Xingcheng Exhibition Garden / Archermit

Architects: Archermit
Area: 99 m²
Year: 2024
Photography: Arch-Exist Photography, Chengdu Tianfu Greenway Construction Investment Group Co., Ltd.
Principal Architect: Youcai Pan
Design Director: Zhe Yang (Partner)
Technical Director: Renzhen Chen (Partner)
Design Team: Rui Yang, Qinmei Hu, Yuanjun Gou, Yuting Huang, Yudan Luo
Architectural Construction Drawing Team: Shanghai Landscaping Construction Co., Ltd.
Landscape Design Team: School of Landscape Architecture, Sichuan Agricultural University (Dajiang Sun), Sichuan Tianyi Ecological Landscaping Group Co., Ltd.
Regional Culture Consultant: Zenghui Wang
Planting Design: Chengdu Manshidi Horticultural Co., Ltd.
Smart Systems: Chengdu Smart City Information Technology Co., Ltd.
Guidance VI: Chengdu Tianfu Greenway Cultural Tourism Development Co., Ltd.
Construction Agent: Chengdu Jinguancheng Floral and Horticultural Co., Ltd.
Construction: Shanghai Landscaping Construction Co., Ltd.
Exhibitor: Chengdu Xingcheng Investment Group Co., Ltd.
City: Chengdu, China

Xingcheng Exhibition Garden pavilion, designed by Archermit in the Eastern New District of Chengdu, has reinterpreted the typological language of Western Sichuan gardens as part of the 2024 Chengdu International Horticultural Exposition. Completed in April 2024, the pavilion features a lotus-leaf roof supported by bamboo-inspired structures that function as a symbolic and ecological rainwater collector. Parametric modeling, ultra-clear glass, recycled materials, and handwoven furnishings ground the building in both technical performance and cultural specificity. The recessed floor level and transparent enclosure integrate the garden, water, and architecture into a spatial continuum.

Visitors approach the Xingcheng Exhibition Garden pavilion through a narrow path framed by a bamboo grove and a small gray-tiled gate, drawing from classical garden sequencing and poetic symbolism. The entrance recalls local traditions where architecture reveals itself gradually through the landscape. A subtle shift in elevation within the interior adjusts the visitor’s gaze just above the pond surface, aligning reflections with the horizon and intensifying the spatial experience. Traditional materials such as straw brick and raw bamboo are used alongside parametric fabrication to blend tactile vernacular techniques with digital precision. Rattan furniture sourced from Chongzhou introduces handcrafted detail that links contemporary use with intangible cultural heritage.

The garden’s layout adopts the principle of landscape before architecture, allowing the structure to act as a scenic element rather than a visual object. The project draws from Western Sichuan’s longstanding understanding of nature and domestic space. Entry is marked by a Dragon Gate constructed with small gray tiles and surrounded by bamboo. The gesture echoes the poetic line, “Flower paths have not been swept for guests before, but now my humble gate opens for you,” establishing a transitional sequence that sets the tone for the entire garden.

The architectural form is modeled after a large lotus leaf resting above a water body. Beneath the canopy, bamboo-like structural members extend outward, abstracting the leaf’s veins. These elements provide the visual and conceptual foundation for the building. The roof’s center is intentionally open, transforming the surface into a functioning rainwater collector that channels water directly into the lotus pond below. This integration of water into form aligns the pavilion with the Exposition’s emphasis on sustainable and performative landscapes.

The building reflects local typological references such as sloped roofs, extended eaves, and small tile finishes associated with Western Sichuan folk housing. These elements are translated into a light, abstract form that prioritizes spatial openness. The structure is supported by a recyclable steel frame finished with wood-grain paint. Roofing uses aluminum panels. Exterior details feature rusted rock cladding, oak veneer, and round bamboo components that ground the material palette in regional character.

Laminated ultra-clear glass surrounds the perimeter, dissolving interior boundaries and heightening the visual connection with the garden. Inside, the floor is recessed by 0.6 meters, creating a seated perspective that elevates the visitor’s sightline just above the pond’s surface. This subtle shift in level intensifies the perception of water and reflection, allowing trees, sky, and built form to coalesce into a singular field of vision.

Bamboo plays a central role in the project’s conceptual and technical development. Archermit has conducted architectural research on bamboo systems since 2018. While the original design for the pavilion aimed to implement a hybrid structure using laminated and raw bamboo, construction was ultimately completed with a steel frame due to time and cost limitations. Raw bamboo was retained as an interior feature, reinforcing the cultural continuity of the scheme. Parametric tools were used to simulate the construction of the irregular steel frame, hyperbolic roof geometry, and bamboo installations. This ensured feasibility while maintaining the design’s expressive integrity.

Interior finishes include recycled straw bricks and handcrafted rattan furniture produced in Huaiyuan, Chongzhou, a craft recognized as part of China’s national intangible cultural heritage. These furnishings enhance the tactile and narrative dimension of the project, linking architectural space to everyday life and cultural memory.

Western Sichuan gardens have historically served roles beyond recreation, often carrying deep symbolic meaning. According to the architects, the pavilion “aims to awaken a shared cultural sensibility unique to the Chinese people.” Xingcheng Exhibition Garden contributes to the 2024 Expo not as an object of display but as a narrative space that consolidates landscape, architecture, and tradition into a single, clear gesture.