Month: July 2012

Coca Cola Beatbox Pavillion

Architects: Pernilla & Asif
Location: London, UK
Design Team: Asif Khan, Pernilla Ohrstedt
Project Year: 2012
Photographs: Hufton, Crow

The Coca-Cola Beatbox, designed by Asif Khan and Pernilla Ohrstedt is an experimental fusion? of architecture, sport, music and technology that creates a stunning sensory experience. The visionary structure acts as a musical instrument, allowing visitors to remix Mark Ronson and Katy B’s ‘Move to the Beat’ Coca-Cola anthem ‘Anywhere in the World’ – as they pass through the building.

The Coca-Cola Beatbox forms part of Coca-Cola’s Future Flames campaign which aims to shine a spotlight on Britain’s brightest stars and inspire other young people to pursue their passions.


© Hufton & Crow

Coca-Cola has spent two years working with partners including The Architecture Foundation, the Royal College of Art and experimental theatre company London Quest.  Together, these organisations have helped Coca-Cola bring together the best in emerging talent across design, performance and technology as part of its commitment to using its sponsorship to shine a light on inspirational young people – its Future Flames.  The result is a pavilion that is created by, embodies and celebrates the passions of thousands of Coca-Cola Future Flames who make a positive contribution to their local communities every day.


© Hufton & Crow

Emerging London-based architecture collaborators Asif Khan, 32, and Pernilla Ohrstedt, 31, were given creative control by Coca-Cola following a formal commissioning process administered by The Architecture Foundation.  The dynamic pair have designed a pavilion that aims to connect young people to the Games by bringing together their passions for music and sport.  Inspired by Coca-Cola’s global platform for London 2012 – Move to the Beat – the pavilion has been designed to function just like a musical instrument.



© Hufton & Crow

Its giant crystalline facade structure is made up of over 200 red and white inflated ETFE cushions, each gravity-defying panel connected like a house of cards. Integrated within these panels is proprietary audio, illumination and interactive sensor technology, enabling the architecture to be embedded with rhythmical sport sounds from GRAMMY award winning Mark Ronson and Mercury Prize nominee Katy B’s Coca-Cola anthem ‘Anywhere in the world’ for London 2012. His recordings from Olympic athletes’ heartbeats, shoes squeaking, arrows hitting a target, amongst many others, are  triggered, played and musically remixed by an estimated 200,000 visitors’ gestures and proximity as they ascend the external spiral ramp on a 200m journey to the pavilion’s rooftop where they will enjoy spectacular views of the Olympic Park. The ramp then plunges down into the heart of the pavilion which will feature an interactive light installation created by Jason Bruges Studio.


© Hufton & Crow

Jason Bruge Studio’s Aerial Dynamics installation is a living, breathing light show that has been designed to emulate the effervescent energy released when a bottle of Coca-Cola is served and shared. 180 bespoke mechatronic ‘bubbles’ glow rhythmically in time with Mark Ronson’s track.  Controlled with individual code, each bubble has eight polypropylene blades that fold intricately in on themselves. Special sensors embedded in the three ‘cheers in celebration’ kiosks at the base of the Beatbox detect when Coca-Cola bottles are clinked together, triggering the blades and bubbles to glow with red and white LED lighting.  These light patterns become increasingly intricate as the number of participants grow.

Now that is a music box we’d like to have 😀

KK100 / TFP Farrells

Architects: TFP Farrells
Location: Shenzhen, China
Client: Kingkey Group
Structural Engineer: Ove Arup & Partners
Tower height: 441.8 m
GFA: 210,000 sqm
Completed: September 2011
Photographs: Carsten Schael, Fu Xing, Jonathan Leijonhufvud
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KK100, the tallest building in the world completed in 2011, is an inn.ovative high density project that takes an entirely new approach to city making. It is situated on the edge of Shenzhen’s CBD and sets a new precedent for the successful 21st century transformation of commercial districts into vibrant and enriching environments. The 3.6-hectare site was previously occupied by a dense but low-rise residential quarter, Caiwuwei Village. The developer had the creative vision to form a company with the villagers, initiating an entirely new approach to the art of place-making in Shenzhen.

Existing buildings were run down and living conditions were poor. As part of initiating this transformation, a Joint Development Initiative was formed in which villagers became stakeholders. Each owner was offered a new property as well as a second home which serves as an income generating asset. This meant the preservation of community links that are built over generations. In order to offset the cost of re-provisioning residences for the villagers, the tower had to be exceptionally tall so that the project could be financially viable.










The 100-storey, 441.8-metre tower comprising over 210,000m2 of accommodation is part of the master plan for a 417,000m2 mixed-use development. The development includes five residential buildings and two commercial buildings. The floors of the tower are divided into three major functions. The floors from level 4 to 72 will house 173,000m2 of Grade-A office space while the uppermost levels from 75 to 100 will be occupied by a 35,000m2 6-star St. Regis hotel complete with a cathedral-like glazed sky-garden animated by various activities. One of the design features is the curving building profile. This form alludes to a spring or fountain and is intended to connote the wealth and prosperity of Shenzhen.




The perimeter column arrangement provides each level with an unobstructed working environment and stunning views towards Lizhi and Renmin Park as well as over all Shenzhen and beyond. It does not use the typical square foot print; the East / West façades being more slender and flared slightly so office floor plates are slightly bigger and the South / North façades that face Hong Kong and the Maipo marshes are wider. The slenderness brings certain challenges, most notably the swing or drift ratio and the robustness of the tower and performance of key elements. Instead of putting generators on top of the building, the roof is constituted by a curved smooth glazed curtain wall and steel structure.

As well as providing social and cultural continuity, KK100 is integrated with the metropolitan transport network, which is crucial for a high density project such as this. The connectivity between the various components of the master plan on various levels was critical; the tower is integrated with the podium on various levels while retail and public uses at lower levels are integrated with the Metro system; the residential blocks are linked at the higher levels to create easier neighbourhood accessibility while direct office and hotel connections are also provided for easier movement of people. The Tower serves as a ‘’Mini-city” which provides an amenity-rich focal point back to the community, offering a 24-hour city-life to be better for the environment and human interaction.