Architecture News

Where Innovation Meets Public Realm: The Tengyun Center's Vision

Elevating the Workplace: Cloud-Like Structures Above the Coastline

Rising majestically along Shenzhen's regenerated coastal area, the Tengyun Center, conceived by MAD Architects, showcases three distinctive office structures that evoke the appearance of clouds. These elevated volumes are strategically positioned 8.6 meters (approximately 30 feet) above the ground. This elevation allows the area beneath the buildings to transform into an inviting public space, providing unobstructed access for visitors to move freely towards the waterfront, fostering a unique connection between the corporate environment and the natural beauty of the sea.

Reimagining Corporate Campuses: Public Access and Green Spaces

Unlike traditional corporate developments that often present a barrier between private and public domains, the Tengyun Center's design philosophy champions openness. By lifting the primary mass of the buildings onto ten robust structural cores, MAD Architects liberates the ground level, cultivating a shaded expanse of pathways, manicured lawns, gently sloped gardens, and panoramic views of the ocean. This thoughtful design blurs the lines between a private workplace and a vibrant public amenity.

Interconnected Volumes: A Dynamic and Transparent Design

The Tengyun Center comprises three interconnected structures, meticulously arranged along a north-south axis. These elevated volumes are linked by elegant steel-truss bridges, creating a fluid and continuous architectural narrative. The deliberate elevation of the buildings effectively doubles the usable ground-level space, transforming the site into a dynamic area of pedestrian routes, lush green spaces, and open vistas of the surrounding seascape.

Thoughtful Layout: Maximizing Views and Natural Light

The southern section of the center houses exhibition and event areas, featuring a public room on the second floor that offers stunning views of the bay. The central and northern volumes are dedicated to office spaces, thoughtfully organized around open atriums. Circulation paths and shared zones are strategically placed to ensure constant visual engagement with the coastline. The northern building incorporates a semi-open, shell-shaped ETFE skylight, which not only draws in abundant daylight but also effectively filters the intense coastal sun, creating a comfortable and well-lit interior environment.

Architectural Transparency: A Dialogue with the Environment

The commitment to openness extends to the Tengyun Center's facade system. Large, gracefully curved glass surfaces and frameless glazing minimize visual interruptions, allowing for expansive, unobstructed views of the sea. Integrated horizontal shading elements follow the buildings' rounded contours, artfully mitigating solar exposure. These technical details are harmoniously woven into the overall architectural concept, underscoring the project's ambitious goal of creating a seamless interaction between the workplace, public thoroughfares, and the surrounding climate.

Ecological Integration: Preserving the Coastal Ecosystem

At ground level, the campus eschews the conventional corporate boundaries of walls, gates, and buffer zones. Instead, the landscape flows unimpeded through the elevated structures, leading directly to the coast. This design consciously integrates with and protects the existing mangrove forests, tidal habitats, and critical bird migration routes, aligning with a government-led ecological restoration initiative. The shoreline thus retains its vital ecological function, while the building complex gracefully occupies the overhead space with a subtle, yet impactful, urban presenc

In Japan, the innovative platform known as Craft x Tech facilitates collaborations between global contemporary designers and local artisans. This unique initiative aims to infuse historical craftsmanship with modern aesthetics and forms. Through this project, acclaimed artists such as Bethan Laura Wood, Sabine Marcelis, and Eugene Kangawa are invited to push the boundaries of traditional techniques that have profoundly influenced Japan's rich history. Hideki Yoshimoto, the founder and creative director of Craft x Tech, along with curatorial director Maria Cristina Didero, shared insights into their mission of bringing international design talent to Japan.

The Fusion of Engineering and Artistic Expression

Hideki Yoshimoto, after years of studying and working in London, returned to Tokyo with a vision for Craft x Tech. Initially approaching design from an engineering perspective, Yoshimoto confessed his initial lack of interest in traditional Japanese crafts. However, a pivotal encounter during his final year abroad led him to an urushi (lacquerware) craftsman's workshop in Akita. This experience profoundly altered his perception, revealing the intricate artistry behind everyday objects, transforming them from mere functional items into sculptural masterpieces.

Yoshimoto's profound realization stemmed from observing the creation of traditional miso soup bowls. These bowls, meticulously crafted with numerous delicate layers of lacquer over hand-carved wood, were an integral part of his upbringing. He candidly admitted to previously overlooking the intricate technical details involved in their production. This encounter instilled in him a deep reverence for the precision and mastery inherent in the craft, challenging his preconceived notions of art and functionality. This transformation in perspective became a driving force behind Craft x Tech, aiming to bridge the gap between ancient techniques and contemporary design principles, ultimately elevating the perceived value of traditional craftsmanship.

Building Trust and Expanding Horizons

During its inaugural year, Craft x Tech brought designers to Japan's Tohoku region. Yoshimoto noted the initial skepticism from local artisans, who were deeply rooted in their traditional contexts and wary of contemporary approaches. Despite the initial hesitation, a bond of trust gradually formed through shared experiences and collaborative efforts, proving that combining diverse creative visions could lead to innovative outcomes. This success paved the way for future expansions, with plans to cover all regions of Japan.

Curatorial director Maria Cristina Didero highlighted the powerful role of design as a universal language, capable of overcoming linguistic barriers and fostering profound human connections. She emphasized that the project is not merely about creating objects but about understanding the people, processes, and historical contexts that give rise to them. Didero cited the collaboration between Mino Washi and Lanzavecchia + Wai, which resulted in a contemporary screen made from traditional Japanese rice paper and LED lighting, as a prime example of how designers can authentically engage with new contexts while honoring traditional crafts. This approach, she explained, allows each piece to reflect both its Japanese heritage and the unique creative signature of the individual designer.