Xiangxin Huzhou Songyuanli Nhazi Ime Ụlọ Obibi by Zhijun Zhong

Xiangxin Huzhou Songyuanli Nhazi Ime Ụlọ Obibi by Zhijun Zhong is a highly esteemed winner of the very prestigious 2023 Ihe Nrite A' Design Award nke Ọlaọcha in Nhazi Ime Ụlọ na Ngosipụta Competition Category.

ỌlaọchaIme Ụlọ· 2023

Xiangxin Huzhou Songyuanli Nhazi Ime Ụlọ Obibi

by Zhijun Zhong

Client: Herabenna

Ihe Nrite A' Design Award nke Ọlaọcha Winner in Ime Ụlọ Category

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The Design

About Xiangxin Huzhou Songyuanli Nhazi Ime Ụlọ Obibi

Xiangxin Huzhou Songyuanli bụ nhazi ime ụlọ obibi nke na-ejekwa ozi dịka ụlọ nlereanya a na-egosi ọha mmadụ. Ọrụ a kpuchiri square mita 696 na Huzhou, Zhejiang Province, China. Ihe owuwu ya sitere na ụdị owuwu ọdịnala Huizhou, nke nwere mgbidi ọcha na taịlị ojii. N'ime ụlọ, a jikọtara kristal na ígwè, ebe ngwongwo ọlaedo na ọlaọcha yana eserese ochie na-emezu ọnụ ụlọ ndị ahụ. Ngwá ụlọ ndị ahụ ji sịlịk Huzhou nke mpaghara ahụ. E jikọtara usoro ọdịnala nke ịkanye ihe, ịkwa akwa mma na nka ubi na ụdị ndụ ọgbara ọhụrụ, ka ụlọ ahụ wee mezuo mkpa onye nwe ya na nke ndị ọbịa.

The Recognition

About the Ihe Nrite A' Design Award nke Ọlaọcha

Xiangxin Huzhou Songyuanli Nhazi Ime Ụlọ Obibi 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 Xiangxin Huzhou Songyuanli Nhazi Ime Ụlọ Obibi 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. Xiangxin Huzhou Songyuanli Nhazi Ime Ụlọ Obibi bụ ihe e kere eke ọtụtụ ndị na-ekwo ekworo ya nke na-akpali ọchịchọ, na-eweta mmetụta ọma ma na-akpali ịtụnanya.

Behind the Design

Press Kit

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

Unique Properties: 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.
Dimensions & Packaging: 696 square meters
Tags: Mansion, luxury, classical, golden age, aristocratic circle, Modern Times of China
Production Technology: 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.
Design Challenge: "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.
Research: 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.
Inspiration: 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.
Project Duration: This project is located at No. 58 Meiquan Road, Wuxing District, Huzhou City, Zhejiang Province, China, and was completed in May 2022.
Operation Flow: 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.