Looping Flower Ebe Omenala Ikebana nke Ni Jie Guo

Ihe emepụtara bụ Looping Flower Ebe Omenala Ikebana nke Ni Jie Guo bụ onye meriri a na-asọpụrụ nke ukwuu nke 2024 Ihe Nrite A' Design Award nke Bronz na Udi Asọmpi Nhazi Ime Ụlọ na Ngosipụta.

BronzIme Ụlọ· 2024

Looping Flower Ebe Omenala Ikebana

nke Ni Jie Guo

Onye Ahịa: Blankspace

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

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #151842

Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Looping Flower Ebe Omenala Ikebana

Nka ikebana bụ ịtụgharị uche banyere ndụ n'usoro oge anọ nke afọ, nke gụnyere njide nke oge dị nkenke na ịma mma Japanese, nrụgharị ndụ okooko osisi na alaka, na njikọta ọhụrụ nke nhazi na ịma mma. Nhazi nke ogige a niile dabere na mmụọ nke Kusatsuki-ryu, na-ewepụta ihe sitere na ụlọ ochie Japanese ma gbanwee ha ka ha bụrụ asụsụ ụlọ nke oge a, na-enyocha mmekọrịta dị n'etiti ihe owuwu oge a na ịma mma site na ihe Japanese na-adịghị ahụ anya.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Bronz

Looping Flower Ebe Omenala Ikebana meriri A' Design Award nke Bronz, nnabata dị oke ugwu e nyere design ndị pụtara ìhè nke a ma ama maka nzụlite ihe, ọgụgụ isi na nghọta. Ndị meriri na Bronz bụ ihe e mere nke ndị nwere nka nke ukwuu ma dị mma n'imepụta nke na-egosi ahụmahụ buru ibu, echiche na ọgụgụ isi nke ndị designer ha. A na-atụ anya na Looping Flower Ebe Omenala Ikebana ga-abụ ihe a na-asọpụrụ nke ukwuu, a na-eto na a hụrụ n'anya, nke dị oke ọrụ ma dị ọhụrụ. Design a meriri A' Design Award nke Bronz na-agụnye ụzọ kacha mma n'ime nka, sayensị, design na teknụzụ, ma dị mma nke ukwuu maka nlebara anya ya n'obere ihe. Looping Flower Ebe Omenala Ikebana na-emezu mkpa nke ọma, na-emetụ ọchịchọ aka, na-adọrọ mmetụta obi ma na-adọta ọchịchọ ịmara.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

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

Àgwà Pụrụ Iche: This art space is located in Fuzhou City, Fujian Province, with a total area of about 105 sqm. The owner hopes that this space will be able to hold experimental art exhibitions on a regular basis as a place to focus on outside the flower show classroom and as an exchange.
Nha & Mkpuchi: Aiming at the disadvantage that the project is located along the river and has high humidity. At the spatial level, we raised the ground at three levels, raising the first level of the ground to reduce moisture infiltration, and then setting a movable dark grid in the hollow position and placing charcoal to reduce humidity, so as to improve the problem of dampness near the river and enrich the space. In addition, the three gradual elevations also indicate the transition of the nature of space from public to private, and enhance the sense of spatial experience.
Mkpado: Ikebana, Japanese Aesthetics, Natural Features, Relaxed
Teknụzụ Mmepụta: In terms of the organization of the plan, the exterior of the building uses semi high stone walls as its front stage and cobbles as its transition point. Our work has opened up a third realm in the external environment and internal space, reinterpreting the traditional material media of Japanese architecture, the edge. Allowing the noisy atmosphere of the street to form a strong contrast to the tranquil atmosphere of the interior. This eliminates the sense of the rigid boundary of the building.
Ịma Aka Imepụta: Being the space of flower paths, there is a large storage demand, and we must solve these problems in the limited space. In order to create the possibility of acceptance in the space to a greater extent, we use the alley and other space to perform boundary computation, in order to ensure a clean and tidy image in the hall of flower paths.
Nchọpụta: The proportion of the door is obtained after the traditional Japanese style house frame has been calculated, in the design deliberately control the height, so that the visual external door is relatively small, but after entering the interior it will be felt that the longitudinal stretching of the space is very strong. This is similar to the traditional Japanese space. In the style of oriental classical architecture, it stands in contrast to the modern material form, highlighting infinitely qualitative spatial narrative techniques.
Mkpali: In designing the entire space, we dismantle the design based on the spirit of the flow of grass and moon: extracting elements from traditional Japanese architecture and transforming them into the modern architectural language, and exploring the relationship between structure and contemporary aesthetics with abstract Japanese features. So that it is not necessarily a traditional depiction but has a Japanese temper.
Oge Ọrụ: The project started in August 2022 and finished in December 2022 in China .
Usoro Ọrụ: To make it more ceremonial to enter the flower room, we will extend the line of movement to enter the room, using internal push processing to create a unique entrance to the space, increasing the time it takes to enter the building, and hoping visitors will change their state from body to mind and become immersed in the ambience. entering the flower path to study. Floor-to-ceiling glass windows enter the room and bring enough natural light into the entire space, and the open and brightly lit lecture area and exhibition area welcomes visitors. Causing visitors to temporarily forget the impetuousness of outer life and find a corner to rest in.
Ndị Otu: NI JIE GUO
Asụsụ Foto: BLANKSPACE