A Conversation with Architect Zhuang Shen, "Aranya Jinshanling Art Center," shortlisted for the 2024 Wienerberger Brick Award, by James Scarborough
March 10, 2025
In the rugged terrain of Hebei Province, Zhuang Shen's Aranya Jinshanling Art Center emerges as a testament to architectural ingenuity. The center doesn't just occupy its mountainous site; it converses with it. Shen's concept of "a pavilion of brick pavilions" dissolves boundaries between inside and outside, structure and void, permanent and ephemeral.
What makes this work significant isn't just Shen's technical virtuosity with brick. It’s his philosophical approach to fragmentation and unity. The 15 distinct "column pavilions" frame panoramic vistas while simultaneously fracturing them. This creates what Shen calls "encounters" between visitor and landscape. It's a clever spatial trick: the interruption paradoxically enhances our perception.
Despite budget constraints forcing a shift from structural brick to facing brick, Shen maintained his vision's integrity. The honesty in exposing these material compromises rather than hiding them speaks to an architectural ethos that values authenticity over illusion.
The center's international recognition it was shortlisted for the prestigious Wienerberger Brick Award (China's sole representative) confirms what the building itself whispers: here stands architecture that balances cultural specificity with universal appeal. Shen's building isn't just aesthetically accomplished; it's experientially rich, offering visitors multiple scales of interaction from intimate reading nooks to communal gathering spaces.
In an era fascinated with technological spectacle, Shen reminds us of brick's enduring expressive potential. This modest material, in his hands, becomes poetry.
Below follows an email conversation with Professor Zhuang Shen.
JS: Your design concept revolves around "15 brick-built column pavilions" that together form a "big brick pavilion." What inspired this organizational strategy? How did the proximity to the Great Wall influence your approach to structure and materiality?
ZS: 这是一座包围在群山风景中的建筑，也是一座社区公共建筑，它的作用是成就人们的日常使用，成就人与自然的美好交互。中国传统美学认为，这种通过成就自身之外的美好之事来成就自身，是一种事物产生美学意义的重要方式。放在空间设计上，这就是一种有效的方式——建筑作为一种媒介，一种整体关系的创造者。
具体到这个项目，一开始我们就想创造一个场所，以及一种与众不同的体验方式。另外，面对未来不确定的空间使用方式，我们采用了一贯主张的“中性空间”模式。我们确定了用“厚柱”式的构筑物去“挤压出”空间的方法，形成一个有顶盖的一层建筑物。这样做，一方面是为了在相似的环境中创造能带来不同看山方式的空间，另一方面是为了形成能适应不同使用方式的空间。
采用现在这样大砖亭的形式，还有一个考虑就是新的建筑要有一个独特的形象。因为金山岭社区的入口在山脚处，而这个建筑是进入社区第一眼就能看到的地方，所以我希望它是一个所谓精神性的建筑。设想晚上在群山中，有座房子内部透出柔软的光线，在漆黑的夜里带给回家的人一些光亮和温暖。
至于材质我们采用了砖的质感，一方面是身处在中国北方山林中，希望建筑能够结实有力，另一方面是社区温暖怡人的氛围用红砖能够协调起来。
This building, nestled amidst picturesque mountain scenery, serves as a community public facility. Its primary function is to facilitate daily use while fostering harmonious interactions between people and nature. According to traditional Chinese aesthetics, achieving beauty through contributions to the well-being of others is an essential means by which objects acquire aesthetic significance. In spatial design, this principle translates into architecture acting as a medium that creates and enhances holistic relationships.
For this project, our initial objective was to create a distinctive place with an unparalleled experiential quality. To address the uncertainty of future spatial usage, we adopted our established "neutral space" model. We opted for a design featuring "thick column"-style structures that define the space, resulting in a single-story building with a roof. This approach aims to create diverse perspectives on the surrounding mountains while ensuring adaptability to various functional requirements.
The decision to adopt a large brick pavilion form was also driven by the need for a unique architectural identity. As the first structure visitors encounter upon entering the Jinshanling community at the foot of the mountains, it is intended to serve as a spiritually significant landmark. Envision a scene where, at night, soft light emanates from within the building, providing warmth and guidance to those returning home in the darkness.
In terms of materials, we selected brick for its robust texture. Given the building's location in the mountains and forests of northern China, we aimed for a structure that is both sturdy and enduring. Additionally, the warm ambiance of the community can be harmoniously complemented by the use of red bricks.
JS: The project underwent several significant material transitions, from pure masonry to steel-frame brick wall, and finally to facing brick. How did these technical compromises affect your original vision? What strategies did you use to maintain the building's conceptual integrity?
ZS: 从接手设计到施工完成，不管是开始想用砖砌筑主体结构，还是最后决定采用钢结构，不管是最初想采用砌块来构造，还是最后采用面砖装饰构造，我们对砖这种形式的态度一直没改变。砖，作为一种特征，一是需要纳入整体的空间情境，二是需要反映其构造的真实性。也就是说，砌筑的特征与面砖的特征，本质上的不同是可以从表现上区分出来的，问题在于既要表现其不同，又要在体验上保持原来设想的力量、温暖、和谐的感受。这个目的我们是通过面砖特有的拼缝方式来呈现的。
事实上只要做到以上即可。而空间调整与构造则是更容易处理的方面。例如，材料调整后，在空间设计上首先要协调的是各个构筑砖亭的内外材质构造。在改为面砖构造以后，小砖亭内部的材质不仅有面砖构造，也增加了协调的威尼斯抹灰，以方便处理不同柱亭的复杂内部空间构造。
From the initial design phase to the completion of construction, our commitment to the aesthetic and structural integrity of brickwork remained unwavering. Initially, we considered using bricks for the main structure but ultimately opted for a steel framework. Similarly, while we initially planned to use concrete blocks for construction, we decided to employ facing bricks for exterior cladding. Throughout these changes, our dedication to the form and essence of brickwork has been consistent.
Bricks serve as a distinctive feature that must be seamlessly integrated into the overall spatial context while reflecting the authenticity of their construction methods. The key challenge was to distinguish between the characteristics of masonry and facing bricks in terms of appearance while maintaining the intended experiential qualities of strength, warmth, and harmony. This balance was achieved through the unique jointing techniques employed in the facing brick application.
Spatial adjustments and construction modifications were relatively straightforward. Following the material change, it was essential to harmonize the internal and external materials of each brick pavilion. After transitioning to facing brick construction, the interiors incorporated both facing bricks and complementary Venetian plaster finishes. This combination facilitated the intricate detailing required for the complex internal spaces of the pavilions.
JS: The relationship between the building and its landscape seems central to your design. Elaborate on how the fragmentation of views through the column pavilions creates what you've described as "encounters" with the surrounding mountains?
ZS: 这些厚重的柱亭最初其实是为了风景。这个建筑置身于一个住宅区内，风景优势并不算强，所以我们用了非常厚体积的柱体，把风景进行切分。柱亭之间，风景成为一种“邂逅”。上山沿途已熟悉的风景和光线从柱体之间渗透进来，完整的风景在人们或行走或驻立的流动中，不经意地被柱亭分割成片段，随即又在印象中被连缀起来。这种以打断、破坏整体来达到整体意向的手法，是将人的认知习惯与空间设计结合所形成的特别体验。以这样的方式塑造定义周围群山的风景，也塑造了建筑的内部性。敦实的系列砖亭形成建筑的特征，为外部提供了有意思的视觉和包容温暖灯火的空间印象。
These substantial column pavilions were initially conceived to enhance the perception of scenery. Positioned within a residential area with limited scenic advantages, the design employs voluminous columns to strategically fragment and frame the surrounding landscape. Between the column pavilions, the scenery transforms into an "encounter," where familiar views and light along the ascent are subtly filtered through the columns. As individuals move or pause, the continuous scenery is momentarily segmented by the column pavilions, only to be reassembled in the observer's impression. This technique of disrupting and reconfiguring the whole achieves an overarching design intention, creating a distinctive experience that integrates human cognitive habits with spatial composition. By defining and interpreting the surrounding mountainous landscape in this manner, the interiority of the building is simultaneously articulated. The sequence of robust brick pavilions establishes a defining architectural feature, offering a visually engaging exterior while creating spaces that radiate warmth and invite interaction.
JS: The interior spaces are organized into three distinct functional areas. What considerations guided this spatial arrangement? How does the circulation between these areas enhance the visitor experience?
ZS: 这个建筑的室内空间是一个多义空间，柱体可以起到功能分割的作用，同时它们自己也具备了观景台、游乐、独处等多种功能。这些柱体式的砖亭，有的是入口亭，有的是读书亭，有的是儿童娱乐亭，有的是望山亭；有的用电梯，有的是楼梯；有的是辅助用房，有的是卫生间等等。室内空间被这15个砖亭分为三个区域：入口与服务、休息和咖啡、大的活动空间与辅助空间。不同尺度的空间被组合在一起——既可提供两三人交流的空间，又提供了集会活动的大场所。这个模式的三类空间覆盖在一个大的屋顶之下，可以相互自由组合适应未来功能的不同变化，例如展览、活动、餐饮等。
The interior space of this building is designed as a multi-functional, versatile environment. The column-like brick pavilions not only serve to delineate functional zones but also possess multiple functions, including viewing platforms, recreational areas, and private retreats. These 15 brick pavilions encompass a variety of uses: some function as entrance pavilions, others as reading rooms, children's play areas, or mountain-viewing stations. Access to these pavilions varies, with some featuring elevators and others stairs. Additionally, some pavilions serve auxiliary purposes such as storage or restrooms.
The interior space is divided into three distinct zones by these pavilions: the entrance and service area, the rest and coffee lounge, and the large activity and support spaces. This arrangement combines spaces of varying scales—ranging from intimate areas suitable for small group interactions to expansive venues for larger gatherings. Under one overarching roof, these three types of spaces can be flexibly configured to accommodate diverse future needs, such as exhibitions, events, and dining functions.
JS: The design team made plan and elevation drawings for the overall brick arrangement. What technical challenges (transitions, corners) did you face in the brick detailing? How did these details contribute to the building's overall aesthetic?
ZS: 由于柱亭尺度小巧，而且内部含有特色空间，因而在不同的亭子、不同的时期设计时，都会为了整体性与细节的观感处理不同的特殊构造。
例如，早初设想采用砖砌块外表。为满足北方保温节能要求，墙身厚度为砖块厚度+保温材料厚度+砖块厚度。因砖亭面积较小，为节省墙身厚度以争取更多内部面积，最终决定不取常规的115或90毫米厚度，而取用60厚度的砖块，需要定制。因砖亭质感是近人的，当时考察了江苏宜兴产的陶土砖，以获得更细腻的表面质感。既然砖块需定制，我们也自定义了单元规格。砖亭宽度不大，因此最终确定的砖块尺寸为58X58X194毫米，长度来自美国标准，尺寸较小。转角采用L形砖，显示出90毫米的厚度。经1：1排砖图校验，采用常规10毫米而非更宽的水平灰缝宽度。形成比较精细的砖缝网络。排砖设计时尽量考虑不切砖，通过竖缝灵活调节尺寸差，为此制作了整体排砖的平、立面图。
随着设计的深入，考虑到当时屋顶构架的重量，决定采用钢结构之后，放弃了纯然的砌筑方案，转为钢龙骨砖墙的做法，需有拉结件。当时比较困难的是，在和砖厂沟通后，60毫米厚的砖无法制作竖向孔洞，因此也无法在构造上设立竖向贯通钢筋。只有依靠砌筑砂浆和焊接在龙骨系统上的水平拉结件来实现稳定性，局部窗门洞过梁处采用更加复杂的构造措施以避免钢承托件，最后和幕墙专业一起研究后，制定了我们认为可行的方案。
Due to the compact scale of the column pavilions and their distinctive interior spaces, specialized structural solutions were developed for each pavilion at different design stages to ensure overall coherence and refined visual appeal.
Initially, it was planned to use brick masonry for the exterior. To meet the stringent insulation and energy-saving requirements in northern regions, the wall thickness was designed as a composite structure: brick layer + insulation material + brick layer. Given the limited area of the brick pavilions, efforts were made to minimize wall thickness to maximize interior space. Therefore, instead of using conventional 115 mm or 90 mm bricks, custom-made 60 mm thick bricks were selected. Considering the human-scale intimacy of the brick pavilions, we sourced clay bricks from Yixing, Jiangsu Province, known for their fine surface texture. Since these bricks were custom-made, we also defined the unit specifications ourselves. The final brick dimensions were set at 58x58x194 mm, with the length based on American standards, which are relatively compact. L-shaped bricks were used at corners to achieve a 90 mm visible thickness. After verifying with a 1:1 brick layout diagram, a standard 10 mm horizontal mortar joint width was adopted to create a finely detailed brick joint network. During the brick layout design, we try to avoid cutting bricks as much as possible and flexibly adjust the size differences through the vertical joints. For this purpose, we have made the plan and elevation drawings of the overall brick layout.
As the design progressed, considering the weight of the roof structure, it was decided to adopt a steel frame system, abandoning the purely masonry approach in favor of a steel-framed brick wall construction that required tie rods. A significant challenge arose when communication with the brick manufacturer revealed that 60 mm thick bricks could not be produced with vertical holes, precluding the use of vertical reinforcement bars. Stability was thus achieved through the combination of masonry mortar and horizontally welded tie rods attached to the steel frame system. More complex structural measures were implemented at window and door lintels to avoid the need for steel support components. Finally, after collaborative research with curtain wall specialists, a feasible solution was developed that met all structural and aesthetic requirements.
JS: The project has received significant international recognition, including being shortlisted for the 2024 Wienerberger Brick Award. What does this acknowledgment mean for Chinese architecture on the global stage?
ZS: 2024的Wienerberger Brick Award是一次高水平的砖建筑设计国际交流盛会，主办方不仅进行了严谨的评选，也组织了隆重的学术交流。我们很荣幸能够入围并参加最后的学术交流。我认为这一相互的交流是特别有意义的，让来自全球的建筑师们彼此看到在不同的社会条件、社会需求下面，当代设计与当代技术的多样化与可能性。
The Wienerberger Brick Award 2024 represents a prestigious international platform for the exchange of ideas in brick architecture design. The organizers conducted a rigorous selection process and organized an extensive academic forum. We are honored to have been shortlisted and to participate in the final academic exchange. This mutual exchange is particularly significant, as it allows architects from diverse global backgrounds to explore the diversity and potential of contemporary design and technology within varying social contexts and demands.
JS: Although facing bricks were used, the owner wanted to "simulate the real masonry effect." How do you navigate the tension between architectural honesty and client expectations?
ZS: 我们相应的做了很多调整，但都围绕着整体效果与真实构造进行的。
例如，在项目进展近两年时，由于缩减造价，砖块改为面砖。当时设计曾提出所有面砖改为竖贴，以突显其不承重特质，并取消转角砖，但保留砖的图案感和质感。可惜业主否定了此提案，称虽采用面砖，仍希望模拟真实砌筑效果。于是我们只能在部分亭子局部，通过面砖对缝拼贴，形成不错缝的图案，以暗示其不承重。
再例如，地砖在较早阶段就确定和墙身砖块做法一致，到了改用面砖阶段也没有更替，使用和外部景观挡土墙一致的砖块，四种相近但有微差的颜色。后来主体建筑采用面砖后，所有砖的贴面都成为一种纹理设计。地面通过改变排砖方向，使用水泥地（或小砖排砌）来消化平面和砖模数之间的尺寸差，避免大面积切砖或使用零碎砖块，自然地形成装饰性和分割尺度的条带，增加室内的活泼感。在角度转换的位置则转变砌法，尽端使用完整砖，依靠砂浆消化角度和尺寸的差值。
另外还有，砖的设计过程中还有一个大变化在于色带。最初拟用砌块时，从基座到砖亭，我们设计了一种类似地层沉积的水平分层色带做法，希望给这个自然式的想法增加一些轻松的装饰性。最后改为贴面设计后就取消了这样的处理，改为更含蓄的揭示装饰性的做法。
We implemented numerous adjustments throughout the project, all of which were centered on maintaining the overall aesthetic and structural integrity. For instance, nearly two years into the project, due to cost reduction measures, solid bricks were replaced with facing bricks. Initially, our design proposed vertically laying all facing bricks to emphasize their non-load-bearing nature and eliminate corner bricks while preserving the brick patterns and textures. Unfortunately, the client rejected this proposal, preferring a design that simulated the appearance of traditional masonry despite using facing bricks. Consequently, we adopted an alternative approach by aligning the facing bricks in certain pavilions to create seamless patterns, subtly implying their non-load-bearing characteristic.
Additionally, the floor tiles were initially specified to match the wall bricks. Even after switching to facing bricks, this consistency was maintained, using the same type of bricks as those for the external landscape retaining walls, featuring four similar yet distinct colors. Following the adoption of facing bricks for the main building, the brick facings evolved into a textured design element. To accommodate the dimensional differences between the plan and brick modules, the floor layout incorporated changes in brick orientation and used cement or small brick layouts, thereby avoiding extensive cutting or fragmented bricks. This approach naturally created decorative strips that divided the space and added a lively ambiance to the interior. At transitional angles, the brick-laying method was adjusted to use whole bricks at the ends, relying on mortar to compensate for angular and dimensional discrepancies.
Furthermore, a significant change occurred in the design of the color bands. Initially, when using solid bricks, we planned a horizontal stratified color band inspired by geological layers from the base to the brick pavilion. However, after transitioning to facing bricks, this treatment was abandoned in favor of a more understated approach that subtly revealed the decorative elements.
JS: The Art Center serves a residential community while also functioning as a cultural landmark. How do you balance these sometimes-competing demands of domesticity and monumentality in your work?
ZS: 我们为未来可变的空间功能，设计一个“中性空间”，它拥有其自身的基调，功能多义且日常。但建筑形象本身拥有的基调具有文化特征，或所谓的“纪念性”，这两者不同的基调有一定的错位，塑造一种未来使用其中、适应其中的氛围，并产生互动与交流。这在我们看来，就是自然。
To accommodate future variable spatial functions, we have designed a "neutral space" that possesses its own inherent tone, offering versatility and everyday usability. However, the architectural image itself embodies cultural characteristics and a sense of "monumentality". The dissonance between these two distinct tones creates an atmosphere conducive to future use and adaptation, fostering interaction and communication within the space. In our view, this harmonious yet dynamic interplay is what defines naturalness in design.
JS: Throughout the design process, you maintained that "bricks, as a feature, need to be incorporated into the overall spatial context" and "reflect the authenticity of their construction." Expand on your philosophy regarding material authenticity in contemporary architecture.
ZS: 当代建筑运用不同的材料进行建构时，采用的是一种组合、混合的方式，不同材料组合在一起，共同形成承重、抗震、保温、防水、形象等作用。因此，能够用最有效的方式进行这种组合，用简明的方式进行这种组合，达到最综合的效果，这就是我认为材料与构造的使命，也即是所谓真实性。当代的建筑能够使用的工业化材料、自然材料数量庞大种类繁多，同时，工业化的发展迭代又不断增加新材料，这无疑会使得构造变得难以选择。这就需要设计者秉持最清晰的设计目标与最基本的、综合有效的设计意识。
In contemporary architecture, the use of diverse materials for construction involves an integrated and hybrid approach. Different materials are combined to collectively achieve multiple functions such as load-bearing, seismic resistance, insulation, waterproofing, and aesthetic expression. The mission of material selection and construction lies in achieving the most effective and efficient combination to attain comprehensive performance, which I believe embodies the principle of authenticity. The contemporary architectural field has access to a vast array of industrial and natural materials, with ongoing industrial advancements continuously introducing new options. This proliferation of materials complicates the selection process, necessitating that designers adhere to clear design objectives and maintain a fundamental, integrative, and effective design consciousness.
JS: The Art Center has been described as both "daily and eternal." How do you see this project contributing to the evolution of brick architecture and influencing future approaches to cultural spaces in China?
ZS: 材料本身并没有单一的个性标签，重要的是看设计的方式与使用的场景。砖构造是一种通用广泛的材料选择，金山岭的项目本身就是一种尝试。
对于中国文化空间而言，最具有挑战的不在与建造方面，而在于随着社会经济文化变化而改变的使用与运营。这是一个关键问题，建造如何面对未知？砖构造，这一延续了千年的方式，我想正因为其基本性，所以应该可以适应未来建筑的变化。
Materials themselves do not possess singular or fixed attributes. What is critical is the manner in which they are designed and the specific contexts in which they are applied. Brick construction, as a versatile and widely applicable material choice, represents an exploratory approach, exemplified by the project at Jinshanling.
For Chinese cultural spaces, the greatest challenge does not lie in the technical aspects of construction but rather in adapting to evolving patterns of use and operation driven by societal, economic, and cultural transformations. This presents a pivotal question: how can construction methodologies address uncertainty and future needs? Brick construction, a technique that has endured for millennia, possesses fundamental qualities that enable it to remain relevant. I believe its adaptability stems precisely from this fundamentality, allowing it to accommodate the dynamic requirements of future architectural design.