디자이너 Junlin Zhang의 작품 Janus 바 인테리어 디자인은(는) 매우 권위 있는 2024 A' Design Award 은상의 인테리어 공간 및 전시 디자인 부문에서 탁월한 수상작입니다.

은인테리어· 2024

Janus 바 인테리어 디자인

디자이너: Junlin Zhang

클라이언트: Janus

인테리어 부문 A' Design Award 은상 수상작

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Janus 바 인테리어 디자인 소개

야누스(Janus)는 중국 창사에 위치한 위스키 앤 칵테일 바이다. 내부는 약 200제곱미터 규모로 두 개의 층에 걸쳐 구성되었다. 파사드는 고전적인 디테일을 지닌 단순한 검정색 기하학적 매스로 이루어지며, 캔틸레버 플랫폼 위에는 고전 조각상이 놓여 있다. 1층은 부속 지원 공간이고, 2층은 주요 공간으로 지붕 개구부를 통해 자연광을 받아들인다. 계단은 고정하지 않은 목재 디딤판을 사용하여 발밑에서 부드러운 소리와 미세한 반발감을 전한다. 수직 결의 목재 베니어와 미러 스테인리스 스틸이 공간의 분위기를 형성한다.

수상 인정

A' Design Award 은상 소개

Janus 바 인테리어 디자인, 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. Janus 바 인테리어 디자인, 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. Janus 바 인테리어 디자인, 이 작품은 모두가 부러워하는 창작물로서 욕망을 일깨우고 긍정적인 감정을 불러오며 경탄과 경이로움을 불러일으킵니다.

디자인 비하인드

프레스 킷

디자이너가 제공한 크레딧, 팀원 및 기술 세부 사항.

고유 특성: 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.
치수 및 패키징: 200 meter-square
태그: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
생산 기술: 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.
디자인 과제: 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.
연구: 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.
영감: 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
프로젝트 기간: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
운영 흐름: 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.
팀원: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
이미지 출처: Ueya photography（Lei Liu）