Shanghai Huadu Architect Design, DiLeonardo design Yanqi Lake Kempinski Hotel

Shanghai Huadu Architect Design Company showcased Yanqi Lake Kempinski Hotel in Beijing, China. For this project, chief designer Zhang Hai Ao worked with his team of 60 designers from across the globe, including the UK, Italy, Spain, the U.S., Holland and the Philippines, and spent 60 days developing the building design.

The compound is set on 513,202 square feet of land and the building is 318.2 feet high with 21 floors. The top of the building reflects the color of the sky, the middle of the building reflects the Yanshan Mountain, and the bottom of the building reflects the lake. The exterior glass surface, which is covered by over 10,000 pieces of glass panels, spans 194,558 square-feet.

The front view is that of the “Rising Sun” (round shape), symbolic of the growing economy of China. The entrance of the hotel is shaped like the mouth of a fish, symbolizing prosperity. From a side-angle view, the hotel building is shaped like a scallop, which represents “fortune” in Chinese culture. Other Chinese cultural elements are also used in the design details, such as the side of the building that embraces the concept of traditional Chinese panes.


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The roof of floor three (where the main round building starts) is a free-form shape, like a cloud. The whole picture is said to embrace the theme of “The Cloud lifting the Sun.”

Construction of Yanqi Lake Kempinski Hotel Beijing took 24 months with help from over 9,300 construction workers. The building was constructed with reinforced concrete and all-glass exterior. The building can withstand up to a level eight earthquake.

Environmental protection and sustainable development were main considerations for the property, and various environmental protection technology were used in the construction of this building. Compared to other shape types, the round shape of the building will not change the wind environment. On the contrary, the shape of the building will help to maintain the original wind environment, since the wind plays a key role in the growth of plants. Within the building, all glass panels are four-layered to reduce energy consumption and hotel operational costs in the future.

Yanqi Lake Kempinski owns the CCHP Systems Applications, which uses natural gas as the main fuel to supply heating and cooling to the hotel. It is also the first hotel in China to use the Gas Power Generation System to reduce energy consumption. All hotel guestrooms have independent ventilation apart from the central air conditioning system to keep the air fresh within the building.

The building is equipped with an indoor air quality monitoring system. Air quality in the underground garage is monitored by a CO concentration monitoring system and is equipped with an automatic start-stop fan. The system also monitors the air quality and air ratio in the public areas with a goal to improve indoor air quality and reduce energy consumption.

Photovoltaics (PV) is applied to the building's roof and exterior, and any part of the building that is exposed to sunlight. The hotel's solar power system uses Yanqi Lake's solar panels, which are composed of solar cells containing a photovoltaic material, and are located next to the hotel by the dam.

The hotel's interior was designed by DiLeonardo.

The interior was inspired by the idea of framing the view. The designer created elements of intrigue within the overall design of the hotel by experimenting with the juxtaposition of solids and voids, and infusing reoccurring geometric forms into spaces and design elements.

The centerpiece of the hotel lobby is a custom-designed art feature. Set around the staircase, the feature is composed of thousands of round glass spectrums hanging from the ceiling to the ground on stainless steel cables. Its design reflects the exterior outline of the mountainous landscape beyond Yanqi Lake. Intentionally set apart, the panels are layered behind each other within the lobby space, each with a unique design intended to create depth as the viewer looks upon it from different angles. The lobby furniture is contemporary, with splashes of jewel-toned violets throughout the finishes of the decor, carpet design and stone flooring.

The Presidential Suite is understated with a contemporary flair and furniture. Jackson Pollock-style artworks adorn the walls of the suite, while the  abstract floral-embossed carpet is inlaid with French walnut wood floors. Other detailing includes bevelled mirror-lined friezes around the recessed ceiling and air vents, metallic-backed, fabric wallpaper-lined panels with detailed grooves lining the walls, and silk-like material lining the back of the feature wall bookshelf in the study.

The guestroom design is minimal and contemporary. There are hints of blues, with wallpapered panels softening the overall space, as well as printed fabric selections for accent pillows. The flooring makes use of honey golden wood.

Contemporary furniture pieces in dark and golden brown zebrano are accented with metal and mirrored details. The monolithic and large-scaled zebrano wood frame around the bed suggests the “framing” concept being carried throughout the hotel's design and brings it into the guestroom interior architectural design.

There is a hint of Chinese influence in the modern interpretation of an antique Chinese wood-carved chair repurposed as a desk chair accompany the work desk along the wall beside the inset television. Smoked glass encases the split bathroom facilities, with the bathtub looking out into the guestroom integrating the bathroom with the living space and allowing for natural light to spill into the space.

Floor two connects to the ballroom and meeting rooms. The atrium space, with the connecting staircase to floor two of the hotel, is accented by a three-dimensional geometric feature wall with integrated lighting. Set within a stone frame, the arrangement is an abstract set of smaller geometric three-dimensional frames of various sizes that run the height of the four-story space. Suspended within the void of the atrium is a large-scale Ruth Asawa-inspired wire-sculpted lighting feature.

The pre-function space features a two-story-high feature wall with various linear sections composed of interchanging pieces of metal and wood, creating a continuous, bevelled rippling effect along the wall. A row of monolithic rectangular columns extends in front of the feature wall to “frame” the space. The ceiling design has light alcoves that suspend an arrangement of large-scale lanterns encased within three-dimensional irregular geometric gold frames. The ballroom is envisioned to be a “jewelry box.” The wall panels are upholstered in velvet while the main design feature is the ceiling, organized by a grid of squares. Within each square is a chandelier of colored crystal pieces arranged in various lengths, mimicking the outline of a mountain range with a purple hue.