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Beijing CITIC Jinling Hotel

The Beijing CITIC Jinling Hotel complex is located on the southeastern half of the Xiyu Reservoir, featuring a construction area of approximately 50,000 square meters. Before construction, the hotel site was an abandoned mountain orchard. During the construction process, the large-scale excavation of the mountain resulted in the destruction of the original habitat. Our intention was to dispel the volume of the buildings, convey the functionality of the architecture into the landscape, and integrate the building complex into the overall landscape; this was achieved by utilizing local materials, adapting to local conditions, and repairing the damage to the original environment which was incurred during the construction process. We were committed to creating functional outdoor venues and artistic scenic concepts as required by the hotel, so that it may be habitable and playable, whilst generating sustained attraction and competitiveness. This project applies the practice of combining ecological restorative technology of the contemporary natural environment with the traditional Chinese Shan shui cultural aesthetics.

The landscape design focuses on the symbiotic relationship between architecture and the mountain environment, by deconstructing the overall volume of the building itself, such as the outdoor evacuation staircase, tall retaining wall, roof platform and the sunken courtyard, the result is that these elements are transformed into ramps, paths and sightseeing platforms which are staggered between the hillsides. These elements are organically combined with native vegetation and newly planted native plants. In accordance with the viewing relation as relating to the mountains, water, vegetation, buildings and surrounding environment, different visual scenes and scenic spots converge together in a formation, and the tour route and unique scenes conveyed along the walking path emerge in a series, realizing the artistic concept of “picturesque environment with people in the painting”.

Using the original natural environment of the site, and by allowing the use of water to guide the scene, utilizing the reservoir scenery and distant mountains through the application of dredged depressions that allow the lake to “lend itself” to the scenery, solving the problem of rain drainage and flooding in the mountainous environment, whilst also preserving the native trees and ecological environment, replenishing hygrophytes, purifying the water quality, and establishing a natural and sustainable ecosystem from the mountains to the water front. Abandoned mountain stones on site were utilized to build an ecological retaining wall, which in tandem with local vegetation was used to create a mountain garden. In this way, while remolding the mountain, and preventing soil erosion through controlled techniques, it was also possible to create a scene of natural growth that spans the vast expanse of mountains and forests.

Landscape design seeks to achieve the integration of the material environment and natural scenery, drawing lessons from Chinese traditional landscape painting, and introducing nature into architecture. Nineteen outdoor courtyards form fragments of a constantly changing space, scattered among the cracks in the building. It is an area where people can enjoy being alone, having gatherings, and chatting quietly. The courtyard is luxuriant in vegetation and natural streams of water flow among the buildings. The building itself interacts with the mountains and forests, creating a relaxing and pleasant tour environment. Diversified and flexible areas can support the organization of activities of various forms and varying scales that will bring economic benefits to the hotel, transforming the area into a productive force.

This project bridged and rebuilt the relationship between the artificial environment and natural environment. By integrating these two elements, the inherent contrasting and complementary elements have formed a Chinese landscape painting that ultimately embodies the aesthetic concept of “The Great Form is without shape”.

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