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Anji Play

Design: 2016-2020
Construction: 2018-2022

Nestled at the foot of the Yuhua Jinhua mountains in China’s Zhejiang province,  on a site rich in topographic and natural diversity, the new AnjiPlay Kindergarten and International Child Care Center anchors a rural education complex comprising research and teaching spaces, an AnjiPlay Museum, convention center, and dormitories.

Rooted in the principles of Anji Play, a 21st-century early childhood education movement founded by Cheng Xueqin, the design of the Anji Campus introduces open-ended, self-directed play in minimally structured environments, supporting children’s innate capacity for exploration, creativity, and decision-making.

The fundamentals of Cheng Xueqin’s philosophy—that children have a right to space, freedom, discovery, materials, nature, and time—ground the design. The architecture remains deliberately neutral, placing ecology in the foreground and integrating seamless transitions between spaces. The buildings are elemental in form—simple enough for phenomena to be experienced, not dictated, and encouraging children to trust and engage with their environment.

A natural playscape emerges from the site, organized into five clusters connected by a ramp constructed from Anji bamboo. These clusters dissolve into sixteen homerooms that each share a common building block while remaining unique in form. More than just spaces to play, learn, and grow, the homerooms also become a true home for the students.

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Longleaf Art Park

Longleaf Art Park

Design: 2021/2024 Construction: 2024/ongoing

Situated in the Watersound Origins development, the 15.5-acre Longleaf Art Park will be a new cultural, educational, and recreational community hub in Walton County, Florida. It’s anchored by a purpose-built pavilion housing the 217-foot long Passage of Time sculpture, a significant masterwork from world-renowned artist Richard Serra. The 17,000-square-foot sculpture pavilion—OLI’s third collaboration with Serra—is a versatile gallery space, accommodating galas, lectures, and special events.

The pavilion’s design is deceptively simple yet highly engineered, carefully detailed to heighten the art experience. All amenities were placed away from the sculpture pavilion, including the reception, visitor parking, and the 20,000-square-foot event space. Strategically contoured berms, formed using fill excavated from the retention pond that protects the surrounding wetlands, visually shield the pavilion, guiding visitors on a journey of discovery.

The pavilion exposes the art piece to the tree canopy, placing it in dialogue with the landscape, and celebrates the site’s history: the native wetland and the subsequent paper-making tradition it cultivated. As with all of Serra’s site-specific works, this relationship to place is central to the experience.

Like the streams and decks that traverse the nearby wetlands, the pavilion is approached from a winding wooden deck that hovers off the ground, echoing the sculpture’s rhythmic form. The turns become more frequent approaching the pavilion, affording the viewer varying glimpses through the columns of the pine forest trunks and the pavilion façade.

The trapezoidal pavilion is entered from glass vestibules located at the concave pockets of the sculpture. The two entrances guide visitors through the pavilion, encouraging an intimate dialogue with the sculpture. From the building’s orientation to the large asymmetric pitched roof, traditional passive strategies rooted in Florida’s vernacular architecture allow for generous expanses of high-performance glazing that further deepen the connection between built form and landscape.

BSM Service Center

BSM Service Center

Design: 2020-Ongoing
Construction: 2022-Ongoing

Changxing County Xiaopu Town Smart Village Management Service Center is located in the scenic area of Baduqian, Xiaopu Town, Changxing County. It will serve four natural villages, namely, Dajiakou, Panlinan, Fangyan and Fangyi. The building of the service center is located on the shore of Badu Weir. Like a floating village among ginkgo trees, it will provide services to the villagers, and will also become a new landmark and attraction in the Badu Qin scenic area.

The architectural design concept of the service center originates from the beautiful and spectacular ancient ginkgoes in the Baduyan Scenic Area. The central building consists of tall wooden pillars shaped like the trunk of a ginkgo tree, connected by a platform and a roof. The center consists of a cluster of buildings with different functions, connected by a network of columns and lifted up to ensure an unobstructed view of the surrounding water and trees. The buildings with different functions are connected by yellow platforms, among which there are small ginkgo gardens, sun corridors and communication spaces. The roof, supported by wooden columns, is made of polycarbonate, and the ceiling is made of colored wooden strips, where the sunlight is dispersed and shines softly on the ground, as if it were a crystal clear ginkgo tree in autumn.

The largest space is the multi-functional hall, which can hold large wedding banquets of 450 people. The perimeter of the banquet hall is slightly stepped, and the space can be divided or combined to hold events of different scales.

The design will use old wood as much as possible to increase the sustainability of the project and to echo the surrounding ginkgo trees and the old timber frame house. Some structures can be prefabricated and assembled on-site to speed up construction. Wooden structures will also bring a comfortable sense of nature and warmth to people, moving their heart and reducing their stress.

The Smart Village Management Service Center in Xiaopu Town will be an environmentally friendly, comfortable, natural and people-oriented center for villagers and will receive guests from all over the world around the clock, becoming an important landmark attraction in the Badujiao scenic area.

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Luoyang Museum

Luoyang Museum

Design: 2022-2023

The design of the Han and Wei Luoyang City Site Museum places the architecture between earth and sky. It’s built upon history, yet emphatically forward-looking. Drawing inspiration from the urban layout, architectural forms, Chinese calligraphy, sculpture, and landscape traditions of Luoyang during the Han and Wei dynasties of Luoyang, the museum reinterprets these classical elements to create a contemporary cultural space.

Adhering to Han and Wei ancestors’ artistic spirit of shifting from formal resemblance to spiritual resemblance, the design pursues air, rhythm, form and spirit. The result eschews a singular emphasis, rather blending architecture and landscape, straight lines and curves, solid and transparent partitions.

The building’s form is both solemn and elegant with an open, flowing layout. As an international heritage museum, it offers a window into the Han and Wei dynasties to visitors from around the world.

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Earth Park

Earth Park

Design: 2022

Nestled in a tributary of the Anning River in Sichuan’s Liangshan Yi Autonomous Prefecture, the Hua Hai Gao Earth Park Natural Art Gallery is a striking blend of architecture and landscape. Carefully shaped in response to the site’s undulating, rocky topography, the building appears to rise from the ancient river valley. Inspired by the eroded shape of river boulders, the Natural Art Gallery consists of three discrete concrete shell volumes that appear to float above a recontoured river bed. These volumes house the exhibition spaces, combining art and nature to showcase the natural beauty of the river and the future Hai­huagou Earth Park development.

Approaching the Natural Art Gallery via a pedestrian foot bridge that connects to the roof of the reception and exhibition hall, visitors experience a sense of physical and mental separation from the busy access road. While crossing the entry bridge, visitors are then immersed in views of the river upstream, where water is quietly diverted via a hidden ballast valve. From there, the stream flows gently from each successive concrete roof vessel in a series of controlled cascades, eventually falling down as curtains of water around programmed areas.

Within the Natural Art Gallery, expansive curved glass enclosures physically and visually open to 180-degree views of the river valley. Pools of varying depths respond to seasonal changes in the river’s edge, creating evolving experiences throughout the year. The result is a dynamic destination that brings visitors closer to the wonders of nature on each successive visit.

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Guanghui Museum

Guanghui Museum

Design: 2016-2018
Construction: 2022

Anchoring the ring of new civic buildings bordering between the newly-planned Central Park and developing Central Business District, the Chengdu Ink Painting Museum appears like a painting hovering above the undulating mounds of the Central Park. The museum contains an invaluable collection amassed by the founder of the Fortune 500 company of 20th-century Chinese ink wash painting masterpieces, a revered art form practiced by scholar gentlemen and literati and is elevated above a valley landscape reminiscent of the favored subject for many artists.

Looking closer, the valley which cuts across the axis of the residential and commercial headquarters of the Guanghui development is programmed with retail and public amenities, which become the base support of the two-story museum gallery wing that hovers above. The layered walls and partitions of the galleries and open circulation spaces are hidden behind multiple layers on the facade facing the Central Park, the bronze pattern reminiscent of the great ancient bronze civilizations of Chengdu. Within the natural landscape, the galleries face the Central Park reminiscent of Chengdu’s past while the East facade projects toward the glass and steel towers of the Central Business District, the new future of Chengdu.

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Xiuwu Expo

Xiuwu Expo

Design: 2021

Xiuwu in northern Henan province is an ancient county famous for natural scenic tourism but a new economy has started blossoming promoting aesthetic architecture, crafted urban products and development.  Anchoring the new district developing around the recently completed Xiuwu West high speed rail station in Xiuwu County, Henan Province is the new 33,960m2 China Hanfu Cultural Center.  Home of the “Never Ending Hanfu Festival,” the new center is influenced by traditional Han costumes based on lightness and simplicity, emphasizing the harmony between man and nature.  Yet, in line with the ethos of the growing modern Hanfu culture, the center is a new interpretation of the essence of traditional culture in a contemporary context combining art, design and fashion and the aesthetic taste of the younger generation.

Located southeast of the high-speed rail station on the south side of Fensghou Road, and north of the highway, the Cultural Center is strategically located to anchor the development of a series of planned amenities promoting Hanfu culture becoming a new “capital of Hanfu” that will attract people from cities far and wide across China.   Billowing in the gentle Xiuwu breeze, the Hanfu Cultural Center, clad in custom colored HDPE mesh, welcomes and entrances visitors while environmentally reducing solar heat gain on the three main volumes of the Cultural Center it wraps. 

The largest volume contains main exhibition halls on three floors each with 2,800m2 with 12m column spans.  The other two volumes contain exhibition halls on the first floor, multifunction halls on the second floor and a lecture hall and banquet hall on the 3rd floor with larger uninterrupted spans.   All major functions provide flexible floor space to provide over 15,000m2 of exhibition space.

In the center of the three main volumes is a central glass encased atrium with colorful loggias reminiscent of the famous cave dwellings nearby north of Xiuwu.  A series of dynamically arranged vertical ramps and stairs with glass guardrails provide strategic connections between program volumes while acting as a catwalk for costume clad visitors to see and be seen as if in an impromptu fashion show. 

Around the perimeter of the 1st floor are strategically placed cafes, retail shops and a VIP reception/lounge while the basement houses the back of house amenities, workshops, a loading dock with parking for staff and VIP, and lockers and changing rooms for visitors.

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Stone Carving Museum

Stone Carving Museum

Design: 2021-Ongoing

The Qingtian Stone Carving Art Center will be the premier destination for thousand-year-old art of “Embroidery on Stone,” recognized as one of China’s national intangible cultural heritage treasures. Rising from Dongbao Mountain on a promontory overlooking Li Shui City and the Ou river, the Center forms theheart of the Dongbao Mountain Overseas Chinese Cultural and Museum Ecological City.

Drawing from Qingtian’s renowned stone-carving traditions, the design rises out of the earth as if carved from the site’s distinct topography, integrating with the natural surroundings and offering expansive views across Li Shu City. The program accommodates numerous permanent galleries, two temporary galleries, educational and multipurpose spaces, artist residences, an upscale restaurant, and a museum café.

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Siteman International Oncology Hospital

Siteman International Oncology Hospital

Design: 2019-2021

A new state-of-the-art private medical facility located between the metropolises of Suzhou, Wuxi and Shanghai, the Siteman International Oncology Hospital and Medical Center provides cutting-edge healthcare in a low-density environment integrated with the rich, natural landscapes of the historic Suzhou gardens.  

At the foreground of the 128,000 m² complex, a 77,400 m² Oncology Hospital provides surgery, chemotherapy, radiation therapy, immunotherapy and proton beam therapy among other specializations, advanced equipment and technology. Patient wards include 143 single-person rooms, 110 double rooms, 22 intensive care units (ICUs) and related medical treatment facilities. In lieu of a traditional hospital typology, with stacked inpatient and outpatient towers adjacent to a central diagnostic and treatment center, the Huici Suzhou International Hospital and Medical Center distributes inpatient wards and outpatient clinics into low-density complexes within the garden landscape, providing ample natural daylight and views of nature.

To minimize inefficiencies and maximize vital adjacencies, the building complexes are designed at a specific scale to loop around the central diagnostic, treatment and imaging centers. To the north of the site, higher density structures house a 6800 m² Postpartum Care Center, a 13600 m² Rehabilitation Center and a 11400 m² Nursing Center.

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Diageo Jade Complex

Diageo Jade Complex

Design: 2021-2023
Construction: 2022-Ongoing

The Diageo Jade complex is inspired by the tradition of whisky making, and its deep connection to place. Located in a fertile valley in Dali, and fed by pristine natural springs, the Jade whisky made here is born from a rich and beautiful environment. The architecture of the complex takes its cue from this relationship, drawing inspiration from the heritage of Dali and Scottish whisky making traditions, and taking advantage of the biodiverse landscape and spectacular views the site affords.

The architectural concept of the project highlights the experience of nature, by stimulating the senses. We have chosen materials and carved space in order to frame views, control light and amplify sound. The sky, water and air are integral components of the design, along with the earth, stone and planting. Taste, touch, sound and smell are all activated and stimulated through this crafted Jade experience. The Jade complex design is abstracted from the building traditions of Bai/Dali vernacular architecture, and historic Scottish whisky distilleries. These inspirations have a common material palette of rough stone, dark pitched roofs, and whitewashed walls. These materials are formed into a series of courtyard-like spaces, a typology typical in the region, to utilize sustainable practices of cross-ventilation and thermal mass. The long, linear site presents the opportunity to experience a dynamic, sloped landscape, approximately 12m from West to East.

The stone buildings of the Visitor’s Center are low and embedded in the ground along the north approach road, and then once inside dramatically open up to reveal expansive views of the Cangshan Mountains to the south. The building layout is terraced to take advantage of the naturally sloping site and create a dynamic visitor experience to be discovered. 

A series of pools and water features are integrated with the Visitor’s Center to emphasize Jade’s deep connection to water. These pools are filled with purified water from the processing of the pristine single malt whisky. This water, along with collected rainwater, is also used to irrigate the lush landscape at the east end of the site, supporting the biodiversity of Yunnan where the original pristine spring water is cycled back into the ecosystem.

The tapered form of the barrel tower is an abstraction, of the famous Three Pagodas of the Chongsheng Temple in Dali. It is jewel-like shape (tapered at the top and bottom) minimizes shade of the peripheral platform below while giving the form a perspectival lift and a taller appearance than the actual height. The barrel tower is clad in tessellated pattern of white hexagonal metal panels, reminiscent of the faceted tiles found in the vernacular “Bai Architecture” of the region.

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Wood Block Museum

Wood Block Museum

Design: 2018-2019

The Taowahu Wood Block Museum serves as the exhibition space for a vast, preexisting collection of ancient wood block prints. Originating in China in antiquity as a method of printing on textiles and later paper, the art is a slow and steady process of layering, resulting in a composition of depth.

The spaces of the museum fall in a similarly layered sequence, with the visitor following along through the various galleries and functions in separate volumetric entities. The circulation throughout the architecture, with direct interaction with the surrounding Suzhou Gardens, establishes a narrative of wood block printing techniques, from process to end product.

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Museum of Islamic Art Park

Museum of Islamic Art Park

Design: 2009-2010
Construction: 2010-2012
Design Consultant/Project Designer: Hiroshi Okamoto
Lead Consultant: Pei Partnership Architects

The Museum of Islamic Art Park is a redevelopment project of the 24-hectare man-made landfill surrounding I. M. Pei’s Museum of Islamic Art in Doha, Qatar. Anchored by a 79-foot, site-specific sculpture by Richard Serra, the park’s five-hectare peninsula includes restaurants, kiosks, and leisure amenities. As the capstone to the Doha Corniche redevelopment, it transforms the city’s seaside promenade into a cultural public park that is accessible 24 hours a day to residents and families alike.

The black granite pier designed for the Serra sculpture—a monolithic chamfered parallelogram—extends from the end of a palm-lined allée, forming a majestic backdrop to the museum. From this vantage point, visitors are treated to panoramic views of Doha Bay and the city’s rapidly transforming skyline. The pier cantilevers 249 feet over the water, creating a powerful tension between its horizontality and the verticality of the sculpture.

On the top floor, Idam, Chef Alain Ducasse’s first restaurant in the Middle East, occupies a new dining space and terrace. Oversized stainless-steel peak doors, low-iron glass panels, and Hauteville French limestone preserve the geometry and material palette of the original museum. At the same time, the space offers a new experience and new views of the city skyline.

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China Silk Embroidery Art Museum

China Silk Embroidery Art Museum

Design: 2010-2014

The China Silk Embroidery Art Museum is located on the west side of Suzhou, China, housing a UNESCO World Heritage Garden and Wang Ao Temple. With the exception of a few large-scale public buildings, the context is residential and richly historic with the history of Suzhou’s embroidery art. The design for the museum distinguishes architectural volumes by different programmatic functions, allocating exhibition space to the Southeast while locating reception functions to the West. Entering through a gate, visitors pass through a glass reception pavilion before circulating through the galleries of artifacts and masterpieces, following the sequential steps of embroidery production: from embroidery design to silk dying, weaving, and mounting for display.

The museum integrates the UNESCO Garden through an array of small-scale volumes within the landscape, expanding further into small courtyards. The space fluctuates through harmonic oppositions, from open to enclosed spaces both narrow and wide. While the embroidery galleries and studios require indirect lighting, the public spaces adjacent to the courtyard access its abundant daylight.

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Suzhou Museum

Design: 2002-2004
Construction: 2003-2006
Architect: I. M. Pei
Site Architect: Bing Lin

The Suzhou Museum design finds inspirations from the classical buildings of Suzhou with white stucco walls and grey tiled roofs, and from the classical gardens of Suzhou for which the city became famous. While respecting the historical context of the past, the design illustrates a new interpretation of the classical architecture, meeting the challenging design requirements of being not only “Chinese and Suzhou, but also contemporary and forward-reaching.” Immediately upon completion, the building has been recognized as an important and successful precedence in the delicate balance of modern building design in the historical Chinese context.

The new Suzhou Museum employs a simple building palette with white walls and stone tiled roofs. The black granite roof tiles are uniform and solid, and in harmony with the traditional tile roofs of Suzhou. The galleries are interconnected with a series of courtyards. The main garden of the museum is separated from the adjacent Unesco designated Humble Administrator’s Garden by a shared wall. The design of the main garden is simple and elegant, with a flowing pond, gazebo and a sliced stonescape as the centerpiece. The sliced rocks from Shandong province carefully arranged against the white courtyard wall form a three-dimensional Chinese landscape painting.

Suzhou has a splendid cultural tradition with art crafts and paintings of Ming and Qing Dynasties. The exhibition spaces and design are carefully scaled to be appropriate for its displayed contents. The museum also has a contemporary gallery, a temporary gallery, multi-function room, VIP reception room, and a café. It is a modern museum with state-of-the-art facilities. Since its opening, the new Suzhou Museum has become a new landmark of Suzhou City, designated as a top-ranking Class A museum of China and has becoming a window and platform for cultural exchange and development with the rest of the world.

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