For Hajime Tanimura, Principal at PEI Architects in New York, geometry is a universal language that bridges design and human experience.
Text: Elizabeth Dooley Photos: PEI Architects
Hajime Tanimura 
Bank of China Financial Center
“It’s not just about mathematical precision, but about creating a common language that connects architects, engineers, clients, and end users,” he tells PRC Magazine.
Tanimura sees geometry as a way to translate complex design concepts into spaces that people can understand and interact with. In his work, geometric structures are more than physical forms – they’re a means of communication. Whether it’s the Bank of China Free Trade Zone Twin Towers in Shanghai or the Three Lanes and Seven Alleys Guanglufang Hotel in Fuzhou, his use of geometry creates meaningful connections between the buildings and their environment.
He says this involves carefully considering how people will move through and experience the space, how the structure relates to its historical and cultural context, and how it can inspire and engage those who use it.
“My philosophy has evolved to see geometry as a bridge between the conceptual and the practical, between historical context and contemporary design. It’s about finding a way to create buildings that are not just functional, but also meaningful and transformative for the public realm,” he adds.
Early career
After graduating from Meiji University’s architecture program in Kanagawa, Japan, Tanimura initially worked at Arata Isozaki’s office for three years, where he had gained experience as a student intern. During this time, he says he learned the crucial skill of translating two-dimensional sketches into three-dimensional models, which was foundational to his understanding of architectural design.
In 1994, he moved to New York, where he attended Cornell University’s Graduate School of Architecture. By 1997, he had joined PEI Architects (then PEI Partnership Architects), working closely with I.M. Pei for the first decade.
“This period was transformative, as I learned about complex building geometries, material selection, and the nuanced art of architectural design,” he explains, recalling early projects that included work on the UCLA University Hospital, the Bank of China Beijing headquarters, and the Suzhou Museum.
He also spent three years commuting between Tokyo and Shanghai, working on construction administration for various projects, which provided him with invaluable international design experience. It was during this time that he says he developed the philosophy that architecture is more than just art.
“It’s about creating spaces that interact with culture, social activities, and human experiences. My approach has always been about understanding the conceptual and philosophical side of architecture, not just its technical aspects.”
By 2005, Tanimura was deeply involved in international projects, particularly in China, where he witnessed and participated in the country’s rapid architectural transformation. Today, having advanced from senior associate to Studio Director at PEI Architects, he now leads and mentors a new generation of architects while maintaining the firm’s commitment to innovative, meaningful design.
Recalling his early work in China in the early 2000s, he says there was an eagerness to learn from Western knowledge and skills. The Chinese, he says, were then very open to foreign expertise and approaches. Today, he’s noticed a significant shift.
“The current generation appears more confident in their own methods and less dependent on external validation. The challenges have evolved. Today, there are more complex regulatory requirements, particularly around building codes and sustainability,” he explains. Here, he cites the Bank of China Free Trade Zone Twin Towers project in Shanghai as an example, where PEI faced tight restrictions on glass reflectivity and had to carefully select transparent glass to meet local regulations.
He says technical limitations have also changed. While initially there were challenges with construction materials and methods, now the focus is more on navigating increasingly sophisticated local building requirements. He also observes that the construction industry has become more advanced, with stricter environmental and safety standards.
“The most notable difference is the attitude,” he says. “Previously, there was a sense of wanting to learn and adopt foreign techniques. Now, there’s a more self-assured approach, with local teams confident in their own design and construction capabilities. This shift requires a more collaborative and adaptive approach from international architects such as ourselves,” he adds.
The meaning of architecture
For Tanimura, architecture is more than a functional necessity—it embodies human experience, transformation, and connection. His design philosophy seeks to bridge cultural history, human activity, and future possibilities, creating spaces that tell stories and evoke emotions. This ideology is clearly reflected in his work on the Bank of China Twin Towers in Shanghai, which represents a generational shift in architectural design.
The twin towers symbolize a transition from I.M. Pei’s legacy—marked by his iconic Bank of China Tower in Hong Kong—to a new wave of architects exploring interconnected forms. Tanimura and his team deliberately moved beyond the singular tower model, instead creating two towers with pyramidal tops that form an arch, symbolizing transformation and connection.
“Architecture should communicate more than its physical form—it should reflect a moment in time, connect people to their environment, and express complex ideas about human interaction, cultural identity, and collective aspirations,” Tanimura explains. His designs prioritize user experience, considering movement through space, emotional impact, and the stories that buildings can tell.
The Shanghai Twin Towers further this philosophy through their “kissing pyramid” concept, where the two towers visually interact, creating a dynamic dialogue between forms. Unlike the Hong Kong tower’s reflective glass, the Shanghai towers employ more transparent materials, accommodating local regulations while allowing for expansive atriums within the pyramidal structures.
Beyond aesthetics, the project represents an evolution in architectural thought. “It’s about carrying forward a legacy while forging a new design language. The difference isn’t just in physical structure—it’s in the philosophical approach, shifting from a singular iconic statement to an interconnected architectural expression that mirrors contemporary design thinking,” Tanimura says.
His approach extends globally, with projects spanning from New York to Southeast Asia. He is involved in the China Institute’s renovation in New York, shaping spaces for offices, galleries, classrooms, and libraries. His team also integrates contemporary architecture with historical sites, such as the Three Lanes and Seven Alleys Guanglufang Hotel in Fuzhou. Elsewhere, they continue work on the Haikou Jiangdong International Finance Building, featuring a double-skin sunscreen facade and sustainable consulting.
In Southeast Asia, Tanimura navigates distinct cultural and climatic requirements, particularly in Brunei, where he is designing a museum and research centre while respecting Islamic architectural traditions. “Each project presents a unique challenge. In Brunei, for example, the absence of common construction materials required a complete rethink of building methods,” he says. Likewise, evolving environmental regulations in China demand innovative solutions.
Tanimura views these challenges as opportunities for creative expression. “Architecture must transcend geographic boundaries but remain deeply sensitive to local contexts. Whether we are respecting historical urban scales in Fuzhou or modernizing traditional forms, our design philosophy is centered on connecting human experiences,” he explains.
Tanimura’s base in New York offers exposure to a wide range of artistic and architectural expressions, from contemporary installations to classical influences. Meanwhile, fast-evolving cities like Hong Kong, Shanghai, and Tokyo present distinct architectural landscapes that demand adaptive approaches. He has observed China’s remarkable transformation—from an eagerness to learn Western techniques to a confident, innovative approach that shapes its own architectural identity. In Brunei, he finds that sensitivity to local cultural traditions is paramount, requiring architectural designs that seamlessly blend functionality with cultural authenticity.
Ultimately, Tanimura believes architecture’s core purpose is to provide safe shelter while striving for deeper meaning. “Our role is to create spaces that connect people—to their environment and to one another. Every project offers a chance to challenge conventional thinking, translating ideas into experiences that enhance human life,” he says.
For emerging architects, he emphasizes the importance of cultivating a critical eye and understanding how two-dimensional drawings translate into three-dimensional realities, rather than relying solely on digital tools.
“Architecture is a lifelong journey of discovery—bridging cultures, honouring historical contexts, and imagining new possibilities. We’re not just constructing buildings; we’re shaping environments that foster interaction, cultural expression, and collective imagination.”
At its best, architecture is not simply about form, materials, or regulations—it is about creating spaces that resonate with the human condition, spaces that inspire, engage, and evolve with those who inhabit them. Tanimura’s work exemplifies this ethos, ensuring that every project, whether in Shanghai, Fuzhou, Brunei, or New York, represents an exploration of how architecture can shape and reflect the world around us.
