LOOK DEEPER: THE EASTERN AESTHETIC SHIFT

THIS IS NOT ANEW TREND

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Our world is seen as one of boundaries.

North versus South. East versus West.

Yet history repeatedly reveals that these

boundaries are far from fixed. From the rise of

empires to trade routes between nations and

continents, these boundaries have shifted –

politically, economically and culturally. So, why

do we have a perceived divide between ‘Eastern

architecture’ and ‘Western architecture’?

The initial answer would seem to be that the

architecture of these regions is rooted in their

distinct cultures. Yet, looking deeper, we can

see how these cultures are far from distinct.

In many ways, they shift, mix and create

mutual influences that impact on each other.

Architecture is simply the most visible way of

seeing it.

This trend analysis is the result of an in-depth

Reynaers survey of British architects, who

revealed that they increasingly look

East for inspiration. While Europe is

still the go-to destination for build

quality, the buildings of the Middle

East, Far East and – particularly

– China, which use the latest

technology to thrive in often hostile

conditions, are driving a trend for

aesthetic innovation.

Over the next few pages, we look

deeper into this Eastern aesthetic

shift, examining sources of inspiration

and the people driving this trend. As

it seems, the architecture of the future will not

follow any established cultural tradition. It will

establish its own.

EAST MEETS WEST THIS IS A CULTURE CHANGE

While Europe is still the go-to destination for build

quality, the buildings of the Middle East and Far East

are driving a trend for aesthetic innovation.

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Just five decades ago, Abu Dhabi was little

more than a Bedouin village. A place of ancient

traditions, yet with no urban history. When the oil

industry came to the region in the 1960s, however,

it was fundamentally transformed. It was in a place

to create its own tradition; one of prosperity and

architectural ambition.

Architecture as cultural identity

Today, the cities of the United Arab Emirates

promote themselves as ‘Rich with culture. Alive

with tradition.’ Yet this culture and tradition are

singularly about ambition; about statements;

about architecture acting as cultural identity. And

interestingly, some of the most iconic edifices

of the region, such as Dubai’s towering Burj

Khalifa and the ground-breaking vision for the

Zayed National Museum in Abu Dhabi, send the

boundaries of architecture sky-high while

simultaneously taking huge risks and defying

architectural convention. They’re tall, sleek,

elegant, exuberant – signifiers of the region’s

prosperity. Which makes it all the more interesting

that they have been designed by Western

architects – namely Skidmore, Owings & Merrill,

and Foster + Partners. So, it is understandable

that the skylines of the UAE resemble something

akin to a futuristic vision of a Western cityscape.

In this way, the Middle East can be seen as a

convergence point – a meeting place between East

and West, where cultures combine to create a new

tradition. But, at a deeper level, there is another

factor driving this trend: climate.

Form meets function

Western building envelopes do not typically have

to cope with extreme climates and conditions. Not

so in the Middle East. So, together with the East’s

architectural ambition and the Western influence,

a new look is emerging: taller, stronger, sleeker,

built to cope with the environment with sharp,

clean lines that stand proud in the face of the

worst extremes. Truly, a statement of architectural

ambition that creates its own tradition.

HEADING EAST: THE RISE OF THE UAE FERRARI WORLDABU DHABI

Aesthetics in actionProject: Ferrari World

Location: YAS Island, Abu Dhabi

Architect: Benoy Architects

A unique venue befitting a prestigious

island development in the Middle

East, Ferrari World is a theme park for

the future, boasting a 70-metre-high

G-force tower, rollercoasters, racing

tracks and more. Its stylised design,

intended to bring the Ferrari brand

to life, stand out amidst the rest of

the development, and to stand the

conditions of its environment, is another

example of the Middle East’s emerging

ambitions in architecture.

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A WORLD IN FLUX: THE FAR EAST

The nations of China and Southeast Asia

demonstrate diverse cultural traditions that

resonate in their architectural conventions.

Yet the trend for aesthetics in this region is

increasingly defined by its tension between

international modernity and tradition – and the

importance of space.

Light, space, shape and form

Space is at a premium. Population pressures and

overcrowding are forcing architecture not just to

go vertical, but to find new ways of capitalising on

space through unconventional forms and shapes –

which are increasingly getting noticed in the West.

For example, similarly to UAE structures, Hong

Kong International Airport, by Foster + Partners,

reflects the strong international heritage of the

region, and uses new techniques to allow natural

light to flood uninterrupted spaces.

Hong Kong’s tallest building, the International

Commerce Centre in Kowloon, by Kohn Pederson

Fox with Wong & Ouyang, blends an innovative

planar curtain wall system, extending on the

north face to simulate a ‘dragon’s tail’, blending

traditional symbols with modern technology.

This suggests that modernity will not ‘wipe out’

cultural tradition, but will find new ways to express

and evolve it.

Sustainability and speed

Population and commercial growth in the Far East

put huge demands on the speed of construction

of new projects, as well as their long-term impact

on their environment. To this end, pioneers such

as Ken Yeang seek to revolutionise low-carbon,

fast-build and high-performance construction

throughout the entire building cycle, from raw

material to assembly and beyond. In this way,

sustainability and speed are not just about

‘getting a certificate’ – they’re integral to the

industry’s future. And this is something now in the

consciousness of Western architects.

Architectural nuances of the region

There are subtle architectural differences in this

region. Hong Kong is highly internationalised but

fairly reserved. Japan has a similarly reserved

nature, yet boasts innovative architects like Tadao

Ando, Toyo Ito and Shigeru Ban, not to mention

modernist pioneers like Kenzo Tange. Here,

Tokyo takes the credit for influencing Western

architecture – such as the Prada Store by Herzog &

de Meuron, and S-House by Yuusuke Karasawa. For

China, however, we must look deeper…

INTERNATIONAL COMMERCE CENTREKOWLOON, HONG KONG

Aesthetics in actionProject: Weihai Pavilion

Location: Weihai

Architect: Make Architects

An ocean-side exhibition building that

demonstrates understated aesthetics,

Weihai Pavilion is a counterpoint to Ferrari

World’s show of confidence. Instead, it

uses subtlety, with its panoramic façade

and over-sailing offering a unique vantage

point for guests, and its blending of form

and function signalling why China is a

driving force in world architecture.

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LOOKING DEEPER: CHINA

The eyes of the world are on China. The unique

challenges and opportunities in this region have

attracted the world’s leading architects, whilst

the nation itself is seeing more and more young

practitioners going on to find worldwide fame.

A break with tradition

China has one of the most richly developed senses

of tradition and culture in the world. This has

been kept alive partly through its architectural

styles, with vernacular architecture still very

much a feature of rural China. Yet, in urban areas,

its modern buildings demonstrate a move away

from tradition – abandoning the country’s insular

past and embracing international styles. But

this should not be seen as a break with the past.

Instead, architects are bringing China’s heritage up

to date, using innovation to fundamentally change

the nation’s aesthetic. This is down to two main

factors…

Speed and space

Contemporary China requires a higher rate of

production and a higher floor area ratio. This is a

direct result of population growth in urban centres

– which has more than doubled between 1990

and 2010. This has made an undeniable impact

on productivity too – with China producing more

cement in the last three years than the USA has

produced in the last hundred.

It is this that has spurred the decline of traditional

aesthetics and building practices in favour of

modern, international techniques and technologies

that maximise usable space. In this way, China is

leading the way in the development of ‘megacities’,

with more than 30 super-tall projects including the

Zifeng Tower in Nanjing, by Skidmore, Owings &

Merrill, the Changzhou Modern Media Center by the

Shanghai Institute of Architectural Design, and the

Eton Shenyang Center by NBBJ Architects.

However, it’s not all about height. The sheer

resource available means that architects in China

can innovatively use space to put an aesthetic

spin on their creations – creations that grab global

attention and signify the nation’s growing influence

in world affairs.

Flagship aesthetics

For example, the Beijing National Stadium – the

‘Bird’s Nest’ – by Herzog & de Meuron, together

with Beijing’s ‘Water Cube’ by PTW Architects,

used the 2008 Olympics as a staging post to put

modern Chinese architecture on the map. Sharp

angles and flowing lines worked together to portray

a vibrant, modern and unconventional Chinese

architectural aesthetic.

Meanwhile, the Weihai Cultural District, by Serie

Architects, is set to form a new heart of the city,

moving beyond standard urban solutions to bring

innovation and character to the urban centre. This

is where tradition and functionality work together

to create something that captures the world’s

attention: red roofs uniting past and present,

well-defined spaces, a strong axis of water and

earth, and – functionally – 430,000m2 of new build

to attract international investment and tourism.

The unique challenges and opportunities in this region have attracted the world’s leading architects.

NATIONAL STADIUM BEIJING, CHINA

photo credit: Beijing National Stadium by Tauno Tõhk

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THE PEOPLE DRIVING THE TREND

The trend towards Eastern aesthetics and innovation in architecture is, crucially, not just being driven

by Eastern practitioners such as Jun’ya Ishigama and Sou Fujimoto, or the ubiquitous Zaha Hadid. Just as

many Western-based practices are drawing on the region’s resources, ideas and approaches to bring the

aesthetic across the world. For example, the noted architect Chris Wilkinson said that working in China

was not for the money – instead, it was for the chance to test ideas in a progressive environment that

encourages ‘big thinking’. And Wilkinson is far from alone…

Working in China is not for the money – instead, it’s for the chance to test ideas in a progressive environment that encourages ‘big thinking’- Chris Wilkinson

ALAN DUNLOP

Not just one of the UK’s leading architects,

Dunlop is also an accomplished mentor and

educator. One of his key lessons is encouraging

students and young architects to spend more

time in China and British practices in the Far East.

This is partly a way for them to gain experience

but, more importantly, gives them a different

perspective and understanding of the sheer rate

of change in the region – and the lessons they learn

there are brought back here, increasing the impact

of Eastern aesthetics in the West.

Furthermore, RIBA plans to encourage serviced

offices in the Far East to nurture the growth and

expansion of architectural practices in the region.

Conversely, the number of Chinese practitioners

being trained in Britain is increasing – making the

trend even more fluid, as UK architects look East

not just for inspiration, but for a ‘seedbed’ for the

future of the industry.

BROCK CARMICHAEL ARCHITECTS

Brock Carmichael originally entered the Chinese

market when supporting the City of Liverpool

at the Shanghai World Trade Expo in 2010 – and

never looked back. Now, the firm enjoys a strong

presence in Hong Kong; the ideal gateway to

facilitate the transition of aesthetic trends

between East and West.

One of Dunlop’s key lessons is encouraging students and young architects to spend more time in China.

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LOOKING DEEPER INTO THE FUTURE

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BEIJING INTERNATIONAL AIRPORT BEIJING, CHINA

One of Britain’s most exciting recent

architectural projects has been Renzo Piano’s

The Shard. Tall and strong, with clean lines and

an ambitious design aesthetic, it bears more than

a passing resemblance to the more ambitious

developments in the UAE. Similarly, The Gherkin –

another brainchild of Foster + Partners – shares

similarities with Chinese and Southeast Asian

designs, in which the architects have been

immersed. The same with the Leadenhall Building

and the ‘Walkie-Talkie’, which bring the innovative

styles and space-maximising features of the East

to the UK.

These ecological, tall buildings capitalise on CAD

and BIM developments, use specialist components

to technical and critical acclaim, and make it more

believable that the ‘megacities’ of the East are

heading West. For example, SURE Architecture

has released a concept for a 300m tall ‘Endless

City’ project in London, boasting residential

facilities, schools, businesses, retail outlets, parks

and plazas. Similarly, ‘organic skyscrapers’ are

now being seriously considered, following Vincent

Callebaut’s ‘Farmscraper’ concept in Shenzhen.

As we see foreign investors taking up projects

in the UK in unprecedented numbers, all of

whom are more comfortable with tall towers and

unconventional architecture, we realise that the

trend towards Eastern aesthetics will only increase.

But at the same time, we are seeing more UK

architects taking up projects in the East – showing

that, just as Eastern aesthetics are flowing

Westward, Western techniques are opening up new

possibilities for the East.

Whichever direction you see as being more

prevalent, one thing becomes clear. It has never

been a more exciting time for the architecture

industry – and the sky is quite literally the limit.

As we see foreign investors taking up projects in the UK in unprecedented numbers, all of whom are more comfortable with tall towers and unconventional architecture, we realise that the trend towards Eastern aesthetics will only increase.

TOGETHER FOR BETTER

REYNAERS LTD UKKettles Wood Drive, Birmingham, B32 3DBw: www.reynaers.co.ukt: +44 (0)121 421 1999e: reynaersltd@reynaers.com