Zoomlion Headquarters International Plaza by amphibianArc

Californian firm amphibianArc was inspired by images of spacecrafts to come up with two different skyscraper proposals for the headquarters of a Chinese machinery company in Changsha (+ slideshow + movies).

Above: option one – single tower

The designs, for industrial vehicle manufacturer Zoomlion, were commissioned following amphibianArc’s previous proposals for a shape-shifting exhibition centre to host the company’s exhibitions and product displays.

Above: option two – twin towers

Both new proposals feature skyscrapers that are 199.2 metres in height, in reference to the founding year of the company; 1992.

Zoomlion Headquarters International Plaza by amphibianArc

Above: option one – single tower

The first design includes one prominent office tower, with seven spacecraft-inspired pods protruding from one side. “Seven spacecrafts represent seven founders of the enterprise,” amphibianArc’s Shu Yang told Dezeen.

Zoomlion Headquarters International Plaza by amphibianArc

Above: option one – single tower

Five additional buildings of between 80 and 100-metres would be constructed around the tower, while a small “transformer building” would sit at the base.

Zoomlion Headquarters International Plaza by amphibianArc

Above: option one – single tower

Just like the architect’s previous project, this structure would feature a facade that flaps like the wings of a huge insect.

Zoomlion Headquarters International Plaza by amphibianArc

Above: option one – single tower

The second design is for a pair of skyscrapers, including an office tower and an accompanying 280-metre hotel.

Zoomlion Headquarters International Plaza by amphibianArc

Above: option two – twin towers

The architects based the design on an image of a rocket launching from alongside its supporting structure. ”The twin towers scheme is inspired by the spacecraft, the Long March Carrier Rocket, that China just launched using the crane manufactured by Zoomlion,” explained Yang.

Zoomlion Headquarters International Plaza by amphibianArc

Above: option two – twin towers

The hotel is pictured with a streamlined exterior, while the headquarters building is designed as a stack of box-like structures with an exposed steel framework that references scaffolding. A bridge would add a vertiginous swimming pool to the top of the towers, plus a five-storey podium would stretch across the base.

Zoomlion Headquarters International Plaza by amphibianArc

Above: option two – twin towers

Our earlier feature about the design’s for Zoomlion’s exhibition centre was described as “extravagant”, “dangerous” and “breathtaking” by readers. See the full story and comments »

Zoomlion Headquarters International Plaza by amphibianArc

Above: option two – twin towers

Also this month, we announced the news that the world’s tallest building will be constructed in China in 90 days, while Chinese architects told Dezeen that there is “an absence of a modern Chinese architecture and design language”.

See more stories about skyscrapers »
See more stories about China »

Here’s project descriptions for each of the two proposals:


Zoomlion is one of China’s leading manufacturers of construction machinery equipment and is ranked top 10 globally in the construction machinery industry. amphibianArc was invited to design its new headquarters located in Changsha, China. Our criterion is to match its forward thinking, unique, and mechanistically imaginative corporate image and values.

Zoomlion Headquarters International Plaza by amphibianArc

Zoomlion Headquarters International Plaza – Single Tower

This scheme uses the multi-level and multi-centre space layout strategy, achieving the goal of multi-function and multi-target. 280 m ultra high rise single tower as the highest point of the massing, the scheme proposes 5 towers of 80-100 m and a podium to form an enclosed space. The structure of the conference facilities falls back on the 199.2 m ultra-high tower, which represents the founding year of 1992 of Zoomlion. A water feature suspended at the vertical midpoint of the tower represents the spiritual and architectural center of the complex. The most visible feature in the scheme is the “seven spacecraft” – seven pods representing the seven founders of Zoomlion.

2012, Changsha, China
Project area: 344,250 sq m
Site area: 111,389 sq m
Status: Concept

Zoomlion Headquarters International Plaza by amphibianArc

Zoomlion Headquarters International Plaza – Twin Towers

The philosophical concept of dualism is embedded in the nature of Zoomlion. As a machine maker, the characteristics of Zoomlion are masculine, machinery and full of industrial power. However, the end products produced via Zoomlion machines that will be used by the general public is refined and people-friendly. This duality is intrinsic to Zoomlion’s existence.

From the project itself, the office for internal use represents the company, while the hotel for external use is associated with its external image. This characteristic of duality is expressed in two distinct design schemes concepts with two distinct articulation of architectural forms.

The twin towers are representing the idea of the dualism. The office tower which is 199.2 m in height is the symbol of Zoomlion. The geometry of the building is form by massing spin around along with the core of the building. Volume of the spinning massing varies and creates a masculine, machinery look of the tower. There is a bridge that connects two towers to top floors of office tower. Refined and elegant geometry of hotel tower that is 280 m tall is contrast with the rough texture and geometry of the office tower. The image is a vivid simulation of the space shuttle tied up to the launching pad of space center. This image emphasizes the industrial strength of Zoomlion product.

The podium of the twin towers is a huge elevated platform that contains more than five floors. The elevated platform is support by giant trapezoid shape structural columns. It is a floating platform hanging over the campus and open up the ground for public spaces and landscaping. More substantially, podium floor plates reach far for a panoramic view of the city. Because of the floating podium, the footprint of the building decreases substantially and frees up the space for a park-like green campus.

2012, Changsha, China
Project area: 283,000 sq m
Site area: 111,389 sq m
Status: Concept

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Movie: 1111 Lincoln Road by Herzog & de Meuron

Herzog & de Meuron’s 1111 Lincoln Road multi-storey car park in Miami Beach also plays host to parties, yoga classes and weddings, explains proprietor Robert Wennett in this movie produced by filmmaker Elizabeth Priore (+ photographs by Hufton + Crow).

1111 Lincoln Road by Herzog & de Meuron

Named 1111 Lincoln Road, the concrete building with floor slabs supported on wedge-shaped columns was completed in 2010 to offer naturally lit parking levels that can also be used for other activities above a row of shops and restaurants.

1111 Lincoln Road by Herzog & de Meuron

“I had the opportunity to change people’s perception of what parking is and to build a type of building that becomes a social gathering space and a public space” says Wennett. “Everything we do in the garage is not what you expect in a parking garage.”

1111 Lincoln Road by Herzog & de Meuron

He goes on to explain how the building contains “a grand central staircase” rather than an enclosed stairwell and is also filled with public art. “To want to go to a parking garage, versus wanting to exit it as soon as possible becomes a new paradigm,” he declares.

1111 Lincoln Road by Herzog & de Meuron

Finally, Wennett explains that he lives in an apartment on the top floor of the building. “People always ask me ‘why would you want to live inside of a parking garage?’ but the moment they arrive they never ask me the question again,” he says.

1111 Lincoln Road by Herzog & de Meuron

Directed and produced by Elizabeth Priore, the movie is a semi-finalist in the Focus Forward filmmaker competition. Five winners are due to be announced in January.

1111 Lincoln Road by Herzog & de Meuron

We first revealed designs for 1111 Lincoln Road back in 2008, before featuring photographs of the completed building after it opened in 2010.

1111 Lincoln Road by Herzog & de Meuron

Herzog & de Meuron also recently completed a gallery that looks like a pair of barns in Long Island.

See more stories about Herzog & de Meuron, including interviews we filmed with both Jacques Herzog and Pierre de Meuron at the opening of their Serpentine Gallery Pavilion this summer.

See more photography by Hufton + Crow on Dezeen or on their website.

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Nebula 12 by Micasa LAB

This weather-forecasting lamp creates an indoor cloud to warn of grey skies outside (+ movie).

Nebula 12 by Micasa LAB

The Nebula 12 by Swiss design studio Micasa LAB combines liquid nitrogen and hot water to create a billowing cloud of steam, which is kept in circulation around the lamp by vacuum suction.

Nebula 12 by Micasa LAB

The form the cloud takes and the colour of the lamp depend on the weather forecast for the next 48 hours.

Nebula 12 by Micasa LAB

A grey cloud appears on an overcast day, while a patch of low pressure is signalled by a red light seeping through the cloud. On sunny days the cloud disappears, leaving a warm yellow light, and at sunset the light turns warm orange.

Nebula 12 by Micasa LAB

The weather forecast is sent to the lamp via a WiFi connection with a Nokia Lumia 920 mobile phone –the only phone the lamp works with so far.

Nebula 12 by Micasa LAB

Micasa LAB is the design studio attached to Micasa, a German furniture and interiors brand.

Above: movie by Micasa LAB showing the Nebula 12 in operation

We’ve featured a few cloud-generating projects on Dezeen, including a house in Kuwait with a courtyard concealed by mist and a water feature in London that erupts in misty clouds.

See all our stories about weather »

Here’s some more information from the designers:


The Nebula 12 is a concept developed by Micasa LAB, Zürich. Using meterological data from MetOff, the Nebula forms to represent outside weather: wake up to a flooding yellow light on a sunny day, or below a real cloud on that overcast winter morning. The cloud involves some peculiar techniques, liquid nitrogen, WiFi, and high power vacuum suction.

In the standard mode, Nebula 12 predicts the weather for the next 48 hours. A threatening low-pressure area is announced by a red cloud, and sunshine is shown in yellow. At the same time, the user can adjust the settings and define the source of information themselves. And the best is: regardless of how dark the cloud is, Nebula 12 never brings rain. At least, not within one’s own four walls.

The light but stable creation can be used in many ways: Nebula 12 can, like a natural cloud, change in colour and brightness and thus can be used as a variable source of light for romantic evening meals, when doing homework, when reading or just chatting.

The cloud is easily connected by WIFI to your Nokia Lumia 920.

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by Micasa LAB
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Chilean Pavilion at Venice Architecture Biennale 2012

The Venice Architecture Biennale 2012 closes this weekend and this movie by Cristobal Palma shows how visitors to the Chilean Pavilion had to walk over a bed of salt while viewing proposals for Chile’s public spaces on glowing boxes suspended from the ceiling.

Chilean Pavilion at Venice Architecture Biennale 2012

The pavilion was named Cancha, the pre-Hispanic Quechuan word for public space, to tie in with biennale director David Chipperfield’s theme of Common Ground. “Cancha is the reference used to comprehend our Chilean Ground, our Common Ground which is not urban but territorial,” explained the curators.

Chilean Pavilion at Venice Architecture Biennale 2012

In response to this, seven architects presented concepts for public spaces in Chile as images on the hanging boxes, while Cristobal Palma produced seven short movies (shown below) to capture the essence of each idea.

Chilean Pavilion at Venice Architecture Biennale 2012

The salt crystals covering the floor of the pavilion were a nod to the salt flats of Tarapacá, which supply salt to Venice and form a tie between the two places. Roughly cut salt blocks also provided seating for visitors.

Chilean Pavilion at Venice Architecture Biennale 2012

See all our stories about the biennale, including the Russian Pavilion covered in QR codes and the Dutch Pavilion with constantly changing spaces.

Chilean Pavilion at Venice Architecture Biennale 2012

Photography is by Cristobal Palma.

Palma’s movies follow below with project captions from the exhibition:


Deserta by Pedro Alonso: ”The constant mutation of a territory traced by the human interventions of ground exploitation reveals from the apparent emptiness of the Atacama Desert.”

Metropolitan Promenade by Alejandro Arevena, Elemental: ”An urban scale public space as a tool to build social equality in Santiago de Chile”

Limitless Chile by Juan Pablo Corvalán, Susuka: “Cancha’s spatial conditions begin on its boundaries, just like a country. By using the traditional Mexican mural method, they show us a process of delimitation and then the suppression of the country limits, reaching a utopian continent-like country.”

Playground by Genaro Cuadros: “By explaining the consequences of property speculation, he lets us understand the fundamentals of the constitution of a country by its ground system with the participation of the State and the individuals.”

Kancha by Germán del Sol: “By focusing in the origin of common American space, he takes us out from the colonial structure into Quechuan and pre-Hispanic origins; the spatial matrix that established territories and landscapes with the presence of man.”

Travesía of the Amereida by Iván Ivelic: “Through the method used in the School of Architecture of the Universidad Católica de Valparaíso, he shows us how the South American continent can be re-comprehended and re-founded.”

Performance of a Conquest by Rodrigo Tisi: “A proposal of categorisations of the way that social and political individual bodies conquer the land, through three case studies on Chilean territory.”

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Architecture Biennale 2012
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Shivering Bowls by Nendo

These delicate bowls by Japanese design studio Nendo are so thin they quiver in the wind (+ movie).

Shivering Bowls by Nendo

Nendo created Shivering Bowls for the KAMA. Sex & Design exhibition at the Triennale Design Museum in Milan. Eight designers were asked to produce a piece that explores the idea of eros, the Greek term for erotic love, and Nendo responded by creating an extremely thin bowl from silicon.

Shivering Bowls by Nendo

“We wanted to express eros through a design that invokes desire – a design that viewers simply can’t bear not to touch,” said the designers.

Shivering Bowls by Nendo

The bowl changes shape when touched by a finger or buffeted by a breeze, as the movie shows.

Shivering Bowls by Nendo

The KAMA. Sex & Design exhibition runs from 5 December until 10 March 2013 at the Triennale Design Museum, Milan.

Shivering Bowls by Nendo

Other projects by Nendo we’ve featured recently include a collection of glass bowls that look like the bottom half of a Coca-Cola bottle and a chair that’s wrapped in fishing line rather than varnished.

Shivering Bowls by Nendo

See all our stories about Nendo »
See all our stories about bowls »

Shivering Bowls by Nendo

The movie is by Takahisa Araki and photographs are by Hiroshi Iwasaki.

Here’s some more information from Nendo:


Shivering Bowls

A set of bowls for the KAMA. Sex & Design exhibition at the Triennale Design Museum in Milan. The curators asked eight designers to create an object, in conjunction with an exhibition that explored ideas of eros in design from ancient times to the present, from a cultural anthropology and mythical perspective.

We located the intersection of eros and design in the spiritual pleasure provided by an object’s touch, and decided to make an extremely thin bowl out of silicon for our contribution. The bowl resembles a ceramic one, but with a tension to this perception, generated by the extreme thinness that would be impossible to achieve with clay. The bowl changes shape as easily as liquid when it is touched, and continues to quiver momentarily in response to the outside force. We wanted to express eros through a design that invokes desire – a design that viewers simply can’t bear not to touch.

KAMA. Sex and Design
Date : 5th Dec 2012 –10th March 2013
Place : Triennale di Milano, Milan, Italy

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Oscar Medley-Whitfield and Harry Trimble at Designers in Residence 2012

In a movie filmed by Alice Masters for the Designers in Residence exhibition at the Design Museum, Oscar Medley-Whitfield and Harry Trimble explain how they turned clay dug from the muddy banks of the river Thames into ceramic tableware.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Recent graduates Oscar Medley-Whitfield and Harry Trimble produced the Wharfware collection as a response to the Design Museum’s theme of “thrift”.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

‘Thrift for us is essentially making something out of nothing,” says Trimble in the movie. Looking at the museum’s surroundings to see what they could take from the local area, the designers found that the mud under Tower Bridge had the potential to be made into ceramics, and the area had also been home to a thriving ceramics industry 300 years ago.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Once they’d dug up the mud and brought it back to their studio, they experimented with additives to prepare the clay for firing.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Carol Sachs

“Conventionally, pottery clays are heavily engineered with additives to give them specific properties,” they told Dezeen. “Wishing to keep the clay pure and stay true to the brief, we devised a manufacturing technique of moulding at high pressure.”

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Rima Musa

After perfecting the mixture, they formed the shapes in a homemade press, using a car jack to push the clay into its mould. Inspired by centuries-old tableware made in the Tower Bridge area and wanting to maximise space in the kiln, they created the pieces in tesselating hexagonal shapes.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Rima Musa

The Wharfware collection includes three sizes of bowls, a serving plate, a trivet and a fish brick, which pays homage to Terence Conran’s chicken brick steam cooker, explains Medley-Whitfield, while also referencing the clay’s origins in the river Thames.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Rima Musa

Last year Medley-Whitfield experimented with casting copper-bullion bowls as a way for investors to display the increasingly valuable metal at home.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Rima Musa

We’ve already featured two movies by Alice Masters about the Designers in Residence programme – in one, Lawrence Lek shows how his system of bent plywood pieces can be tied together to make furniture and architecture, and in another, Yuri Suzuki explains how he made a radio with a circuit board arranged like the London Tube map.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Rima Musa

See all our stories about ceramics »
See all our stories about Designers in Residence 2012 »
See all our stories about the Design Museum »

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Rima Musa

Photographs are movie stills by Alice Masters, except where stated.

Here’s some more information from Medley-Whitfield and Trimble:


Designers Oscar Medley-Whitfield and Harry Trimble Share an interest in sourcing local materials and using bespoke manufacturing processes. Together they experiment with how products can be made to embody local identity and heritage to give economic, environmental and emotional benefits.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Carol Sachs

Inspired by the historic Southwark ceramic industry that thrived in the area surrounding the Design Museum 300 years ago, Oscar and Harry have produced a ceramic tableware range, Wharfware, made of clay dug from the banks of the Thames around Tower Bridge.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Rima Musa

Before the clay could be used it had to undergo an extensive refinement process. The clay is laid out to dry before being soaked to a slip. It is then passed through progressively fine grades of mesh to remove impurities.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

After further drying on plaster to achieve the desired consistence, the clay is ready to be moulded and then fired. A complex testing process was used to find the right composition of clay, sand and firing temperature.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Luke Hayes

The forms of the works were process driven. Rather then using traditional studio pottery techniques unlikely to work with the unpredictable raw clay, Oscar and Harry applied an industrial approach. The moulds were designed to allow the clay to be shaped under pressure reducing the likelihood of warping and distortion.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Luke Hayes

The geometric shapes help the pieces to be easily remove from the moulds whilst also allowing them to tessellate in the kiln meaning more units per firing, bring down overall costs. In creating Wharfware, Oscar and Harry have created a locally relevant product in an innovative and resourceful way.

Wharfware by Oscar Medley-Whitfield and Harry Trimble

Above: photograph is by Luke Hayes

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at Designers in Residence 2012
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