Wonderland Aikin Farko: Ƙirar Cikin Gida na Cibiyar Baje-koli daga Chengzhe Zhang

Zane Wonderland Aikin Farko: Ƙirar Cikin Gida na Cibiyar Baje-koli daga Chengzhe Zhang mai nasara ne mai daraja sosai na 2020 Kyautar A' Design Award ta Azurfa a Rukunin Gasar Cikin Gida.

AzurfaCikin Gida· 2020

Wonderland Aikin Farko: Ƙirar Cikin Gida na Cibiyar Baje-koli

daga Chengzhe Zhang

Abokin Ciniki: Shanghai Hongshida Real Estate Development Co., LTD

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 #92667

Duba a A' Design Award Sanarwar Manema Labarai Alamar Kyauta

Launuka

Ƙirar

Game da Wonderland Aikin Farko: Ƙirar Cikin Gida na Cibiyar Baje-koli

Wonderland cibiyar baje-koli ce ta cikin gida a Shanghai, China. An samo wahayin ƙirar ne daga Taoyuan Wonderland, wani zanen shimfidar wuri na mai zane Qiu Ying na daular Ming, kuma an yi amfani da launukan kore, ruwan hoda da fari a wani wuri mai natsuwa. Da farko, wani bango na dutsen slate mai launin toka ya ɓoye kallon, sannan babban zauren mai tsayin mita goma ya bayyana a hanya. Hanyar tsakiya tana kaiwa zuwa yankin taro, yankin baje-koli da ɗakin shan shayi. Rumbunan littattafai da suke tsaye a ƙasa da kuma allunan raba wuri masu ƙira na geometric suna raba yankunan. An sanya wata na'ura ta gilashin da aka rataye mai fiye da furannin fesawa 5,000 na fiya da hannu.

Amincewa

Game da Kyautar A' Design Award ta Azurfa

Zanen Wonderland Aikin Farko: Ƙirar Cikin Gida na Cibiyar Baje-koli 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 Wonderland Aikin Farko: Ƙirar Cikin Gida na Cibiyar Baje-koli 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 Wonderland Aikin Farko: Ƙirar Cikin Gida na Cibiyar Baje-koli 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: 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.
Girma da Fakitin: 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.
Kalmomin Alama: Exhibition Center, Oriental aesthetics, Localization, Taoyuan Wonderland, Natural
Fasahar Samarwa: 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.
Ƙalubalen Zane: 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.
Bincike: 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.
Wahayi: 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.
Tsawon Lokacin Aikin: The Project started in January 2018 in Shanghai China
Tsarin Aiki: 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.
Mambobin Ƙungiya: Mingxin Lu
Yunhui Tang
Godiyar Hotuna: Main Image: Photographer Hai Zhu, 2018