Jinglan Bay Art Canolfan Werthu by Nic Lee

Jinglan Bay Art Canolfan Werthu by Nic Lee is a highly esteemed winner of the very prestigious 2024 Gwobr Arian A' Design Award in Mewnol Competition Category.

ArianMewnol· 2024

Jinglan Bay Art Canolfan Werthu

by Nic Lee

Client: China Resources Land South China Guangxi Co.

Gwobr Arian A' Design Award Winner in Mewnol Category

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Verified Award Winner

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Colors

The Design

About Jinglan Bay Art Canolfan Werthu

Mae Jinglan Bay Art yn ganolfan werthu fewnol wedi'i lleoli yn Liuzhou, ardal fynyddig gyda dyfroedd troellog. Mae'r tu mewn yn cwmpasu 1705 metr sgwâr ac yn cynnwys ardaloedd derbyn, gwerthu, arddangos, cyfryngau digidol a VIP. Yn hytrach na chopïo'r tirlun trwy siapiau, defnyddir golau a chysgod i awgrymu mynyddoedd uchel a dŵr dwfn. Caiff terrazzo du ei loywi i orffeniad drych, fel bod golygfeydd yr awyr agored a symudiadau ymwelwyr yn cael eu hadlewyrchu. Mae carreg amrwd wrth y fynedfa yn creu dyfnder dyffryn. Ymhlith y deunyddiau eraill mae marmor wedi'i naddu, paent mwynol, pren du a derw.

The Recognition

About the Gwobr Arian A' Design Award

Mae Jinglan Bay Art Canolfan Werthu yn enillydd Gwobr Arian A' Design Award, cydnabyddiaeth hynod fawreddog a roddir i ddyluniadau o'r radd uchaf, hardd a thrawiadol. Mae enillwyr Arian yn weithiau tra disglair a hynod greadigol sydd yn darlunio arbenigedd, dawn a chraffter rhagorol eu dylunwyr. Disgwylir i Jinglan Bay Art Canolfan Werthu fod yn waith gwych ac esiampl, yn nodedig o broffesiynol ac yn ddwfn arloesol. Mae'r dyluniad buddugol hwn o Wobr Arian A' Design Award yn ddyfais hynod nodedig a edmygir sydd yn elwa ac yn symud ymlaen ffiniau celf, gwyddoniaeth, dylunio a thechnoleg. Mae Jinglan Bay Art Canolfan Werthu yn greadigaeth y cenfigennir wrthi yn eang, sydd yn deffro dyheadau, yn cyflwyno teimladau cadarnhaol ac yn cynnau rhyfeddod a syndod.

Behind the Design

Press Kit

Credits, team members and technical details provided by the designer.

Unique Properties: 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.
Dimensions & Packaging: 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
Tags: sales center, landscape, museum, indoor architecture, interior design
Production Technology: 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.
Design Challenge: 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.
Research: 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.
Inspiration: 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.
Project Duration: The project started in November 2021 and finished in July 2022, and was exhibited in Liuzhou in August 2022.
Operation Flow: 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.
Image Credits: 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.