Janus Igishushanyo mbonera cy'imbere mu Kabari na Junlin Zhang

Umushinga Janus Igishushanyo mbonera cy'imbere mu Kabari wa Junlin Zhang ni uwatsinze igihembo cyubahwa cyane 2024 Igihembo cya A' Design Award cya Ifeza mu Cyiciro cy'Ihiganwa cya Igishushanyo cy'Imbere y'Inyubako.

IfezaImbere y'Inyubako· 2024

Janus Igishushanyo mbonera cy'imbere mu Kabari

na Junlin Zhang

Umukiriya: Janus

Uwatsinze Igihembo cya A' Design Award cya Ifeza mu Cyiciro cya Imbere y'Inyubako

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Uwatsinze Igihembo Yemejwe

Emeza Uko Igihembo Gihagaze ku #156360

Sura Urubuga Reba kuri A' Design Award Itangazo ry'Ikinyamakuru Ikimenyetso cy'Igihembo

Amabara

Imigereranyo

Ibyerekeye Janus Igishushanyo mbonera cy'imbere mu Kabari

Janus ni akabari ka whisky na cocktail gaherereye i Changsha, mu Bushinwa. Imbere hafite ubuso bungana na metero kare 200 kandi hateguwe mu magorofa abiri. Uruhande rw'inyuma rugizwe n'ibice by'umukara byoroheje bifite imiterere ya geometrike hamwe n'utuntu duto twa kera, kandi urubuga rumanitse rufite igishushanyo cya kera. Igorofa ya mbere ni umwanya w'inkunga, mu gihe igorofa ya kabiri ari ahantu nyamukuru kandi hakirira urumuri rw'amanywa binyuze mu mwenge uri ku gisenge. Ingazi zikoresha ibibaho by'ibiti bidafatanye bitanga ijwi ryoroheje n'ukwiyongera gake iyo ubikandagiyeho. Ibiti byometseho bifite imirongo ihagaze hamwe n'icyuma kitagira umugese cyaka nk'indorerwamo ni byo bigena imiterere y'ahantu.

Ishimwe

Ibyerekeye Igihembo cya A' Design Award cya Ifeza

Janus Igishushanyo mbonera cy'imbere mu Kabari ni uwegukanye Igihembo cya A' Design Award cya Ifeza, ishimwe ridasanzwe ry'agaciro gakomeye ritangwa ku bishushanyo byo ku rwego rwo hejuru, byiza kandi bikora ku mutima. Abegukanye Ifeza ni ibihangano by'ubuhanga bukomeye kandi bifite guhanga kwinshi, bigaragaza ubuhanga bwimbitse, impano n'ubushishozi bw'ababihanze. Janus Igishushanyo mbonera cy'imbere mu Kabari biteganyijwe ko izaba igihangano cy'icyitegererezo, gifite ubunyamwuga bukomeye n'udushya twimbitse. Iki gishushanyo cyegukanye Ifeza ni igihangano kizwi kandi gishimwa, gifasha kugura imbibi z'ubuhanzi, ubumenyi, ubushushanyo n'ikoranabuhanga. Janus Igishushanyo mbonera cy'imbere mu Kabari ni igihangano benshi bifuza, gikangura ibyifuzo, gitanga amarangamutima meza kandi gitera igitangaza.

Inyuma y'Imigereranyo

Dosiye y'Itangazamakuru

Amazina y'abagize uruhare, abagize itsinda n'amakuru y'ubuhanga byatanzwe n'umuhanzi.

Ibintu Bidasanzwe: 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.
Ibipimo n'Ipaki: 200 meter-square
Ibibazo Fatizo: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
Ikoranabuhanga ryo Guteza Imbere: 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.
Ikibazo cy'Ishusho: 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.
Ubushakashatsi: 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.
Ibyatumye Habaho: 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
Igihe cy'Umushinga: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
Uburyo bw'Imikorere: 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.
Abagize Itsinda: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
Abafotoye: Ueya photography（Lei Liu）