Xiangxin Huzhou Songyuanli Àgbékalẹ̀ Inú Ilé Ìgbé láti ọwọ́ Zhijun Zhong jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2023 Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Àyà Inú Ilé àti Ibi Àfihàn.
FàdákàInú Ilé· 2023
Xiangxin Huzhou Songyuanli Àgbékalẹ̀ Inú Ilé Ìgbé
látọ̀wọ́ Zhijun Zhong
Oníbàárà: Herabenna
Aṣẹ́gun Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Inú Ilé
Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí
Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #148815Àpẹrẹ Náà
Nípa Xiangxin Huzhou Songyuanli Àgbékalẹ̀ Inú Ilé Ìgbé
Xiangxin Huzhou Songyuanli jẹ́ àgbékalẹ̀ inú ilé ìgbé tí ó tún ń ṣiṣẹ́ gẹ́gẹ́ bí ilé àpẹẹrẹ tí a fi hàn fún gbogbo ènìyàn. Iṣẹ́ àgbékalẹ̀ yìí bo agbègbè mítà onígun mẹ́rin 696 ní Huzhou, ní Ìpínlẹ̀ Zhejiang, orílẹ̀-èdè Ṣáínà. Àwòkọ́ṣe ilé náà gbé ìmísí láti ara ìkọ́lé ìbílẹ̀ Huizhou, pẹ̀lú ògiri funfun àti òrùlé aláwọ̀ dúdú. Nínú ilé náà, a da kírísítálì àti irin pọ̀, àwọn ohun èlò wúrà àti fàdákà pẹ̀lú àwọn àwòrán àtijọ́ sì mú àwọn yàrá náà pé. Àwọn ohun ìṣọ́ṣọ́ ilé náà lo aṣọ síìlíìkì ìbílẹ̀ Huzhou. A so àwọn ọgbọ́n ìbílẹ̀ ti fífín ère, iṣẹ́ abẹ́rẹ́ ọ̀nà àti ìṣètò ọgbà pọ̀ mọ́ ìgbé ayé òde òní, kí ilé náà lè bá àwọn àìní ẹni tó ni ín àti ti àwọn àlejò mu.
Ìdánimọ̀ Náà
Nípa Àmì-ẹ̀yẹ Fàdákà A' Design Award
Xiangxin Huzhou Songyuanli Àgbékalẹ̀ Inú Ilé Ìgbé jẹ́ olùborí Àmì-ẹ̀yẹ Fàdákà A' Design Award, ìdánimọ̀ onípọ̀nlé lọ́nà àrà ọ̀tọ̀ tí a fún àwọn àwòṣe ìpele gíga jùlọ tó dára tó sì ń kan ọkàn. Àwọn olùborí Fàdákà jẹ́ àwọn iṣẹ́ tó ń tàn yòò gidigidi tó sì ní ìṣẹ̀dá púpọ̀ tí wọ́n ń ṣàfihàn ìmọ̀ ìjìnlẹ̀, ẹ̀bùn àti ìmọ̀ràn àwọn olùṣàwòṣe wọn. A retí pé Xiangxin Huzhou Songyuanli Àgbékalẹ̀ Inú Ilé Ìgbé yóò jẹ́ iṣẹ́ àgbàyanu, àpẹẹrẹ rere, ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun jinlẹ̀. Àwòṣe tó borí Àmì-ẹ̀yẹ Fàdákà A' Design Award yìí jẹ́ ohun ìmúṣẹ̀dá tó hàn gbangba gidigidi tí a mọrírì tó ń ṣe anfàní tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Xiangxin Huzhou Songyuanli Àgbékalẹ̀ Inú Ilé Ìgbé jẹ́ ẹ̀dá tí ọ̀pọ̀lọpọ̀ ń ṣe ìlara, tó ń jí ìfẹ́ inú, tó ń mú ìmọ̀lára rere wá tó sì ń jí ìyàlẹ́nu àti ìyanu.
Lẹ́yìn Àpẹrẹ Náà
Àkójọ Ìròyìn
Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.
- Àwọn Ohun Àkànṣe
- The project is located in Huzhou, Zhejiang Province, and its architecture draws on the traditional "huizhou architecture" with its white wall and black tile, recreating the highlight of "Aesthetics of China". It intends to respect tradition, review history with contemporary aesthetic taste, open up the lifestyle of modern aristocrats, reorganize the elements of the new era, and write new "story chapters ",which can be traced back to the Chinese modern era.
- Ìwọ̀n àti Àpò
- 696 square meters
- Àwọn Àkọlé
- Mansion, luxury, classical, golden age, aristocratic circle, Modern Times of China
- Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀
- Under the contemporary background, the design shows the aesthetics of China, incorporating classical British expressions into the design, and enhancing the space with soft furnishings such as gold and silver wares and antique paintings.
In terms of material selection, c crystal and metal are perfectly integrated, showing the prosperity of the industrial age and reappearing the golden years of the Oriental Modern. The interior furniture uses local silk products from Huzhou as raw materials, and the joint design with BIZZOTTO, the world leading furniture brand. This reflects the quality and craftsmanship, and conveys the essence of high quality spirit.
The design carries forward the excellence of Chinese culture by inheriting traditional Chinese dark engraving techniques, traditional handicraft embroidery techniques, Jiangnan gardening techniques and an inclusive human attitude. - Ìpèníjà Àpèsè
- "Fusion is a better reservation"
In an era of rapid development of science and technology, the inheritance of handicrafts and excellent traditional culture has always been facing great difficulties. The design of the large space draws inspiration from modern 'Shanghai', applying the 'cross-border fusion' model once again to the design, integrating traditional culture with contemporary lifestyles and fusing Chinese and Western design features. The multifunctional parlour in the basement will lead the design to trendy movies and video games, and then disassemble and reorganize them to create a boy's ultimate dream playground. In the future design, standards and styles are constantly being broken. We prefer to try to constantly integrate and cross boundaries, challenging more and more interesting fields, and conveying a design concept that is constantly breaking through. - Ìwádìí
- n the 1930s and 1940s, the area around the Yangtze River Basin, headed by Shiliyangchang (Shanghai), was gradually westernized. The aristocratic circle's recognition of "Ambilight" decoration has reached the peak of the times, and the classical and luxurious temperament of the space given by the luxury materials such as crystal, metal and leather is generally accepted by people in the circle, which has formed a unique interior decorative style such as naval style and Hong Kong style by integrating with the traditional implicit, class distinct interior layout style. As we all know, gold and silver utensils are the symbol of luxury and the belief of excellent craftsmanship and quality, and also reflect the attitude of noble circles pursuing quality of life. Promoting high quality of life is also the most desired quality concept to be conveyed by the design itself.
- Ìmísí
- When we think back to China in 1930s, the lifestyle of the upper aristocracy has always been regarded as a classic of the times. Chinese people's aesthetic appreciation began to go from traditional classical subtlety to international modernity. Interior decoration styles began to show the characteristics of the industrial era, not only modern and stylish but also retaining the traditional subtle and elegant temperament.
- Àkókò Iṣẹ́ Àkànṣe
- This project is located at No. 58 Meiquan Road, Wuxing District, Huzhou City, Zhejiang Province, China, and was completed in May 2022.
- Ìlànà Ìṣiṣẹ́
- This project is the private residence of the project developer, and also needs to be shown to the public as a prototype house. Therefore, we are faced with a paradox: our works should conform to both the owner's preferences and the audience's design preferences, which means that our design works should be both "relatively universal" and "exclusively pertinence". In the first stage, from the perspective of the audience circle, we mainly researched design preferences. In the second stage, we conducted a more detailed investigation on the design details for the owners, thus achieving both the exhibition purpose and meeting the exclusive needs of the owners.
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