Jinglan Bay Art 판매 센터 by Nic Lee is a highly esteemed winner of the very prestigious 2024 A' Design Award 은상 in 인테리어 공간 및 전시 디자인 Competition Category.

은인테리어· 2024

Jinglan Bay Art 판매 센터

by Nic Lee

Client: China Resources Land South China Guangxi Co.

A' Design Award 은상 Winner in 인테리어 Category

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The Design

About Jinglan Bay Art 판매 센터

징란 베이 아트(Jinglan Bay Art)는 굽이치는 물길과 산세가 어우러진 산악 지역인 류저우에 위치한 판매 센터 인테리어이다. 1,705제곱미터 규모의 실내는 접객, 판매, 전시, 디지털 미디어, VIP 공간으로 구성된다. 형태로 풍경을 모방하기보다, 빛과 그림자를 활용해 높은 산과 깊은 물을 은유적으로 표현했다. 검정 테라조를 거울처럼 연마하여 외부 경관과 방문객의 움직임이 바닥에 비치도록 했으며, 입구의 자연석은 계곡과 같은 깊이감을 자아낸다. 그 밖의 마감재로는 정다듬 대리석, 미네랄 페인트, 흑색 목재, 오크가 사용되었다.

The Recognition

About the A' Design Award 은상

Jinglan Bay Art 판매 센터, 이 작품은 A' Design Award 은상 수상작으로, 최상급이며 아름답고 인상적인 디자인에 수여되는 비범하게 권위 있는 인정입니다. 은상 수상작은 대단히 뛰어나고 매우 창의적인 작품으로, 디자이너의 탁월한 전문 지식, 재능, 통찰력을 보여 줍니다. Jinglan Bay Art 판매 센터, 이 작품은 훌륭한 대표작으로서 매우 전문적이고 깊이 있게 혁신적일 것으로 기대됩니다. 이 은상 수상 디자인은 예술, 과학, 디자인, 기술의 경계를 넓히는 데 이바지하는 주목할 만하고 찬사를 받는 발명품입니다. Jinglan Bay Art 판매 센터, 이 작품은 모두가 부러워하는 창작물로서 욕망을 일깨우고 긍정적인 감정을 불러오며 경탄과 경이로움을 불러일으킵니다.

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.