On April 4 – 6, the international conference FABRICATE 2024 will be held at the Royal Danish Academy in Copenhagen. Since its inception in 2011, FABRICATE has established itself as a global forum for new radical possibilities for architecture and welcomed thousands of participants from practice, industry, and research.
In this third article we meet architect Zhu Pei who is the founding Director of Studio Zhu Pei and Dean of the School of Architecture at Central Academy of Fine Arts in Beijing. The text is an excerpt from the upcoming FABRICATE 2024 book and is based on an interview conversation led by Co-chair Phil Ayres between Zhu Pei and architect Cristiano Ceccato, Director of Zaha Hadid Architects. The book will be published on the opening night of the FABRICATE 2024 conference.
FABRICATE is a conference focused on the methods, technologies, and materials of making architecture. This year, the call has sought to extend the discussion to include new perspectives on how fabrication changes in a resource-aware world. This brings forth both ethical-ecological and design-driven questions asking what the future value systems and practices of making architecture can be. The conference themes will expand on questions of how to work with reclaimed materials, what bio-based thinking can drive in architecture, and how resource-aware practices can be formed.
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Localize: Sourcing and Performance at Fabricate 2024
Phil Ayres: Zhu Pei, your practice is deeply committed to working with local knowledge, resources, and materials, and, from this foundation, produces outcomes that exhibit real innovation. How do you achieve that on the ground working with local contractors?
Zhu Pei: Firstly, I place significant emphasis on creating mockups. Construction teams may lack the craftsmanship needed, often resembling farmers more than artisans. Mockups, in my experience, serve as a pivotal tool for cultivating and training individuals to execute the project according to your vision. Secondly, digital technology plays a pivotal role, especially when dealing with intricate designs. Notably, the Jingdezhen Imperial Kiln Museum, with its complex architecture and subtle double-curved structure, underscores the importance of both these aspects. The project posed challenges in pushing construction to its limits, with each segment exhibiting varying sizes and curvatures. To overcome this, digital technology became essential in driving the construction process. Collaborating with contractors, a specialized, adjustable, and movable scaffolding system was developed, relying on digital technology to adjust the scaffold’s position and shape incrementally, ensuring precise construction. Despite the critical role of technology in the construction process, I firmly believe that technology should not dictate design but rather aid in the development of construction processes. For instance, in creating the museum’s model, I initially restricted the use of 3D printing, opting for a hands-on approach to build the complex double-curved shape. This manual approach instilled confidence in the team and adhered to the principle that architecture must be based on systematic construction methods.
In the design philosophy, I advocate for a balance between low-tech and digital technology. While technology is indispensable for the construction process, it should complement the architect’s creative and artistic vision rather than replace it. Technology serves as a tool to facilitate construction, ensuring efficiency and precision while allowing architects to retain control over the artistic and poetic aspects of the design. The fusion of these elements, from my perspective, defines the critical role of imagination and creativity in contemporary architecture, rather than technology.
PA: The impact of the building industry on climate change is now both widely acknowledged and well-quantified. How is this acknowledgment playing out regarding changes to your practice? What are your experiences with the contexts in which you are working?
ZP: Rather than solely looking forward, I often look back to traditional and original structures, seeking inspiration for adapting them to modern situations. This approach stems from a unique mentality in my design process, where I strive to draw from local inspirations first. Climate is also a critical factor in my work. Considering China’s diverse geography, ranging from humid and hot areas like Jingdezhen to arid and cold regions resembling deserts, I must tailor my designs to fit these distinct climates. Right now, I am involved in a project – the Majiayao Pottery Ruin Museum located in Gansu, northwestern China – which contrasts significantly with the Jingdezhen Imperial Kiln Museum in terms of climate, culture, capability, and available resources.
For me, the challenge is to adapt to the construction culture of each region and draw inspiration from traditional structures and materials. Even when working with older materials, I strive to find contemporary applications. This process is quite different from large-scale projects like Daxing Airport. Despite the smaller scale of my projects, I face unique challenges, building in vastly different regions, ranging from dry and cold to tropical climates. These diverse environments force me to reconsider how to approach construction intelligently and sustainably while leveraging locally accessible materials and resources effectively.
PA: Your Imperial Kiln Museum stands out as a wonderful example of valorizing and reclaiming existing materials. Building upon the concerns around liability and warranty raised by Cristiano, what are the particular challenges that reclaimed materials present here, and how did you navigate these for the project?
ZP: In projects like the Jingdezhen Imperial Kiln Museum, I consider using bricks not just for their technological construction aspects but also for their cultural significance. I contemplate incorporating concrete in the arch structure to create a two-layered brick sandwich. This, to me, represents a deep integration of my design into the local culture and climate. My goal is to build in a way that is not only aesthetically pleasing but also environmentally sustainable, in light of climate change. Additionally, I value the power of tradition and believe that we should not disregard it. For example, observing traditional construction methods, such as building brick art without scaffolding, impresses me with its ingenuity. The local deep understanding of materials and sustainable practices, like using recycled old brick, fascinates me. The narrow alley and vertical courtyard forming the wind tunnel and chimney effect in local housing offer insights into sustainable design solutions. I strive to rediscover these smart approaches and apply them in my architecture. An achievement I am proud of is that the Imperial Kiln Museum, a building area of more than 10,000m² in extent, operates without air conditioning, even in the hot and humid summers. This accomplishment highlights my commitment to passive design strategies and environmental responsibility.
FABRICATE 2024: Creating Resourceful Futures asks how rethinking architectural methods, technology, and construction can create a new societal position for the built environment, appointing a particular focus on questions of resource consciousness and bio-based design and fabrication strategies. This will be explored through four themes: RECLAIM: Circularity and Reuse; LOCALISE: Sourcing and Performance; INTEGRATE: Systems and Context; and RATIONALISE: Elements and Assemblies. The conference is Co-chaired by Head of Centre for Information Technology and Architecture professor Mette Ramsgaard Thomsen and Chair for Biohybrid architecture Professor Phil Ayres. ArchDaily is collaborating with FABRICATE 2024 to share articles pertaining to the four session themes and their respective keynotes: Zhu Pei, Anna Dyson, Indy Johar and Anders Lendager to prepare for the opening of the conference.
