Category: DETAIL
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.
Olympic Shooting Range – Temporary
With the London Summer Olympic Games rapidly approaching, there has been much talk about either the games are in fact economically good for a city. At its best, hosting an Olympics can help revitalize a city, and at its worst, playing host can leave the host-country drowning in debt.
There are a lot of reasons for this, but one is simply the cost of building new venues, all with a price tag to match their state-of-the-art design. When the athletes and fans pack up and go, the new stadiums and event-specific venues–for example, the Athens Olympics had a venue just for taekwondo– are often left empty, and unused far before the bill is settled.
In London, there has been a little of everything, from big name high-priced venues to littler, temporary structures. But how do you make a temporary building that still has an architectural impact? Perhaps in an effort to answer this question, London and Berlin-based Magma architecture came up with a design for the Olympic Shooting Gallery that could be dismantled, but that you won’t soon forget.
The shooting galleries for the London 2012 Olympic games are covered in spots that look the suckers of an octopus’ tentacles.
Designed by Magma Architecture of London and Berlin, the Olympic Shooting Venue comprises three PVC tents that have been erected at London’s historic Royal Artillery Barracks in Woolwich.
The extruded red, blue and pink circles draw ventilation inside each of the venues and also create tension nodes for the steel structure beneath the white skin.
Some natural light permeates this PVC membrane, while entrances are contained inside all the spots that meet the ground.
As the structures are only temporary, they will be dismantled immediately after the Olympics and reassembled in Glasgow for the 2014 Commonwealth Games.
See all the permanent Olympic buildings in our recent slideshow feature, including the aquatics centre by Zaha Hadid and the velodrome by Hopkins Architects.
Photography is by J.L. Diehl unless otherwise stated.
The text below is from Magma Architecture:
?London Shooting Venue
The London Shooting Venue will accommodate the events in 10, 25 and 50 m Sport Shooting at the 2012 Olympic and Paralympic Games in the southeast London district of Woolwich.
The first Gold Medal of the London Olympic Games will be awarded at the venue for Women’s 10 m Air Pistol on the 28th July 2012. After the event the three temporary and mobile buildings will be dismantled and rebuilt in Glasgow for the 2014 Commonwealth Games.
Shooting is a sport in which the results and progress of the competition are hardly visible to the eye of the spectator.
The design of the shooting venue was driven by the desire to evoke an experience of flow and precision inherent in the shooting sport through the dynamically curving space.
All three ranges were configured in a crisp, white double curved membrane façade studded with vibrantly colored openings.
As well as animating the façade these dots operate as tensioning nodes.
The 18.000 m2 of phthalate-free pvc membrane functions best in this stretched format as it prevents the façade from flapping in the windt.
Photograph by Steve Bates
The openings also act as ventilation intake and doorways at ground level.
Photograph by Steve Bates
The fresh and light appearance of the buildings enhances the festive and celebrative character of the Olympic event.
With the buildings being dismantled after the event an additional aim was to create a remarkable design which will be remembered by visitors and the local community thereby leaving a mental imprint the Olympic of shooting sport competition in Woolwich.
The shooting venue is not situated in the Olympic Park, but has its own location in Woolwich on the grounds of the historic Royal Artillery Barracks.
Photograph by Steve Bates
It is estimated that more than 104.000 spectators will watch the competitions.
Photograph by Steve Bates
The three buildings comprise 3.800 seats divided between two partially enclosed ranges for the 25 and 10/50 m qualifying rounds and a fully enclosed finals range. Together they form a campus on the green field.
Photograph by Steve Bates
Their up to 107 m long facades refer to the structured length of the Royal Artillery Barracks building, but have their own contemporary architectural expression.
Guided by the high requirements from the client, the Olympic Delivery Authority, sustainability was a key factor in shaping the design. All materials will be reused or recycled.
All three of the venues are fully mobile, every joint has been designed so it can be reassembled; and no composite materials or adhesives were used. In addition, the semitransparent facades on two of the three ranges reduce the need for artificial lighting and the ventilation is fully natural.
The tensioning detail was achieved through an efficient configuration of modular steel components commonly used in temporary buildings market. The double-curvature geometry is a result of the optimal use of the membrane material, which magma architecture has been experimenting with for a number of years, amongst others in the award winning head in I im kopf exhibition at the Berlinische Galerie in Germany.
Magma archtitecture was founded in 2003 by the architect Martin Ostermann and the exhibition designer Lena Kleinheinz. Central to our work is the use of complex geometric modeling as a way of creating a more spatially dynamic vocabulary. This is essential to better articulate and reflect the heterogenieity of our cities and global culture.
We seek to be part of a new paradigm within architecture – one that is expressionistic, rooted in non-linear form-making and facilitated by new materiality and cutting edge technologies.
Neri Oxman: On Designing Form
Neri Oxman is an architect and founder of MATERIALECOLOGY with the MIT Media Lab. Her work focuses on computational strategies for form finding; she chooses to define and design processes that generate form. She has published numerous papers and has contributed to various texts. Her work has also been featured at the MOMA for the exhibit “Design and the Elastic Mind“, which she designed four systems of processes. In this lecture posted by PopTech, Oxman discusses what the processes of nature can teach designers and how computational strategies defined by materials and the environment can expand the possibilities of the generation of form through algorithms and analysis.
Here is an excerpt of some of her thoughts in the video:
“Emergence can be defined by a spontaneous order, a self-organization, that appears in nature and natural processes. It can be studied on multiple scales; in the cells of plants and animals and in the traffic patterns of developed cities. Oxman points to processes in nature that are defined by the rules of biological functions and from which form are generated. Without a notion of the end result, the processes are based on their functionality, for example, how structural and efficient the stem of a plant is at supporting its weight and creating energy.
Oxman’s work is inspired by the quest for the origin of form and form finders of the 1970s that were led by material and environmental properties. Form, in this case, is an optimization of the function of a material in its environment – “what it wants to be”. Technology can and often is the guide that informs the exploration and eventually evolves from it. Oxman takes these notions many steps further with her work in “computationally enabled form finding”. The equation that she presents so simple that takes the variables of material properties and environmental constraints to generate form.
The inquisitiveness of Buckminster Fuller‘s designs for efficient structures was guided by the optimization of materials in form – such as a the geodesic dome. But his explorations of the Dymaxion automobile and house inpired ideas that pushed beyond what the materials wanted to be and into what the environment wanted to be, what society wanted to be – ideas that we are now reviving in our quest for sustainable architectural solutions. In the meantime, technology is taking nature many steps forward, rushing beyond the limits of what nature can do and defining a different existence that humans enjoy, setting us apart from the lifestyles of our ancestors.
And the tragedy that we have come upon is that our technological ambitions are destroying the earth and the natural processes that it relies upon. Somewhere in between the runaway advancements and the devastating effects they cause to our ecosystems is something Oxman calls “nature 2.0?. This is a considerable idea, involved with embracing the natural organizations of materials as well as their natural functions – so not just form, but also very explicitly function. She praises nature for being so efficient at multi-tasking: analysis, modelling and fabrication in one process.
In this model of “nature 2.0? and technology, the designer is an experimenter of generating options for forms under a variety of circumstances. Technology offers the tools to analyze, map and build upon observations and designers can use these tools in a variety of ways, some of which Oxman touches upon in her lecture.
The talk can get a bit heavy at times, but bear with it… it is an interesting thought and we wonder what it brings for us… especially the part of 3D printing parts of buildings and the part which she says – no separate wall no separate roof.. and that design exists because of
The New BAUHAUS MUSEUM at Weimar
The construction of the New Bauhaus Museum is a project by the Klassik Stiftung Weimar. The planned museum will be built near the Weimarhallenpark and will present the Weimar collections of the State Bauhaus, which was founded in Weimar in 1919. The museum is scheduled to open in 2015.
The Gropius Collection, owned by the Klassik Stiftung Weimar, is the world’s oldest collection of original Bauhaus works. The collection was significantly expanded with the acquisition of the Ludewig Collection in 2010, which contained 1,500 objects of functional design dating from 1780 to the present, including important Bauhaus works. Aside from the Bauhaus Archive in Berlin, the Bauhaus collection in Weimar is unarguably one of the world’s most important in terms of size and quality.
Awards:
A total of €169,000.00 has been set aside for prizes, allotted as follows (all prizes incl. value-added tax; net
sums in parenthesis):
1st prize €55,000.00 (€46,218.49)
2nd prize €45,000.00 (€37,815.13)
3rd prize €32,500.00 (€27,310.92)
4th prize €20,000.00 (€16,806.72)
5th prize €10,000.00 (€8,403.36)
For commendations: a total of €6,500.00 (€5,462.18)
Budget:
The funding body provided the following budget for the construction of Weimar’s new Bauhaus museum:
cost of construction alone = sum for building (cost groups 300 + 400): €14.500,00 gross.
Design Challenge:
Weimar owns a unique collection on the background, history and after-effects of “Staatliches Bauhaus“, which was founded there in 1919. In 1995 a temporary Bauhaus museum was set up. Thanks to a special funding programme run by the German government and the state of Thuringia, the Klassik Stiftung Weimar foundation was able to set up a new Bauhaus museum in Weimar. This project is part of the ‘Kosmos Weimar‘ master plan, which covers all the foundation’s facilities, giving Weimar the opportunity to set a succinct example in terms of architecture and urban development.
The purpose of the competition was to find the best solution both for the new Bauhaus museum itself and for the location’s urban development potential. The competition was to be split in two parts – he first stage of the competition was the development of a fundamental design concept, selecting a suitable location and tackling the open spaces surrounding it in the context of urban planning. Furthermore, the urban design concept in Stage 1 is to plan for a possible future museum extension and a kindergarten.
In the second stage of the competition the focus is on working in greater detail on the architectural and interior concept of the new museum building. The solution to the task is expected to fit in with urban planning, be architecturally innovative and sustainable, save energy and stand up to museological requirements.
On 16. March 2012 the international jury awarded two second-place and two third-place prizes and conferred three honourable mentions.
The design proposal for the New Bauhaus Museum by Pedro Monteiro, Rodrigo Cruz, and Sérgio Silva establishes a volumetric relation with the Gauforum in regard to its location. The first thing you see is a tower of light. It leads the way. As you walk along the narrow line of Oskar Schlemmer’s logo, you are entering Bauhaus. As it gains depth, the two-dimensional design of the logo becomes a geometrical stone sculpture. Its occupation defines its architecture.
A first building, made of glass and steel, marks the beginning of the access route to the museum while a stone pathway leads to the museum entrance and the ground floor. This is where the social areas – foyer and café – are located The exhibition areas and the cinema are located in the underground floor, as well as a viewable depot for items from the Weimar Bauhaus collection. The depot’s location allows it to be a part of the exhibition, as well as to be used independently.
The exhibition areas are organized around a courtyard that may be used as an outside exhibition area, or as a venue for other events (Bauhaus Theatre, larger conferences, etc.). The floors above include the spaces where the access is more exclusive: the pedagogical areas on the first floor and the offices on the second floor.
The location of the exhibition areas under the ground is a consequence of the necessity to control their environment as much as possible. Since the terrain remains stable, those areas benefit from geothermal mass to reduce the need for insulation and mechanical control of the temperature. The courtyard organization, as a cloister, guarantees the natural circulation of air in those areas. The ventilated facade in stone assures that the rest of the building, where the environment conditions are not as demanding, is properly insulated and ventilated, reducing energy other expenditures.
The announcement of the winners officially concluded the architectural design competition. The two second-place prizes went to Johann Bierkandt (Landau) and the Architekten HKR (Klaus Krauss and Rolf Kursawe, Cologne).
The two third-place prizes went to Prof. Heike Hanada with Prof. Benedict Tonon (Berlin) and Bube/Daniela Bergmann (Rotterdam).
Three honourable mentions were awarded to the proposals by Karl Hufnagel Architekten (Berlin), hks Hestermann Rommel Architekten und Gesamtplaner GmbH (Erfurt), and menomenopiu architectures/Alessandro Balducci (Rome).
The Klassik Stiftung Weimar will now begin negotiating with the four prize winners according to VOF procedure (Contracting Regulations for the Awarding of Professional Services). The jury provided the winners with recommendations for optimising their proposals in preparation for the VOF procedure.
All proposals of the second round of the competition are displayed at the Neues Museum in Weimar.
Herzog & de Meuron and Ai Weiwei’s Serpentine Gallery Pavilion
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| Fig. 1.1 A superimposition of the previous pavilions. |
As announced back in February, Swiss architects Herzog & de Meuron and their Chinese collaborator Ai Weiwei will be designing this year’s Serpentine Gallery Pavilion at Hyde Park in London, a special edition that will be part of the London 2012 Festival, the culmination of the Cultural Olympiad. This will be the trio’s first collaborative built structure in the UK. If you do not know who weiwei is – you definitely know the “bird’s nest” which was designed for the last Olympics… They are the same guys…For those who don’t know what the whole brouhaha is about… Have a look at the info-graphic which covers all previous pavilions done by world famous architects.
Back when, it was announced, they had said that their design will explore the hidden history of the previous installations, with eleven columns under the lawn of the Serpentine, representing the past pavilions and a twelfth column supporting a floating platform roof 1.4 metres above ground, which looks like a reflecting water-like surface in the renderings. The plan of the pavilion is based on a mix of the 11 previous pavilions’ layouts, pavilions that are represented as excavated foundations from which a new cork cladded landscape appears, as an archeological operation.
This year’s Pavilion will take visitors beneath the Serpentine’s lawn to explore the hidden history of its previous Pavilions. Eleven columns characterising each past Pavilion and a twelfth column representing the current structure will support a floating platform roof 1.4 metres above ground. The Pavilion’s interior will be clad in cork, a sustainable building material chosen for its unique qualities and to echo the excavated earth (i guess the “echo” would not be heard if they use cork, and its a clever use at a metaphor. Taking an archaeological approach, the architects have created a design that will inspire visitors to look beneath the surface of the park as well as back in time across the ghosts of the earlier structures. (maybe they wanted to say – we couldn’t really do better, so might as well mish-mash old designs put one extra column – and say – hell we DID do something!!!)
Julia Peyton-Jones, Director, and Hans Ulrich Obrist, Co-Director, Serpentine Gallery, said: “It is a great honour to be working with Herzog & de Meuron and Ai Weiwei, the design team behind Beijing’s superb Bird’s Nest Stadium. In this exciting year for London we are proud to be creating a connection between the Beijing 2008 and the London 2012 Games. We are enormously grateful for the help of everyone involved, especially Usha and Lakshmi N. Mittal, whose incredible support has made this project possible.”
The Serpentine Gallery Pavilion will operate as a public space and as a venue for Park Nights, the Gallery’s high-profile programme of public talks and events. Connecting to the archaeological focus of the Pavilion design, Park Nights will culminate in October with the Serpentine Gallery Memory Marathon, the latest edition of the annual Serpentine Marathon series conceived by Hans Ulrich Obrist, now in its seventh year. The Marathon series began in 2006 with the 24-hour Serpentine Gallery Interview Marathon; followed by the Experiment Marathon in 2007; the Manifesto Marathon in 2008; the Poetry Marathon in 2009, the Map Marathon in 2010 and the Garden Marathon in 2011.
The 2012 Pavilion has been purchased by Usha and Lakshmi N. Mittal and will enter their private collection after it closes to the public in October 2012.
The Serpentine Gallery Pavilion 2012 designed by Herzog & de Meuron and Ai Weiwei will take place from 1 June to 14 October 2012. Those lucky to be in the neighborhood – do visit – the rest – rely on low res internet downloaded images…
Maximum load-carrying capacity with minimum material input
A hydraulic drive designed specifically for supporting structures, which can automatically compensate loads, has been developed by researchers at the University of Stuttgart in conjunction with Bosch Rexroth.
A wooden shell much thinner than considered possible before was constructed for the project. With a thickness of only four centimetres, the shell covers an area of over 100 m². The extreme slenderness of the shell is attributable to the fact that this is an adaptive structure. The prototype on the campus in Vaihingen was first presented on April 16th 2012 .
Photo: Bosch Rexroth
Buildings have generally always been planned for a certain maximum load. Such a maximum load however usually occurs very rarely and is limited to a short period of time. A large proportion of the building material used nowadays therefore serves to bear these extremely rare maximum loads, but is in fact hardly ever really made use of. The aim of the ultra-lightweight design developed at the University of Stuttgart is to achieve a drastic saving in material and an improved reaction to dynamic loads, through active manipulation of the structure.
In the case of the wooden shell in Stuttgart, this manipulation is achieved via hydraulic drives: these drives are positioned at the support points of the shell and produce movements, which specifically compensate deformations and material strains caused by wind, snow and other loads.
In this project, Bosch Rexroth joined forces with ILEK (Institute for Lightweight Structures and Conceptual Design) and ISYS (Institute for System Dynamics) at the University of Stuttgart to be the first in realising a large-scale adaptive building. The wooden shell is mounted on four points. Three of the support points can be moved individually and positioned freely using hydraulic cylinders. Sensors register the load measurements at various points of the structure.
Specific support point movements counteract changing loads (such as through snow or wind) thereby reducing deformation and material tension. Much less material is therefore required for the shell construction compared to conventional, passive construction methods. The load balance is achieved using a Rexroth control system, which has been specially developed for hydraulic drives. The control system is mainly responsible for the complex hydraulic regulation of the shell structure. In this way, the structure is able to react to changes in the load within milliseconds.
Active vibration damping and adaptation to changing loads is useful in many parts of the building industry, such as for stadium roofs, high-rise buildings, wide-spanning façade constructions or bridges. The results of the research project at the University of Stuttgart therefore allow a completely new style of construction: a style that remarkably increases the efficiency of supporting structures as well as being resource-friendly. The active damping of dynamic loads (for example due to effects of wind, earthquakes or explosions) permits a drastic weight reduction, as well as reducing material fatigue and structural damage.
In order to actively compensate loads and vibrations, it is first necessary to record or predict these influencing factors precisely. A second step involves calculation and realisation of the required counter-movements in real time. Researchers at the University of Stuttgart have developed simulation models which allow an exact prediction of the behaviour of the structure for this purpose. These take into account material stress as well as vibration behaviour under the influence of static and dynamic loads. The simulation models serve as a basis for development of control concepts, which calculate the required counter-movements for compensation of load and vibration effects according to the recorded measurements. These movements are then implemented precisely by the hydraulic system.
Photo: Bosch Rexroth
ILEK and ISYS jointly developed the scientific basis of the project over the past years, while Bosch Rexroth supplied the active elements of the prototype. In close collaboration with the University of Stuttgart, the company managed the project work, selection and design of the hydraulic system and its initial operation.
ILEK is a pioneer in research in the field of adaptive systems in the building industry; a first, small-scale prototype was already constructed with the sponsor from Stuttgart some years ago. The core competence of ISYS includes the analysis and specific influence of dynamic systems. For this purpose, the institute develops regulatory structures that create coordinated movements of the supporting structure. Bosch Rexroth is one of the world’s leading specialists in the field of drive and control technologies.
The project is integrated as a functional model in the Research Unit ‘Hybrid Intelligent Construction Elements’ supported by the DGF (German Research Foundation). This Research Unit brings together experts in the fields of mechanical engineering, aerospace engineering, civil engineering and process engineering.
Project participants
- ILEK – Institute for Lightweight Structures and Conceptual Design, University of Stuttgart: Prof. Dr.-Ing. Dr.-Ing. E.h. Werner Sobek, M. Eng. Stefan Neuhäuser, Dipl.-Ing. Christoph Witte, Dr.-Ing. Walter Haase
- ISYS – Institute for System Dynamics, University of Stuttgart: Prof. Dr.-Ing. Oliver Sawodny, Dipl.-Ing. Martin Weickgenannt, Dr.-Ing. Eckhard Arnold
- IBK – Institute for Construction Materials and Building Construction at the University of Applied Sciences RheinMain Wiesbaden: Prof. Leander Bathon
- IfW – Institute for Machine Tools at University of Stuttgart: Prof. Uwe Heisel
- Bosch Rexroth AG, Lohr a. Main: Dr. Johannes Grobe, André Fella
The 10 biggest shopping centres in the world
The 10 biggest shopping centres in the world
2012-04-30 00:00:00
Asia’s economic boom is reflected by the development of modern temples of consumerism. Nine out of ten of the biggest shopping centres in the world are now located in Asia. Much more than simply being opportunities for shopping, these centres are increasingly turning into amusement parks and lifestyle centres with shops attached. In February 2012, Emporis generated a ranking of the world’s largest shopping malls (by gross leasable area) and analysed current developments.
The original idea of the shopping mall was developed in the USA – the first one was built in Minneapolis in 1956. The economic boom in Asia resulted in increasing consumption the construction of mega malls. Nowadays, Asia has more shopping malls than the US; the two largest can be found in China.
The original idea of the shopping mall was developed in the USA – the first one was built in Minneapolis in 1956. The economic boom in Asia resulted in increasing consumption the construction of mega malls. Nowadays, Asia has more shopping malls than the US; the two largest can be found in China.
The following comparison might help to illustrate the astounding dimension of these shopping centres: the second in the Top 10 list, the Golden Resources Mall, offers 557,419 m², which is about the size of 75 football pitches. But it’s not all rosy for all mega malls in Asia: the South China Mall, the world’s largest mall with a commercial area of 600,153 m², reports a high vacancy rate due to decreased customer frequency. It is known as a dead mall.
Bad planning for 1.1 billion: the New South China Mall in Dongguan, Photograph: Vernon Martin / Emporis
Successful mega malls are increasingly turning into lifestyle centres, serving as commercial space for a variety of businesses and but also as tourist attractions. Dubai Mall for example offers an ice rink and an aquarium on its area of 350,244 m². The Persian Gulf Complex will have an indoor amusement park, a prayer room and a helicopter landing pad.
The aquarium at Dubai Mall is home to around 33,000 water animals, the tunnel underneath makes a bend of 270°. Photograph: The Dubai Mall / Emporis
Another strategy strives to unite architecture and environment. The 1 Utama Mall in Malaysia offers an indoor rainforest with koi basins for example and Southeast Asia’s largest roof garden can be found here. At CentralWorld in Thailand, you can watch sea lions swimming in the indoor salt water lake. In order to survive as a mega mall it has become popular to integrate offices and residential space in the centres, as can be seen in Cehavir Mall in Turkey.
Cehavir Mall in Istanbul, Photograph: St Martins Property Corporation / Emporis
Cehavir Mall in Istanbul, Photograph: St Martins Property Corporation / Emporis
The discovery that consumer behaviour can be animated by social measures has changed the architecture of shopping malls. Especially the new lifestyle centres represent an effective way to motivate customers to buy and guarantee profits.
SM City North EDSA in Quezon City, Philippines, Photograph: Clemzkie / Emporis
SM City North EDSA in Quezon City, Philippines, Photograph: Clemzkie / Emporis
With 430 shops on five stories, Mid Valley Mega Mall in Kuala Lumpur, Malaysia is number 7 in the world ranking. Photograph: Robert Tan / Emporis
After 23 years of being number 1, West Edmonton Mall in Edmonton, Canada, is now number 10. Photograph: West Edmonton Mall / Emporis
Emporis is a provider of building data and construction projects; an Emporis Skyscraper Award is presented annually.