. Yet, we do have a language
within which we operate. Spatial experience is very important for our projects. Our formal language comes naturally by following our design process.
VB: What is a good building for you? How do you know when you achieve one?
PJ: I don’t know. We never seem to want to drop the pen. [Laughs.] We always think about how to improve our projects and make them better. We also try to find beautiful and poetic relationships between various parts. Good architecture should try to achieve that. Good buildings are memorable; they offer unique and meaningful experiences.
I like architecture that’s relevant to its place. I like to fight the generic.
Vladimir Belogolovsky (b. 1970, Odesa, Ukraine) graduated from The Cooper Union School of Architecture in 1996. In 2008, he formed the Curatorial Project, a non-profit in New York that focuses on curating and designing architectural exhibitions that have appeared the world over. His exhibitions include world tours of Harry Seidler, Emilio Ambasz, Sergei Tchoban, Architecture from Colombia, and the Architects’ Voices series. He contributed, curated, and produced shows at the Russian and Latvian Pavilions at the Venice Architecture Biennales (2008, 14), Moscow Architecture Biennale (2014), Buenos Aires Architecture Biennials (2017, 19, 24), and Zodchestvo Architecture Festival in Moscow (2009). He writes for Architect’s Newspaper, ArchDaily, AZURE, Arquitectura Viva, World-Architects, and STIR. Belogolovsky authored 20 books, including Imagine Buildings Floating Like Clouds, China Dialogues, Architectural Guides Chicago and New York, and Conversations with Architects. The curator interviewed more than 500 international architects and lectured in more than 30 countries.
MicroNature
Beautiful contradiction
Shanghai, China 2022
Status: Completed
Commissioned by Design Shanghai and Xintiandi Art Festival, the MicroNature Pavilion is sited at the threshold of the city’s old town and its newer developments. The pavilion takes shape as a 10-cubic-foot cube, disrupted by a canyon-like void. As such, the work hybridizes rational geometries and organic form, introducing an abstract ‘MicroNature’ within its urban setting. This juxtaposition articulates the contrast between nature and artificiality. With its new installation, the design team offers visitors an immersive experience to discover the inner void that reveals a sense of wonder and mystery.
The MicroNature pavilion is conceived as an open apparatus for visitors to explore its multiple spatial definitions in their own ways. The work is parametrically designed and digitally fabricated with PLA, providing an urban furniture for visitors. Inside, MicroNature provides a diverse experience for visitors at an intimate, humanistic scale. Children are invited to climb into the installation and play among its internal folds.
Adults can easily find a seat for rest, or a spot to experience the futuristic atmosphere created by the changes of shadow and color. MicroNature is not only an artificial natural landscape, but also an urban furniture piece that promotes human-urban interactions.
The urban environment in China is mostly composed of high-density fabrics that reveal various linear geometries. Conversely, nature is filled with complex and organic forms. These different sceneries create a strong contrast between linear geometry and organic form.
Traditional Chinese architecture combined the geometric linearity from the architectural system and the organic vocabulary from the landscape system. Through integrating the pure cube form with the inner curvilinear void, MicroNature reinterprets the artistic conception of traditional Chinese architecture by representing the duality of nature and artificiality.
Meanwhile, the wormhole-like inner void of MicroNature echoes the boulders found in traditional Chinese gardens translated with a contemporary lens and digital fabrication technology. While integrating natural, technological, and futuristic elements, the installation of MicroNature becomes a ‘micro park’ in the urban environment that reflects on the city’s past, present, and future.
A pedestrian friendly and permeable urban interface
Preliminary determination of the volume of the two buildings based on the function
Spacing between building volumes does not meet requirement
Connecting the two building volumes to a "C" shape
Massing morphology
Rotation of building orientation according to the harsh urban conditions of the site
Contours of the building are softened by a cascade of landscaped terraces
Sculpting the massing according to the sunlight diagram and arranging setback
Reducing of building heights for solar envelope
Rotation of the east-west house optimizes the orientation to form the facade folding
