Jinglan Bay Art Ebe Nrire Ahịa nke Nic Lee

Ihe emepụtara bụ Jinglan Bay Art Ebe Nrire Ahịa nke Nic Lee bụ onye meriri a na-asọpụrụ nke ukwuu nke 2024 Ihe Nrite A' Design Award nke Ọlaọcha na Udi Asọmpi Nhazi Ime Ụlọ na Ngosipụta.

ỌlaọchaIme Ụlọ· 2024

Jinglan Bay Art Ebe Nrire Ahịa

nke Nic Lee

Onye Ahịa: China Resources Land South China Guangxi Co.

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

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Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Jinglan Bay Art Ebe Nrire Ahịa

Jinglan Bay Art bụ ime ụlọ ebe nrire ahịa dị na Liuzhou, mpaghara ugwu ugwu nwere mmiri na-agagharị agagharị. Ime ụlọ ahụ ruru mita skwea 1705 ma gụnye ebe nnabata, ebe nrire ahịa, ebe ngosi, ebe mgbasa ozi dijitalụ na ebe ndị VIP. Kama iṅomi odida obodo site n'iji ụdịdị dị iche iche, a na-eji ìhè na onyinyo egosi ugwu ndị dị elu na mmiri miri emi. A na-ehicha terrazzo ojii ka ọ na-egbuke egbuke dịka enyo, nke mere na a na-ahụ ọdịdị ala dị n'èzí na mmegharị nke ndị ọbịa n'ime ya. Nkume aghụghọ na-adịghị edozi edozi dị n'ọnụ ụzọ mbata na-emepụta omimi nke ndagwurugwu. Ihe ndị ọzọ e ji rụọ ya gụnyere mabụl a wara awa, agba mineral, osisi ojii na osisi oak.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaọcha

Jinglan Bay Art Ebe Nrire Ahịa meriri A' Design Award nke Ọlaọcha, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa kachasị elu, mara mma ma na-eju anya. Ndị meriri na Ọlaọcha bụ ọrụ na-egbu maramara nke ukwuu ma dị oke nzụlite nke na-egosi ọmarịcha ihe ọmụma, talent na nghọta nke ndị designer ha. A na-atụ anya na Jinglan Bay Art Ebe Nrire Ahịa ga-abụ ọrụ dị ịtụnanya, ihe nlereanya, nke dị oke ọrụ ma dị omimi n'ihe ọhụrụ. Design a meriri A' Design Award nke Ọlaọcha bụ ihe e mepụtara dị oke ịrịba ama, nke a na-eto nke na-erite uru ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Jinglan Bay Art Ebe Nrire Ahịa bụ ihe e kere eke ọtụtụ ndị na-ekwo ekworo ya nke na-akpali ọchịchọ, na-eweta mmetụta ọma ma na-akpali ịtụnanya.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

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

Àgwà Pụrụ Iche: The project is located in Liuzhou, a mountainous area with winding waters. Instead of simulating the landscape with shapes, we think it would be better to use light and shadow to create high mountains and deep water. The material facade is used to recreate the mental transitions of entering a deep forest, and to incorporate nature into the interior gestures.
Nha & Mkpuchi: Location：Liuzhou
Area：1705 m2
Layout： Reception area. Sales area. Display area. Digital media area. VIP area. Office. Toilet
Material：polished terrazzo. chiseled marble. mineral paint. red paint. black wood. oak
Mkpado: sales center, landscape, museum, indoor architecture, interior design
Teknụzụ Mmepụta: In addition to abstracting nature through volumetric forms, we also attempt to bring nature indoors from a different perspective. By polishing black terrazzo to a mirror-like finish, we create a deep and tranquil ambiance that constantly reflects the seasonal scenery and human movement outside the windows. Viewing from different heights within the space resembles the ever-changing landscapes experienced while hiking or walking in the mountains.
Ịma Aka Imepụta: By inviting you to visit the landscape narrated by the architecture, and experience the white space and depth of the design grid, we hope that this site is like spreading a multi-view ink painting of a landscape, which synthesizes philosophy and poetry, and transcends the perception of the surface landscape to facilitate a pure feeling of the change in status and the state of mind fit.
Nchọpụta: Liuzhou is famous for its wonderful stones, which include mountain stones, water stones, earth stones, cave stones, and rocks. Each of which has its own beauty. Taking this as our inspiration, we built the entrance with raw stones to create the depth of a valley. The deep cut stone surface of the counter is not only used as the facade of the building but also as a display of the mountain wall, transforming the natural stone gestures into an emotional turn when experiencing nature.
Mkpali: The focus of the landscape in paintings is expressions, but how does architecture become a narrative tool to record nature? We imagine that walking through the interior of the building is like a mountain climbing practice, passing through a tunnel covered by branches and leaves with the sky hidden behind boulders or looking up at the mountain peaks under the cliff, feeling the personal transformation of the mind and the tranquility of not clinging to material things.
Oge Ọrụ: The project started in November 2021 and finished in July 2022, and was exhibited in Liuzhou in August 2022.
Usoro Ọrụ: Giving up persistence, we withdraw ourselves from the environment to maintain the clarity of non-stagnation. Therefore, we do not simulate a figurative landscape, but reproduce the experience of people wandering in the mountains through the multi-directional views of people zigzagging, climbing, looking up, or looking down between structures, and even the real and imaginary contours of reflections on the floor.
Asụsụ Foto: Image #1: Photographer Vincent Wu, Jinglan Bay Art Museum, 2022.
Image #2: Photographer Vincent Wu, Jinglan Bay Art Museum, 2022.
Image #3: Photographer Vincent Wu, Jinglan Bay Art Museum, 2022.
Image #4: Photographer Vincent Wu, Jinglan Bay Art Museum, 2022.
Image #5: Photographer Vincent Wu, Jinglan Bay Art Museum, 2022.