Janus Nhazi Ime Ụlọ Mmanya nke Junlin Zhang

Ihe emepụtara bụ Janus Nhazi Ime Ụlọ Mmanya nke Junlin Zhang bụ onye meriri a na-asọpụrụ nke ukwuu nke 2024 Ihe Nrite A' Design Award nke Ọlaọcha na Udi Asọmpi Nhazi Ime Ụlọ na Ngosipụta.

ỌlaọchaIme Ụlọ· 2024

Janus Nhazi Ime Ụlọ Mmanya

nke Junlin Zhang

Onye Ahịa: Janus

Onye Meriri Ihe Nrite A' Design Award nke Ọlaọcha na Udi Ime Ụlọ

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #156360

Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Janus Nhazi Ime Ụlọ Mmanya

Janus bụ ụlọ mmanya wiski na cocktail dị na Changsha, China. Ime ụlọ ahụ ruru ihe dịka mita skwea 200 ma haziri ya n'okpukpu abụọ. E ji ihe geometric ojii dị mfe nwere nkọwa ochie mepụta ihu ụlọ ahụ, ebe ikpo elu na-agbatịpụ n'ikuku na-ejide ihe ọkpụkpụ oge ochie. Okpukpu nke mbụ bụ oghere na-akwado ọrụ, ebe okpukpu nke abụọ bụ isi ebe mmemme ma na-enweta ìhè ehihie site n'oghere dị n'elu ụlọ. Ubube ahụ na-eji osisi ndị a na-arapaghị ike nke na-enye ụda dị nro na ntakịrị mgbanwugharị mgbe a na-azọ ụkwụ na ha. Osisi veneer nwere ahịrị kwụ ọtọ na ígwè anaghị agba nchara nke na-egosi onyinyo na-emepụta ọnọdụ ebe ahụ.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaọcha

Janus Nhazi Ime Ụlọ Mmanya meriri A' Design Award nke Ọlaọcha, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa kachasị elu, mara mma ma na-eju anya. Ndị meriri na Ọlaọcha bụ ọrụ na-egbu maramara nke ukwuu ma dị oke nzụlite nke na-egosi ọmarịcha ihe ọmụma, talent na nghọta nke ndị designer ha. A na-atụ anya na Janus Nhazi Ime Ụlọ Mmanya ga-abụ ọrụ dị ịtụnanya, ihe nlereanya, nke dị oke ọrụ ma dị omimi n'ihe ọhụrụ. Design a meriri A' Design Award nke Ọlaọcha bụ ihe e mepụtara dị oke ịrịba ama, nke a na-eto nke na-erite uru ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Janus Nhazi Ime Ụlọ Mmanya bụ ihe e kere eke ọtụtụ ndị na-ekwo ekworo ya nke na-akpali ọchịchọ, na-eweta mmetụta ọma ma na-akpali ịtụnanya.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: Janus is a whisky and cocktail bar with a social aspect. Our client had two demands: one was that the audience should not interpret this place according to the literal meaning of Janus or their traditional concepts, and the other was that the audience should have more than two different spatial experiences in this place. These different spatial experiences combine as an integral whole rather than to be independent ones.
Nha & Mkpuchi: 200 meter-square
Mkpado: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
Teknụzụ Mmepụta: What exactly are we talking about when we talk about spatial ambience? Is it sunlight, air, sound, materials, textures, or colours? I began to think about the overall relevance of the façade in relation to the first and second floors. They are at once traditional, strong and thick, even a little archaic and they are at the same time receptive, inclusive, interesting and experimental. I tried to use postmodernism to summarise the atmosphere created inside and outside the building. I decided to create the façade with clean and simple geometric blocks, which is the style of contemporary. But it also has classical features in the details. To this point I felt that these designs were not enough because the conflict had not reached its climax. So I added a cantilever platform to place a classical sculpture. It was at this point that I felt the importance of such design planning came to the fore. The pure black and hard blocks together with the classical sculpture bring the sense of power and make it attractive. Such not complicated aesthetics give audiences more possibilities to imagine.
Ịma Aka Imepụta: I decided to create the façade with clean and simple geometric blocks, which is the style of contemporary. But it also has classical features in the details. To this point I felt that these designs were not enough because the conflict had not reached its climax. So I added a cantilever platform to place a classical sculpture. It was at this point that I felt the importance of such design planning came to the fore. The pure black and hard blocks together with the classical sculpture bring the sense of power and make it attractive. Such not complicated aesthetics give audiences more possibilities to imagine.
Nchọpụta: I tried to decipher the form of beauty, but I found that I could not describe or categorise it accurately and clearly. It can be specific things such as people, air, light, sound or colour. When we deal with different clients and different conditions of the place, the results are unpredictable. It reminds me of Louis Kahn, who asked the red brick what it wanted to be.
Mkpali: When I first went to the site for mapping, I was very excited and surprised by the light on the second floor, when the sunlight was pouring down from the daylight opening. My first reaction was that the place already has distinctive features that can bring audiences different moods, and experiences in the daytime and night-time. I then began to conceptualise how to create two or more different atmospheres in the space. Creating is the art of making a meaningful whole out of individual components
Oge Ọrụ: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
Usoro Ọrụ: When I open the door to the first floor, the confrontation between the interior space and the facade appeared which is confrontation in colour, material, the whole and the fragmented. But this does not detract from the formal unity of the exterior and interior. The retroism without losing the independent style declares their relevance. The staircase guides to the upward space, and I deliberately used loose wood as the tread of the staircase. Stepping on it has a rustling sound and can feel the rebound of the wood. This is completely different from the feeling of crossing the first floor with steady steps. The first floor also doesn’t have the light and shadow spilling out from the top. The low linear strip of light on the side of the handrail is a safety cue as well as an orientation. People in such environment begins to become focused and anticipated. The spatial atmosphere of the second floor is basically the same as what I had conceived. Everything is as it is. There is no conflict, no exaggerated arrangement, no criticism and no attempts. I am like a director who arranges the work of each department and position in an orderly manner. Covered wood veneer with vertical grain delivers both hard and warm feeling. Mirrored stainless steel breaks the calm and refract light and images that change with the activities of the people in the space. Sometimes it is cold, sometimes warm, sometimes noisy, sometimes quiet and ambiguous.
Ndị Otu: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
Asụsụ Foto: Ueya photography（Lei Liu）