Jinan Song Hotel

The hotel group includes: Jinan Song Hotel (6 stars, including main hall building, spa, 3 luxury villas and one presidential villa), Jinan Sunac Steigenberger Hotel (5 stars), theme hotel (4 stars), Sunac International Conference Center and bar Street. The design refers to the characteristics of traditional architecture in northern China, and adopts the roof of “Xieshan” and “Zanjian”, with heavy stone walls and wood exterior design, in order to fit the momentum of traditional architecture in mountainous areas.

Song Hotel

Enter the gate, along the winding mountain road through the apricot forest, a concise new Chinese Yi Gate came into view with the connotation of Confucian culture. There is a small scene in the courtyard — Stone Spring screen-spring which is mountain’s eye, along with the spring all the way south, through the screen – shadow – curtain space sequence into the lobby, suddenly enlightened, spring water also gathers here into a pool, discharges into the valley, which echoes a poem:  “Wonderland is godgiven and mystical, whose path winds along mountain ridges. Flowers fall besides a cave and spring out along the rock to be a great fall.”

The building is spread out horizontally according to the mountain, straddling the natural gully, combining the boundless pool with the falling water, just like an immortal pavilion in a Traditional Chinese painting. The design adopts new Chinese style, with five different volumes of antique roofs scattered on the flat roof. Above the lobby is the double-eaves Cross ridge roof, thick and elegant, located at the top of the gully, is the so-called: a pavilion protects a fairyland, Mountains and valleys make an ethereal Autumn; The water falls down layer by layer, forming a contrast between vertical level and horizontal architectural form, flexible and quiet. The combination of flat and pitched roofs pays homage to the classic Chinese architecture of the 1950s and 1960s, while considering economic benefits.

Down the road is a six-star villa group, recline in the green mountains,  green trees near the village grew luxuriant, and green hills stretched diagonally outside the city walls; The mountain is so steep and beautiful, its green like hibiscus. The villa adapts to the rich topographic relations, adjusts measures to local conditions, the courtyard layout is flexible. Grey wall black tile, quietly elegant color beautiful. The simple and clear facade structure interprets the unique significance and context of Jinan, an old city in the north of the River.

Beijing Beitou Panorama Hotel

Design Concept

Inspired by the idea that “Theater is like life; it interprets all sentient beings”, the design employs theatrical elements aiming to build emotional environments which allow guests to experience different aspects of life. Both physical and conceptual elements of theater are used: stage and curtain, sound, shadow, movement, and light serve as spatial elements to create an artistic atmosphere.

In a holistic manner, surrounding environment, architecture, landscape, and interior spaces are fully integrated. Refined, stylish, natural, and comfortable spaces have been created that follow the motto of being “characteristic, exquisite, and flexible” at the same time.

The functional areas of the hotel have been rearranged to be more efficient. The original atrium space was oversized and unnecessarily long, so it has been split and reorganized to provide spatial independence to the guest area, conference area, as well as fitness & recreation area. In this way, the three main customer groups do not intersect or interfere with each other. 

Interior Design

The lobby of the hotel is inspired by the title “An Encounter with Theater”. The lobby will be the starting point of a journey that leads into various artistic interpretations of the performing arts.

The “art of marble pattern” in the entrance lobby takes people back to the origins of the theater in ancient Greece.

Moving forward to the reception area, the chandelier – set against a luxurious stone backdrop – is reminiscent of the spotlights on a stage, welcoming each guest as a valued protagonist.

The lobby Lounge is dominated by a grand piano and a chandelier hanging above like jumping piano notes in a balance of light and shadow, a scene that preludes the artistic atmosphere of the hotel.

The lobby Bar is marked by the sculptural nature of the bar counter which is at the visual center of the space. On the sides, comfortable seating is arranged between transparent partitions that allow the outdoor scenery to permeate into the interior.

The All-Day Dining Restaurant is inspired by the “Peking Opera” as the unique traditional art of Beijing, which can be enjoyed on-site after tea or dinner. The contrast and combination of Chinese and Western culture has guided the interior design. Brickwork, Peking Opera costumes and jewels add characteristic features to the space. The seating area extends to the outdoors, allowing guests to enjoy the water courtyard with its seasonal beauty while creating a transitional space between indoors and outdoors.

In the Chinese Restaurant, paper-lantern-inspired lamps hang over the dining tables, as traditional feature in a space which is otherwise characterized by modern-style screens and dark wood lattice elements.

The spacious ballroom pre-function area is inspired by the Chinese imagery of “pleasant songs and elegant dancing”(“清歌雅舞”), comparing the harmonic coming and going of guests through the space with a graceful dance. Like a twirling dancer, light and elegant, the spiral staircase is the highlight of the room, separating the ballroom pre-function from the lobby bar.

The ballroom itself takes the Chinese imagery of “water and sky are one color” (“水天一色”) as design concept, alluding to how water and sky reflect each other and seem to merge in many beautiful sceneries. The ballroom will be the stage for important moments in people’s lives. It should hence feel like a temple that brings blessings to its visitors.

The conference center can be sub-divided or combined to form meeting rooms of different sizes which can meet a variety of needs.

The theater is inspired by Chinese water-sleeve dance. In this traditional performance, the dancers handle their very long sleeves in ever-flowing movements that seem to encircle and intersect on the air, as the main form of emotional expression.

The pool is designed with waves as inspiration, presenting the spatial effect of arches over water. The gym space is restructured in modules through various strategies like division and stacking, related by vibrant orange color accents throughout and large windows overlooking the pool area.

The design of the spa is inspired by “Qing Yi”, a stereotypical female role in Chinese operas that refers to a lady of gentle disposition that moves very gracefully. This translates into a tranquil environment that allows guests to relax and enjoy being one with nature.

Last not least, the interior design of the hotel rooms follows the architectural form on the one hand, but is deeply connected with local aesthetic on the other. The fusion of performing arts, regional culture and traditions inspired various thematic rooms. Room types such as ‘Business’, ‘Shadow Puppet Theater’, ‘Chinese Drama’, ‘Chinese Base Drum’ and traditional music immerse the guests in a unique cultural experience within their chambers.

Courtyards landscape

The design of the courtyards seeks to integrate the hotel’s indoor and outdoor spaces. Water and vegetation are the main elements that identify and compose the courtyards.

The central lawn is the main feature of the garden courtyard, a vibrant place where all kinds of ceremonies and celebrations can be held, with a surrounding plant selection that brings variety with its seasonal changing colors.

In the water courtyard, the seemingly borderless pool is like a mirror, with water rippling softly. The gurgling water, vivid greenery, and quiet atmosphere encompass people’s contemplation. When night falls, a breeze blows the waves, and the hustle and bustle of the city is brushed away.

Abstract geometric forms, the overlapping and transformation of patterns, elegant planting and the rhythmic water movement contribute to build a unique ephemeral scene.

Steigenberger Hotel Jinan

The hotel group includes: Jinan Song Hotel (6 stars, including main hall building, spa, 3 luxury villas and one presidential villa), Jinan Sunac Steigenberger Hotel (5 stars), theme hotel (4 stars), Sunac International Conference Center and bar Street. The design refers to the characteristics of traditional architecture in northern China, and adopts the roof of “Xieshan” and “Zanjian”, with heavy stone walls and wood exterior design, in order to fit the momentum of traditional architecture in mountainous areas.

Steigenberger Hotel

Jinan Sunac Steigenberger Hotel is the first one in China. Together with the lobby building of Jinan Song Hotel, it is arranged on the west side, forming a clear and unified charming image, which echoes the magnificent and beautiful Lianhua Mountain.

The facade of Sunac Steigenberger Hotel is interwoven with two different wood color blocks, combined with the colonnade on the first floor and the roof of “Xeshan”, which creats a literary atmosphere.

Public area is across the south gully whose side of the terrain fell rapidly, the height of building suddenly increased in order to avoid a sense of pressure caused by high building volume on the whole hotel group; high-rise rooms adopt light wood block, and the bottom podium adopts white foundation with dark materials and glass connection in the middle to form a suspended and flexible building body.

The whole hotel faces the valley, falling layer by layer and highlighting the unique architectural momentum of the mountain hotel.

Mauve Glamor Hotel Chengdu

Location

The immediate surroundings form a hotel group arranged around an artificially created lake, consisting of a 6-star hotel, a 5-star hotel, the panda-themed ‘Mauve Glamor’ hotel, a conference centre and a bar street, with a total gross floor area of around 140,000 square metres.

The hotel group is only a five-minute drive from the ‘DuWen’ highway, which connects Sichuan and Tibet’s tourist attractions. On the way to Tibet, the complex is the last stop with hotels of higher categories.

The tourism complex is located in the south of the city of Dujiangyan, a tourist destination known throughout China for its 2,200-year-old irrigation system.

The hotel complex borders the wide Min River (the longest tributary of the Yangtze) to the east and the Hengduan Mountains with the over 2,400m high Zhaogong Peak to the west.

Within the 27 hectare site, a 7.5 hectare lake has been excavated – in addition to the existing watercourses – which enriches the landscape in a special way.

Spa area

The spa area integrated into the complex is located between the “Mauve Glamor” and the neighbouring five-star hotel.

It has a separate external entrance and access from both hotels through a corridor. The floor area of the spa building is 1,800 sqm, and the spa area is also equipped with 7 outdoor pools totalling 2,000 sqm.

The design of the facade of the spa building is based on traditional forms and materials of Western Sichuan. However, in order to create a relaxed atmosphere, civil construction methods such as the ‘ChuanDou’ structure or the so-called “supporting arch” were used.

Theme Hotel | Task

The ‘Mauve Glamor’ hotel borders the huge ‘Wanda Entertainment Park’ on the opposite side of the street, to the south. This is not the only reason why the decision was made early on in favour of a themed hotel: as an answer to the amusement offer that would follow and in order to avoid an all too abrupt change in uses (hotel vs. entertainment).

As there are several panda research and protection parks in the city of Chengdu, only 50 km away, the “World of Pandas” was chosen as the theme for the hotel. This rooted the theme in the location in a meaningful way. At the same time, there was a desire to express the “panda” theme through the building itself – in contrast to other themed hotels that spring up all over the place and limit the theming exclusively to interior design and ornaments.

So one of the main aims was – in contrast to what is usual for themed hotels – to create a more or less immediate feeling through the shape of the building and the façades, which refers to the chosen theme.

The method was allowed and should definitely include and suggest a certain degree of playfulness. Guests, not least families with children, should be able to feel the “world of the pandas” not only through elements of the landscape and interior design, but already through the building itself.

Architecture and Façade

Approaching the hotel from the street, one sees a 6-storey organically shaped building in a composition reminiscent of several lying panda bears. The direct connotation was increasingly abstracted in the course of the planning, but is still dimly recognisable on closer inspection.

Originally, the faces and bodies of the pandas were indicated on a white background by means of dark grey spots and shapes; what has remained is the themed bamboo base with the paw-shaped round openings as well as the pictorial bamboo groves that hide the vertical development cores. As an ensemble and largely abstracted, the composition is thus reminiscent of a natural panda habitat.

On the ground floor, large framed windows emerge from the façade and define the main public areas of the hotel.

The building itself consists of four main sections with an undulating façade that opens onto the river and the lake beyond to optimise the view from the guest rooms.

The undulating gesture allows for the framing and enclosure of a hotel garden that provides privacy and distance from the lively street.

In keeping with the design approach, the hotel primarily targets families with young children.

The total of 461 guest rooms have balconies that extend to the water side or to the no less charming mountain side, which ultimately makes the hotel special not only because of its theme but also because of its magnificent views of the scenic attractions of the place.

Nanning Resort Hotel

Additionally, the buildings were raised 8 meters so the entire public level has an adequate perspective view of the river and the landscaped private gardens of the hotel, also allowing for underground parking, service and back-of-house areas with at-level access to the service street. The conference and banquet halls have their own area with a private garden for events, and a shared entrance canopy.
For the overall façade design, our ‘Zhuang Palace‘ proposal, with a unique approach to the local architecture of the Zhuang minority and a touch of rich detail treatment was chosen by Wanda from among more than four design options.
The hotel was to convey a sense of pertinence to its location, becoming an interpretation of the local architectural and cultural resources. The research led to determine the Zhuang tradition as a rich source of inspiration both in its architectural features as well as some cultural traditions and artifacts.

On the other hand, the function of the building and the sense of service provided by a hotel to its guests prompted us to search for a way to elevate the local tradition to the appearance of a palace. Therefore, the main concept was expressed as a Zhuang Palace, with a strong supporting base elevating local architecture and culture to elegance and refinement.
Typical architectural elements such as the distinctive stacked roof structures and consecutive roofs, overhanging balconies and the elaborate wooden paneling, fenestration and lattice work in facades, were the source for what we called the “noble wooden mantle”, expression of the served area, whereas the serving area was expressed as a solid stone base that supports the wooden elements.
The light, delicate and noble wooden mantle that hangs from the roofs is mainly composed by the guestroom angled balconies to provide the best views of the river, corridors and the wooden paneling that articulates the facades. The stone-clad covered walls of the lower floors constitute a modern, elegant and solid base, containing the public functions and administrative areas of the hotel. This juxtaposition is the massing concept of the building, a perfect combination of heavy and light, solid and void. The roof design is an extension of the facade design and breaks the volume into parts that work together, with a clear central volume and end towers.

One single main entrance canopy, connecting the entrances of the hotel and the banquet hall, gives character with dimensions that express the high standard of the hotel. The hotel lobby is a flow-through transparent space, with a continuous axis from entrance canopy, main doors, lobby and exit to the garden terrace, bringing the landscape into the noble spaces in a relaxing atmosphere.
The end towers emphasize the vertical dimension in the vicinity of the access avenue while displaying the large traditional drum pattern as a branding motif for the resort. The design of the drums was taken from local culture and applied as a pattern for the large scale stone decorations on the facades and as a frieze that highlights the Piano Nobile of the building. The main design features of the hotel, noble stone columns and a floating wooden roof, conform the welcoming street side gatehouse.
In addition, the main design motif of the banquet hall is the traditional repetitive roof, to highlight the importance of the building as seen from above from the neighboring high-rises.

“The Rothenburg” Hotel and Conference Center Pinghu

Planning Background

Theme, idea, motto and motivation were given by urban planning guidelines long before RhineScheme came into the play. Within the Economic Development Zone, in which the site is located, there was an area of about 7 ha dedicated to a so-called “Rothenburg town” (just like the famous tourist town in Bavaria in Germany) consisting of a big German branded hotel and a mixed-use commercial town.

Why “Rothenburg”? The main reason was obviously that there is a multitude of German companies already settled in Pinghu (and many more expected) and that a Rothenburg-themed town could serve as their very place of interest, their second home, far from home. In brief: ‘West meets East’ as political decision.

A relatively simple concept was the right answer to the given urban planning program: A long building, bended several times, by that staying with a relatively low height, moreover equipped with a rich and vivid roof-scape and a multifaceted façade, as an adequate counterpart of the small-scale Rothenburg-style commercial town.

The interior however prepares a more or less timeless, neutral stage filled with up-to-date services and with the hotel guests as main actors in the theatre-play named hotel.

‘Tradition meets Present’ is an overall design concept that makes sense, because both antipoles complement and enrich each other.

Architectural Design

The architectural design draws inspiration from traditional Middle European styles to compose a unique building catering to the overall theme “Rothenburg” which has been given by the urban planning guidelines, rather than creating an anachronism.

The classical tripartite composition of the building coincides with the particularities of a complex high-level hotel. The core public areas conform the (mainly 2 levels) base and are in close relation to the gardens and surrounding city.

Most of the guest rooms are located in the building’s main body (3rd to 6th level), where the variations in balconies and oriels, in window styles, in orientation and views make all experiences unique.

And the capital crowns the composition with Rothenburg-style red clay roofs which host special rooms and VIP areas and enjoy the best views of the surroundings.

It is complex to recreate a romantic ambiance in a core perfected for contemporary aesthetics and commodities, but the constant consideration of proportions, materials and details, as well as a deep understanding of the practical and atmospheric requirements smoothed the way for composing this very holistic piece.

The result is meant to feel like craftsmanship. And in a way, it is. Even though production techniques have varied, and although the floor planning has been systematized and unified, the very values of the good artisan – like singularity, material savviness, and attention to detail – are all reflected in the (façade) design.

Entrance

The entrance is nonetheless clearly indicated by a dominant, super-elevated central volume that holds the composition together in both aesthetical and practical terms. On the right side of the entrance, the Conference Center grows from the base of the main building almost as a self-standing piece. With a powerful rhythm, with a beautiful copper cupola and a strong symmetry, the facade draws inspiration from renaissance and neo-classical urban palaces. A most suiting and classy setting for special occasions, for high-level conferences or festive events.

Entering the grounds by the main gate feels almost like approaching a palace. Travertine walls tower around the visitor, and a central axis of water features and manicured low vegetation guide the guests toward the hotel’s main entrance. Here, a monumental Lobby awaits, the beating heart of the building from where activities swirl around. It dominates the two main landscape areas of the plot; the entrance courtyard and the internal courtyard, connecting and dividing them both visually and physically.

Patio

The internal courtyard (or ‘patio’) is flanked on three sides by the main building and becomes an important visual focus when approaching the hotel from the north and along the river promenade. It also is a physical focus of a variety of functions: Lobby, ADD, Chinese Restaurant, Kids Area, Sports Bar, Gym, Swimming Pool, and many private rooms on the higher floors, all direct their views to this patio, which also serves as an outdoor expansion area for many activities.

This courtyard is the hotel’s own plaza, a square of human scale and classical dimensions, very much like the well-loved spaces of historic districts in medieval European towns. Such spaces have the unique capacity to connect all the actors in it; from people sitting downstairs having a coffee, to those on the balcony having a smoke, or someone on their window-sill just watching people passing by.

The boundaries of the physical space facilitate the virtual closeness that gives a sense of security and familiarity.

The third side of the plaza opens to the riverside, which runs calmly throughout the north side of the site and promises beautiful reflections of the buildings.

Promenade

A continuous promenade encircles the whole estate, connecting a great variety of open areas along the way; a lively boulevard to the south, the entrance garden and green belt to the west, and a waterside walkway.

The riverside promenade connects the inner courtyard with the entrance garden; a pedestrian bridge will furthermore connect with the still-to-be-developed areas north of the hotel site. Many rooms are facing the river side to take in the views and profit from the silent landscape upfront. The bars and two specialty restaurants also take advantage of this scenic location with tall windows, an arched arcade and outdoor seating on the ground level that eventually connects the river and building. The arcade offers a transitional space for guests to enjoy the surroundings in all seasons.

The Rothenburg-themed commercial town will extend to the south of the hotel and connect through a boulevard; with pedestrian dominance, terrace dining, and a series of small public areas, it will have all the elements that make downtown European streets so enjoyable

In a nutshell

The MARITIM Hotel in Pinghu is a modern and luxurious 5 star hotel, for both business and leisure guests, with all the charm and class inherent to historic towns in Germany and Middle Europe.

It is designed for travelers-in-mind and occasional travelers-in-time who nonetheless appreciate having all the contemporary luxury and pampering around them which they are used to.

A weekend in Europe might not be comfortable to do from China, but one in Pinghu’s “The Rothenburg” Grand Hotel will be soon.

Key Features

  • 282 keys
  • 250 standard rooms (48-53 m2 as King, Twin and Hollywood types)
  • 21 Junior Suites (1.5 bays), 9 Deluxe Suites (2 bays), 1 Presidential Suite (3+2 bays). Conference Centre with Banquet Hall incl. Pre-function Area (2,010 m2) Multifunctional Hall (470 m2) and 7 meeting rooms (300 m2)
  • 4 restaurants of tot. 1,850 m2: ADD, Chinese, German, Japanese
  • Gym & SPA incl. Swimming Pool: 1,000 m2
  • Main Lobby + Lobby Bar: 940 m2
  • Executive Lounge on 7th floor: 330 m2
  • Parking lots: 278 underground, 10 above ground

Maritim Hotel Taicang

 

The Maritim hotel complex is being built in a new quarter designed to exude German quality and atmosphere. The underlying design idea is based on the motto: “Feel the breath of Northern Germany” to honor the German roots of the hotel brand. The interior design by RhineScheme translates this sensation into an elegant spatial concept. The project includes the Maritim hotel with 150 rooms and suites, a separate conference center, business spaces, and shops. The hotel exterior stands out with the design approach of a “guest house with marketplace” inspired by northern German old towns.

Wyndham Grand Boutique Hotels

The three buildings allow the hotel guests to experience a journey in time – both in architecture and interior design – through almost a century of German history and stylistic epochs:

From the elegant Neo-Renaissance (around 1870), via the opulent Eclecticism (around 1900) to the exalted Expressionism (around 1930).

The buildings’ names refer to typical features or important German personalities of their respective times: the peacock as symbol for luxury and elegance, the composer Johannes Brahms and the artist Otto Dix.

What can be clearly seen from the outside, in distinct architectural styles for each epoch, has been distilled and considered in abstraction in the interior design. A somehow German style and German story-telling makes it obvious to guests and users that this complex ensemble of buildings is united by one idea: which is to demonstrate the perseverance of German design qualities through time and through the turmoil of history.

Jinan Sunac Hotel Group

The hotel complex comprises several hotels and facilities with distinct features:

The “Wanda Vista” 6 star hotel (including Main Lobby Building, Spa building, 3 types of luxurious villas, as well as one presidential villa); the “Wanda Realm” 5 star hotel; furthermore a Conference Center and a “Confucius” theme hotel; finally a Bar Street overlooking the Hancang River.

Jinan has beautiful natural scenery, where many spring waters converge, with unique views many poets wrote about. Based on a specific historical and cultural environment, Jinan’s residential architecture has both the simplicity and weight of the Northern building style and the lightness and transparency of the Canal Towns south of the Yangtze River. RhineScheme’s design is based on these bivalent features.
Typical Northern-Chinese traditional buildings have been taken as reference, whose main architectural features are the ‘XieShan’ type of double-pitched roofs, heavy stone walls and a lively wooden façade design. These features have been adequately translated into the design of a mountain hotel. On the other hand, lightness is achieved in the treatment of architectural details.
The site itself is 10 meters below street level, which posed a challenge in the master planning stage.
Visitors will approach the resort area through a mountain road, where the scenery changes step by step. The master plan necessarily involved the landscape design, due to the pronounced level difference between the site and the surrounding planned streets. Also the slope of the site itself had to be considered (which is in fact the mountain piedmont), in order to achieve favourable unblocked views towards the east.
The topography of the site led to the placement of the higher and larger buildings on the top line close to the mountain skirt. The smaller buildings, i.e. the villas, descend towards the lower levels, with the conference center on the lowest. Across the street, the Bar Street area and Hancang River valley are limiting the complex.

The design of the hotel complex reflects Confucian culture in a refined and clear manner.
Both the main lobby building of the 6 star hotel and the 5 star hotel are aligned on the west side, creating an articulated and charming image, echoing itself the profile of Lianhua Mountain behind them.
Between the two hotels, the spa building serves as connector. Towards the east, the villas are arranged in parallel rows, organized along two artificial valleys that create open views: one in the axis of the hotel lobby, the other one leading down from the 5 star hotel building.
The overall design is like an epitome of the old city; it creates a unique and meaningful resort by following terrain and culture.

6* hotel
The lobby of the Six Star Hotel is a two-storey building that stretches horizontally across the natural water level. Combined with the infinity pool and the falling water feature, it achieves the effect of a wonderland – outdoor and indoor – like in an old Chinese painting. The building is kept in a so-called ‘new Chinese style’. The stretched flat-topped building is dotted with five different antique slope roofs. The top of the lobby adopts the traditional form of the ‘XieShan’ type double-pitched roof, thick but elegant. The falling water forms a contrast between vertical height difference and horizontal architectural form, and a contrast between vividness and tranquility. The combination of flat roof and sloped roof pays a direct tribute to the classic architecture of China during the 1950s and 1960s, at the same time gaining economic advantages.
Moving down the road there is a group of totally 75 villas, planned in accordance with the rich topography of the sloping terrain. Each villa has a broad view, while being hidden between green hills and trees.
The elegance of the entrance lobbies is in harmony with the general flexibility of the villas.

5* hotel
The “Wanda Realm” 5 star hotel consists of 250 suites. The entrance canopy forms a building interspersed among two wooden blocks. Together with the first floor colonnade and a ‘Xieshan’ type of roof it creates an atmosphere of classic Chinese culture.
The public area stands above the first valley. The valley falls suddenly and the height of the building rises sharply. In order to avoid the impression of an excessive building volume, the higher levels’ rooms are made of light-coloured wooden blocks, whereas the ground level rooms have a white coloured base. Finally, dark-coloured wooden areas and glass railings connect the two surfaces in order to create a light, almost floating building volume.
The “Wanda Realm” hotel – facing the street and with its backside close to the valley – expresses an elaborated architectural momentum, at the same time creating the required holiday atmosphere of a mountain hotel.

4* theme hotel
Still under development

Bar Street
Jinan Bar Street, along with the unique historical culture and humanist spirit of the city, echoes the city’s natural landscape system with “four sides of lotus and three willowy sides, of a city of mountains with a half city lake”.
The design takes the “spring” as the main topic and by that highlights the characteristics of the city. The bar street adopts traditional Chinese architectural style, extending the traditional vocabulary of old Jinan architecture and folk custom, creating a culture style bar street with the integration of spring and water, and the blending of history and contemporary habits.

Jinan Bar Street is designed for business, tourism and culture at the same time. By integrating different situational blocks, four main themes related with spring water have been developed: watching and tasting water, playing with water and listening to the sound of water.
The uses are: folk culture experience, high-end catering, entertainment and leisure, public facilities, exhibition, scenic or stage settings, and other formats.
The buildings’ elevations have been designed according to the geographical location of the project and the inherent cultural connotations. The bar street adopts the ancient architectural style of the Ming and Qing Dynasties. At the same time, it integrates local and traditional cultural symbols of Jinan and contemporary facade techniques.

Xi’an Super High-rise Complex

The legacy of the ancient capital endows the building with a magnificent tone. Positioning as The first-height building, it will be the future landmark with majestic demeanor. The architectural outline shall highlight the city profile with a touch of novelty.

Scheme 1: Pagodas in Xi’an

The Small Wild Goose Pagoda is one of the most iconic landscapes in Xi’an. For more than 1300 years, this Buddhist building has been gracefully stood in Xi’an, survived after many earthquakes and other disasters, and outlined the skyline of Xi’an. We decided to draw inspiration from the overall composition and elegant shape of the Small Wild Goose Pagoda. The unique and beautiful curve shape is interpreted as a contemporary and simpler intention, and make it the main element of the concept.

Four corners form the basic frame of the conceptual scheme. We aim to design the tower as a landmark building, and outline the unique urban skyline.We soften the corners in order to make it more slender and elegant, and create a concise and recognizable profile.

Scheme 2: Xi’an city

Tang Dynasty capital and its neighborhood: The urban structure and layout of ancient Chang’an fully embodies the magnificent spirit of the peak period of the Tang Dynasty. It has epoch-making influence in Chinese architectural history and urban history.

Based on the inspiration, this scheme aims to explore a large-scale facade order, we adopt the concept of ancient Chang’an neighborhood to the building, and separate it into different sections with the open refuge floor. The transportation core is exposed in the open space to show the structural characteristics. The refuge floor can reduce wind pressure and help high-rise buildings with a ratio of 1:6.5 obtain additional stability.