Janus Kapangidwe ka Mkati mwa Malo Ogulitsira Zakumwa ndi Junlin Zhang

Dizayini ya Janus Kapangidwe ka Mkati mwa Malo Ogulitsira Zakumwa ndi Junlin Zhang ndi wopambana wotamandika kwambiri pa mphotho yaulemu ya 2024 Mphoto ya Siliva ya A' Design Award mu Gawo la Mpikisano la Mapangidwe a Mkati mwa Nyumba ndi Mawonekedwe.

SilivaMkati· 2024

Janus Kapangidwe ka Mkati mwa Malo Ogulitsira Zakumwa

ndi Junlin Zhang

Kasitomala: Janus

Wopambana pa Mphoto ya Siliva ya A' Design Award mu Gawo la Mkati

20,522

Wopambana Wotsimikizidwa

Tsimikizani Mkhalidwe wa Mphotho ya #156360

Pitani ku Tsamba Onani ku A' Design Award Nkhani Yofalitsidwa Chizindikiro cha Mphotho

Mitundu

Kapangidwe

Za Janus Kapangidwe ka Mkati mwa Malo Ogulitsira Zakumwa

Janus ndi malo ogulitsira whisky ndi ma cocktail omwe ali mu mzinda wa Changsha, ku China. Mkati mwake muli malo pafupifupi 200 masikweya mita ndipo agawidwa m'nyumba ziwiri zosanjikizana. Kutsogolo kwa nyumbayi kwapangidwa ndi zipangizo zakuda zosavuta za magulu a masamu okhala ndi zokongoletsera zakale, ndipo pulatifomu yolendewera imakhala ndi chosema chakale. Chipinda choyamba ndi malo othandizira, pomwe chipinda chachiwiri ndi malo aakulu ndipo chimalandira kuwala kwa dzuwa kudzera pa kabowo ka padenga. Masitepe amagwiritsa ntchito matabwa osamangika omwe amapereka phokoso lofewa ndi kubwerera pang'ono mukamaponda. Matabwa oyala okhala ndi mizere yoyimirira ndi zitsulo zosapanga dzimbiri zonyezimira ngati galasi zimapanga chikhalidwe cha malowa.

Chidziwitso

Za Mphoto ya Siliva ya A' Design Award

Janus Kapangidwe ka Mkati mwa Malo Ogulitsira Zakumwa ndi mmodzi mwa opambana a Mphoto ya Siliva ya A' Design Award, kuzindikirika kolemekezeka modabwitsa komwe kumaperekedwa kwa mapangidwe a pamwamba, okongola ndi ochititsa chidwi. Opambana a Siliva ndi ntchito zowala kwambiri ndi zolenga kwambiri zomwe zimaonetsa ukatswiri, luso ndi nzeru zakuthwa za opanga awo. Janus Kapangidwe ka Mkati mwa Malo Ogulitsira Zakumwa akuyembekezeka kukhala ntchito yodabwitsa yoonetsedwa, yaukatswiri wapadera ndi yatsopano kwambiri. Mapangidwe opambana Mphoto ya Siliva ya A' Design Award awa ndi chopangidwa chodziwika kwambiri ndi choyamikiridwa chomwe chimapindulitsa ndi kukulitsa malire a luso, sayansi, kapangidwe ndi ukadaulo. Janus Kapangidwe ka Mkati mwa Malo Ogulitsira Zakumwa ndi cholengedwa chomwe anthu ambiri amachichitira nsanje, chomwe chimadzutsa zilakolako, kubweretsa maganizo abwino ndi kuyatsa kudabwa ndi chidwi.

Kumbuyo kwa Kapangidwe

Katundu wa Atolankhani

Umboni, mamembala a gulu ndi zambiri zapadera zoperekedwa ndi wopanga.

Makhalidwe Apadera: 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.
Miyezo ndi Kuphimba: 200 meter-square
Zizindikiro: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
Teknoloji Yopangira: 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.
Vuto la Dizayini: 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.
Kafukufuku: 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.
Chilimbikitso: 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
Nthawi ya Polojekiti: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
Mdondomeko ya Ntchito: 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.
Mamembala a Gulu: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
Mwini Zithunzi: Ueya photography（Lei Liu）