Junlin ZhangによるJanus バーのインテリアデザインは、インテリア空間・展示デザインコンペティションカテゴリーにおける非常に権威ある2024 A' Design Award 銀賞の優れた受賞作品です。

銀インテリア· 2024

Janus バーのインテリアデザイン

デザイナー： Junlin Zhang

クライアント: Janus

インテリアカテゴリーのA' Design Award 銀賞受賞者

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デザイン

Janus バーのインテリアデザインについて

Janusは、中国・長沙にあるウイスキーとカクテルのバーである。インテリアは約200平方メートルで、2つのフロアにわたって構成されている。ファサードは古典的なディテールを備えたシンプルな黒い幾何学的ブロックで構成され、キャンチレバーの台座には古典彫刻が据えられている。1階は付帯空間で、2階が主要な客席となり、屋根の開口部から自然光を取り込む。階段には遊びを持たせた木製の踏板を用い、足元に柔らかな音とわずかな反発感をもたらす。縦木目の木質突板とミラー仕上げのステンレススチールが空間の雰囲気を形づくっている。

受賞

A' Design Award 銀賞について

Janus バーのインテリアデザインは、見事で印象的なハイエンドのデザインに授与される、非常に権威ある評価である A' Design Award 銀賞の受賞作品です。銀賞の受賞作品は、きわめて輝かしく創造性に富んだ作品であり、デザイナーの傑出した専門知識、才能、洞察力を示しています。Janus バーのインテリアデザインは、素晴らしい代表作であり、驚くほどプロフェッショナルで、深く革新的であることが期待されます。この A' Design Award 銀賞を受賞したデザインは、非常に注目すべき称賛される発明であり、芸術・科学・デザイン・技術の境界に寄与し、それを前進させます。Janus バーのインテリアデザインは、多くの人に羨まれる創造物であり、欲求を呼び覚まし、前向きな感情をもたらし、驚きと感嘆を灯します。

デザインの裏側

プレスキット

デザイナーが提供するクレジット、チームメンバー、技術的な詳細。

独自の特性: 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.
寸法とパッケージ: 200 meter-square
タグ: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
製造技術: 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.
デザインの課題: 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.
リサーチ: 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.
インスピレーション: 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
プロジェクト期間: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
オペレーションフロー: 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.
チームメンバー: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
画像クレジット: Ueya photography（Lei Liu）