Janus Àgbékalẹ̀ Inú Ilé Ọtí (Bar) láti ọwọ́ Junlin Zhang jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2024 Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Àyà Inú Ilé àti Ibi Àfihàn.
FàdákàInú Ilé· 2024
Janus Àgbékalẹ̀ Inú Ilé Ọtí (Bar)
látọ̀wọ́ Junlin Zhang
Oníbàárà: Janus
Aṣẹ́gun Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Inú Ilé
Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí
Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #156360Àpẹrẹ Náà
Nípa Janus Àgbékalẹ̀ Inú Ilé Ọtí (Bar)
Janus jẹ́ ilé ọtí whisky àti cocktail tí ó wà ní Changsha, ní orílẹ̀-èdè Ṣáínà. Inú ilé náà gba tó bí igba (200) mítà onígun mẹ́rin, a sì ṣe ètò rẹ̀ sí orí àjà méjì. Ojú iwájú ilé náà jẹ́ àwọn bílọ́ọ̀kì aláwọ̀ dúdú onígun tí ó rọrùn pẹ̀lú àwọn ẹ̀kúnrẹ́rẹ́ ọ̀nà ìṣẹ̀ǹbáyé, pẹpẹ kan tí ó yọrí síta sì gbé ère aṣà ìṣẹ̀ǹbáyé kan dúró. Àjà àkọ́kọ́ jẹ́ ààyè àtìlẹ́yìn, nígbà tí àjà kejì jẹ́ ibi ìpàdé pàtàkì tí ó sì ń gba ìmọ́lẹ̀ oòrùn wọlé láti inú ihò tí ó wà ní òrùlé. Àtẹ̀gùn náà lo àwọn pákó igi aláìdìmú tí ó ń fún ni ní ìró rírọ̀ àti ìtapadà díẹ̀ lábẹ́ ẹsẹ̀. Ìwọ̀ igi tí ó ní ìlà tààrà òòró àti irin aláìlèèpata tí ó dà bí dígí ni ó dá ojú-ọjọ́ inú ibẹ̀ sílẹ̀.
Ìdánimọ̀ Náà
Nípa Àmì-ẹ̀yẹ Fàdákà A' Design Award
Janus Àgbékalẹ̀ Inú Ilé Ọtí (Bar) jẹ́ olùborí Àmì-ẹ̀yẹ Fàdákà A' Design Award, ìdánimọ̀ onípọ̀nlé lọ́nà àrà ọ̀tọ̀ tí a fún àwọn àwòṣe ìpele gíga jùlọ tó dára tó sì ń kan ọkàn. Àwọn olùborí Fàdákà jẹ́ àwọn iṣẹ́ tó ń tàn yòò gidigidi tó sì ní ìṣẹ̀dá púpọ̀ tí wọ́n ń ṣàfihàn ìmọ̀ ìjìnlẹ̀, ẹ̀bùn àti ìmọ̀ràn àwọn olùṣàwòṣe wọn. A retí pé Janus Àgbékalẹ̀ Inú Ilé Ọtí (Bar) yóò jẹ́ iṣẹ́ àgbàyanu, àpẹẹrẹ rere, ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun jinlẹ̀. Àwòṣe tó borí Àmì-ẹ̀yẹ Fàdákà A' Design Award yìí jẹ́ ohun ìmúṣẹ̀dá tó hàn gbangba gidigidi tí a mọrírì tó ń ṣe anfàní tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Janus Àgbékalẹ̀ Inú Ilé Ọtí (Bar) jẹ́ ẹ̀dá tí ọ̀pọ̀lọpọ̀ ń ṣe ìlara, tó ń jí ìfẹ́ inú, tó ń mú ìmọ̀lára rere wá tó sì ń jí ìyàlẹ́nu àti ìyanu.
Lẹ́yìn Àpẹrẹ Náà
Àkójọ Ìròyìn
Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.
- Àwọn Ohun Àkànṣe
- 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.
- Ìwọ̀n àti Àpò
- 200 meter-square
- Àwọn Àkọlé
- bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
- Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀
- 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.
- Ìpèníjà Àpèsè
- 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.
- Ìwádìí
- 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.
- Ìmísí
- 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
- Àkókò Iṣẹ́ Àkànṣe
- The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
- Ìlànà Ìṣiṣẹ́
- 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.
- Àwọn Ọmọ Ẹgbẹ́
- Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang - Ìfọwọ́sí Àwòrán
- Ueya photography（Lei Liu）
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