Janus Zane na Cikin Mashaya daga Junlin Zhang

Zane Janus Zane na Cikin Mashaya daga Junlin Zhang mai nasara ne mai daraja sosai na 2024 Kyautar A' Design Award ta Azurfa a Rukunin Gasar Cikin Gida.

AzurfaCikin Gida· 2024

Janus Zane na Cikin Mashaya

daga Junlin Zhang

Abokin Ciniki: Janus

Mai Nasarar Kyautar A' Design Award ta Azurfa a Rukunin Cikin Gida

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Mai Nasara da Aka Tabbatar

Tabbatar da Matsayin Kyauta na #156360

Ziyarci Shafin Duba a A' Design Award Sanarwar Manema Labarai Alamar Kyauta

Launuka

Ƙirar

Game da Janus Zane na Cikin Mashaya

Janus mashaya ce ta whisky da cocktail da ke birnin Changsha na kasar Sin. Cikin ginin ya kai kimanin murabba'in mita 200 kuma an tsara shi bisa benaye biyu. An gina fuskar ginin da sassauƙan tubalan geometric baƙaƙe masu ɗauke da ƙananan adon gargajiya na zamanin dā, sannan wani dandali mai rataye yana riƙe da wani sassaƙa na gargajiya. Bene na farko fili ne na tallafi, yayin da bene na biyu shi ne babban wurin taro kuma yana samun hasken rana ta wata buɗaɗɗiyar rufi. Matakalar tana amfani da matakan itace marasa ƙarfi da ke ba da sauti mai laushi da ɗan tashi a ƙarƙashin ƙafa. Itacen veneer mai layukan tsaye da bakin ƙarfe mai madubi su ne suke tsara yanayin wurin.

Amincewa

Game da Kyautar A' Design Award ta Azurfa

Zanen Janus Zane na Cikin Mashaya ya lashe Kyautar A' Design Award ta Azurfa, wata karramawa mai tsananin daraja da ake bai wa zane-zane na matakin koli, masu kyau sosai kuma masu burgewa. Waɗanda suka lashe kyautar Azurfa ayyuka ne masu haske sosai da ƙirƙira mai yawa waɗanda ke nuna ƙwarewa, baiwa da kaifin tunanin masu zanensu. Ana sa ran zanen Janus Zane na Cikin Mashaya ya zama aiki mai ban mamaki, abin koyi, mai ƙwarewa sosai kuma mai ƙirƙire-ƙirƙire mai zurfi. Wannan zane da ya lashe Kyautar A' Design Award ta Azurfa ƙirƙira ce mai abin lura sosai, da ake sha'awa, wacce ke amfanar da kuma kai iyakokin fasaha, kimiyya, zane da fasahar zamani gaba. Zanen Janus Zane na Cikin Mashaya ƙirƙira ce da ake yi wa hassada sosai wacce ke tada sha'awa, tana kawo jin daɗi kuma tana haifar da mamaki da al'ajabi.

Bayan Ƙirar

Kayan Manema Labarai

Bayanin ƙungiyar, membobinta da cikakkun bayanai na fasaha da mai ƙirar ya bayar.

Siffofi Na Musamman: 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.
Girma da Fakitin: 200 meter-square
Kalmomin Alama: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
Fasahar Samarwa: 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.
Ƙalubalen Zane: 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.
Bincike: 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.
Wahayi: 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
Tsawon Lokacin Aikin: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
Tsarin Aiki: 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.
Mambobin Ƙungiya: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
Godiyar Hotuna: Ueya photography（Lei Liu）