Royals Garden, the eye-catching symbol of fashion

The competition for real estate project demonstration zone design is becoming increasingly fierce. In this field, decoration and form are a pair of elements that are always interconnected yet still might cause contradictions. If too much attention is paid to the form, it might cause the construction cost to soar; yet if we only focus on the décor, it may result in lack of necessary space narration.
Design Logic: Conception of Fashion
Since contemporary times, the city of Shanghai has been synonymous with fashion and modernity. The core ideal of the construction of its image system at every corner, including the streets, buildings and signs, has always been inseparable with the eye-catching symbol of fashion.
The existence of cities depends on perception, and this perception often stem from people’s visions.
The project is located at the southeast edge of Yangtze Delta, on the southern suburbs of Shanghai, and nearby to scenic spots such as Nanhui Ancient City and Cherry Blossom Village. The region itself does not provide many clues, but there are two points that are very certain.
Firstly, Shanghai’s suburbs are the urban areas of the future. The expansion of the city has developed to this point. Continuing the fashion spirit of the city of Shanghai itself on the brand-new territory is the primary focus of design.
Secondly, since ancient times, the lifestyle in Jiangnan is a composition of exquisiteness, elegance and bustlines. In this case, the second focus of design is to comprehend the design concept from complexity to simplicity and integrate them, in order to discover a stylish modern Jiangnan.
If these two focuses can be achieved, there is no doubt that the demonstration center will, under current conditions with both focuses, redefine the land value of the Huinan district, and systematically upgrade villa products at the outskirts of Shanghai.
Refining Elements: Transboundary Experiments
Looking at the field of transboundary luxuries, keeping in line with the formed texture has also become an important strategy for the brand.
Every texture defines its own value since creation.
The architect starts from a single plane form and extracts the petals: the arched and curved elements of the ancient city tiles, and employs a lasso-type linking method, presenting the tile elements in front of us in an innovative, orderly and three-dimensional manner.
Regarding the call for traditional culture, the architectural form and façade texture of the Grand Hyatt Hotel also originates from the traditional art of white spacing and paper cutting in Jiangnan. The simple yet elegant colors and succinct lines help outline endless imagery, expressing the beauty of purity in Chinese culture.
Although the design concept of the project originated from considerations of history, in terms of material selection, the architect, to a great extent, used cut glass that is finer, lighter and of contemporary edge, matched with metal aluminium plates and frames, to form a new relationship of construction. This allows the “tiles” elements originally attached to the roof to become an important visual texture and focus of experience on the building façade.
Glass is the best medium for the restoration of the ever-changing light. Different rays of light perform a symphony of light through the overlapping glass tiles.
Thickness and lightness, history and modernity, all intertwine here and complete each other.
Spatial Scale: Volumetric Research
Once the texture is formed, the form succeeded via minimalism so that the vibrant square box conveys the architect’s design spirit.
The volume of the building’s square box adheres to the principle of “Less is More”. On this basis, the architect has continued to adjust the volume of the building, in order to ensure that the suitable volume will result in the building having better dimensions.
The ratio of level height between the building’s first and second floor is close to the golden ratio of 0.618. The first floor of the building is 33 meters in width, and forms a comity relation with the second floor, which is 37 meters wide, as the first level seems indented. This implied affinity for visitors.
In terms of visiting experience, the width of the building slowly decreases from the entrance which is 23 meters wide, and then suddenly broadens when it reaches the central courtyard. A bridge crosses the calm and open water, connecting the traffic lines between the main building block and the gate of the demonstration zone. In the overall dynamic line, the driveway and sidewalk are completely separated, which facilitates access and connects the public square and sample house garden at the same time, forming a multi-level spatial scale.
This type of connection enhances the walking experience, and also allows visitors to see each details of the façade clearly as they approach the building step by step, calming the mind and also hinting towards a nostalgic and relaxing life sentiment for the future community.
According to the plane function, the volume of the building is initially designed to realize functions. At the same time, the ground floor of the sales office possesses public service function and non-profit characteristics, which again increases the “affinity” of the building as a whole.
The proportions and joints of all the doors, windows, beams and columns have been carefully considered and designed. Whilst emphasizing horizontal expansion, the rainwater pipes, exhaust pipes etc. have been subtly hidden in the details, striving to present a majestic visual effect full of tension.