Wonderland Disseny d'Interiors d'un Centre d'Exposicions de Chengzhe Zhang

El disseny Wonderland Disseny d'Interiors d'un Centre d'Exposicions de Chengzhe Zhang és un guanyador molt estimat del prestigiós 2020 A' Design Award d'Argent en la Categoria de Competició de Disseny d'Espais Interiors i Exposicions.

ArgentInterior· 2020

Wonderland Disseny d'Interiors d'un Centre d'Exposicions

de Chengzhe Zhang

Client: Shanghai Hongshida Real Estate Development Co., LTD

Guanyador del A' Design Award d'Argent en la Categoria de Interior

25,685

Guanyador de Premi Verificat

Verificar l'Estat del Premi per al #92667

Veure a A' Design Award Nota de Premsa Insígnia del Premi

Colors

El Disseny

Sobre Wonderland Disseny d'Interiors d'un Centre d'Exposicions

Wonderland és l'interior d'un centre d'exposicions a Xangai, Xina. El disseny s'inspira en Taoyuan Wonderland, una pintura de paisatge del pintor Qiu Ying de la dinastia Ming, i aplica tons verds, rosats i blancs a un espai tranquil. Una paret de pissarra grisa amaga primer la vista, i la sala principal de deu metres d'alçada es revela al llarg del recorregut. El passadís central condueix a la zona de conferències, la zona d'exposicions i la sala de te. Prestatgeries de terra i pantalles geomètriques buides divideixen les àrees. Una instal·lació de vidre suspesa de més de 5.000 pètals de préssec es va instal·lar a mà.

El Reconeixement

Sobre el A' Design Award d'Argent

Wonderland Disseny d'Interiors d'un Centre d'Exposicions és un guanyador del guardó A' Design Award d'Argent, un reconeixement extraordinàriament prestigiós concedit a dissenys d'alta gamma, esplèndids i impressionants. Els guanyadors d'Argent són obres tremendament brillants i summament creatives que il·lustren la perícia, el talent i la perspicàcia excepcionals dels seus dissenyadors. Es preveu que Wonderland Disseny d'Interiors d'un Centre d'Exposicions sigui una obra meravellosa i de gran lluïment, remarcablement professional i profundament innovadora. Aquest disseny guanyador del guardó A' Design Award d'Argent és un invent molt notable i admirat que beneficia i fa avançar els límits de l'art, la ciència, el disseny i la tecnologia. Wonderland Disseny d'Interiors d'un Centre d'Exposicions és una creació molt envejada que evoca desitjos, introdueix sentiments positius i desperta sorpresa i admiració.

Darrere del Disseny

Dossier de Premsa

Crèdits, membres de l'equip i detalls tècnics proporcionats pel dissenyador.

Propietats Úniques: Since the year 907 AD, the Chinese people's ambiguity
about the Taoyuan space has gone through a series of
evolutions from earthly legends to images of physical
space, finally being transformed from the abstract into
something which can be incorporated into everyday
life, where the Tao Yuanming space was replaced by the
living room. The narrative of Wonderland is the most profound.
In the modern urban environment, the industrialized
environment has been separated from the natural
environment.
Dimensions i Embalatge: Time in the usual sense can be roughly divided into two types. One is the time in nature when flowers are blooming and the seasons are changing, the other is the time in space, which is caused by the rotation of the earth. How people view the space and what they get out of it will depend on their different experiences.
Etiquetes: Exhibition Center, Oriental aesthetics, Localization, Taoyuan Wonderland, Natural
Tecnologia de Producció: From the open landscape to the inside, the designer Mr. Alessio Chengzhe Zhang first considers the space experience of the visitors, the gray slate wall obscures the line of sight and as they pass along the path, the main 10 meter high space is revealed, filling the visitors with awe. As they continue along the central passage, the layout of the functional areas such as the conference area, the exhibition area and the tea room unfold before their eyes.
Repte de Disseny: The large glass art installation suspended in the air is a response to these two concepts of time. It consists of pink-white peach petals each of different size, brightness and width, simulating the temporal dynamics of natural movement. More than 5,000 glass petals were all manually installed on site to achieve the final result, which also serves as a visual guide in the actual use of space.
From the opening and closing of the space, the abstraction of color to the artistic interpretation of time, the classic literary image has completed a series of retellings at the hands of the designers.
Recerca: In traditional Chinese painting, landscapes usually incorporated the triple concept of far, with the painter mainly trying to emphasize the subtle characteristics in the space. In order to avoid the panoramic effect in the large space, the canvas mainly focuses on the near and far, which becomes the boundary between the different functional areas. Here the surrounding floor-standing bookshelves and geometric hollow screens can create subtle light and shadow changes in space, while changing both inside and outside. These ideas all stem from the interpretation of landscape painting, representing the height of artificial nature.
Inspiració: The Ming dynasty painter Qiu Ying has a painting called Taoyuan
Wonderland. The painter meticulously depicts the life hidden in the mountains: green mountains and clear water. Several white people who are detached from the world are sitting down by the creek and enjoying nature.
IADC chief designer Mr. Alessio Chengzhe Zhang was inspired by the masterpieces of Chinese landscape painters, applying the green, pink and white symbols of the pastoral forests to this quaint space.
Durada del Projecte: The Project started in January 2018 in Shanghai China
Flux d'Operació: From the opening and closing of the space, the abstraction of color to the artistic interpretation of time, the classic literary image has completed a series of retellings at the hands of the designers. It signals both inheritance of tradition and the beginning of a new life in the future.
Membres de l'Equip: Mingxin Lu
Yunhui Tang
Crèdits de les Imatges: Main Image: Photographer Hai Zhu, 2018