Wonderland Primaire Functie: Interieurontwerp Tentoonstellingscentrum by Chengzhe Zhang

Wonderland Primaire Functie: Interieurontwerp Tentoonstellingscentrum by Chengzhe Zhang is a highly esteemed winner of the very prestigious 2020 A' Design Award in Zilver in Interieur en Tentoonstellingsontwerp Competition Category.

ZilverInterieur· 2020

Wonderland Primaire Functie: Interieurontwerp Tentoonstellingscentrum

by Chengzhe Zhang

Client: Shanghai Hongshida Real Estate Development Co., LTD

A' Design Award in Zilver Winner in Interieur Category

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Verified Award Winner

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View at A' Design Award Press Release Award Badge

Colors

The Design

About Wonderland Primaire Functie: Interieurontwerp Tentoonstellingscentrum

Wonderland is een interieur van een tentoonstellingscentrum in Shanghai, China. Het ontwerp is geïnspireerd op Taoyuan Wonderland, een landschapsschilderij van de Ming-dynastieschilder Qiu Ying, en past groene, roze en witte tinten toe in een rustige ruimte. Een muur van grijze leisteen verbergt eerst het zicht, en de tien meter hoge hoofdhal wordt onthuld langs het pad. De centrale doorgang leidt naar het conferentiegedeelte, het tentoonstellingsgedeelte en de theekamer. Vrijstaande boekenkasten en geometrische opengewerkte schermen verdelen de gebieden. Een zwevende glazen installatie van meer dan 5.000 perzikbloesembladeren werd met de hand aangebracht.

The Recognition

About the A' Design Award in Zilver

Wonderland Primaire Functie: Interieurontwerp Tentoonstellingscentrum is winnaar van de A' Design Award in Zilver, een buitengewoon prestigieuze erkenning die wordt toegekend aan topontwerpen die prachtig en indrukwekkend zijn. Winnaars in Zilver zijn enorm briljante en uiterst creatieve werken die de uitmuntende expertise, het talent en de scherpzinnigheid van hun ontwerpers illustreren. Wonderland Primaire Functie: Interieurontwerp Tentoonstellingscentrum wordt verwacht een prachtig paradepaardje te zijn dat opmerkelijk professioneel en diepgaand innovatief is. Dit ontwerp dat de A' Design Award in Zilver heeft gewonnen, is een hoogst opmerkelijke, bewonderde uitvinding die baat en de grenzen van kunst, wetenschap, ontwerp en technologie verlegt. Wonderland Primaire Functie: Interieurontwerp Tentoonstellingscentrum is een zeer benijde creatie die verlangens oproept, positieve gevoelens brengt en verbazing en verwondering doet ontvlammen.

Behind the Design

Press Kit

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

Unique Properties: Since the year 907 AD, the Chinese people's ambiguity
about the Taoyuan space has gone through a series of
evolutions from earthly legends to images of physical
space, finally being transformed from the abstract into
something which can be incorporated into everyday
life, where the Tao Yuanming space was replaced by the
living room. The narrative of Wonderland is the most profound.
In the modern urban environment, the industrialized
environment has been separated from the natural
environment.
Dimensions & Packaging: Time in the usual sense can be roughly divided into two types. One is the time in nature when flowers are blooming and the seasons are changing, the other is the time in space, which is caused by the rotation of the earth. How people view the space and what they get out of it will depend on their different experiences.
Tags: Exhibition Center, Oriental aesthetics, Localization, Taoyuan Wonderland, Natural
Production Technology: From the open landscape to the inside, the designer Mr. Alessio Chengzhe Zhang first considers the space experience of the visitors, the gray slate wall obscures the line of sight and as they pass along the path, the main 10 meter high space is revealed, filling the visitors with awe. As they continue along the central passage, the layout of the functional areas such as the conference area, the exhibition area and the tea room unfold before their eyes.
Design Challenge: The large glass art installation suspended in the air is a response to these two concepts of time. It consists of pink-white peach petals each of different size, brightness and width, simulating the temporal dynamics of natural movement. More than 5,000 glass petals were all manually installed on site to achieve the final result, which also serves as a visual guide in the actual use of space.
From the opening and closing of the space, the abstraction of color to the artistic interpretation of time, the classic literary image has completed a series of retellings at the hands of the designers.
Research: In traditional Chinese painting, landscapes usually incorporated the triple concept of far, with the painter mainly trying to emphasize the subtle characteristics in the space. In order to avoid the panoramic effect in the large space, the canvas mainly focuses on the near and far, which becomes the boundary between the different functional areas. Here the surrounding floor-standing bookshelves and geometric hollow screens can create subtle light and shadow changes in space, while changing both inside and outside. These ideas all stem from the interpretation of landscape painting, representing the height of artificial nature.
Inspiration: The Ming dynasty painter Qiu Ying has a painting called Taoyuan
Wonderland. The painter meticulously depicts the life hidden in the mountains: green mountains and clear water. Several white people who are detached from the world are sitting down by the creek and enjoying nature.
IADC chief designer Mr. Alessio Chengzhe Zhang was inspired by the masterpieces of Chinese landscape painters, applying the green, pink and white symbols of the pastoral forests to this quaint space.
Project Duration: The Project started in January 2018 in Shanghai China
Operation Flow: From the opening and closing of the space, the abstraction of color to the artistic interpretation of time, the classic literary image has completed a series of retellings at the hands of the designers. It signals both inheritance of tradition and the beginning of a new life in the future.
Team Members: Mingxin Lu
Yunhui Tang
Image Credits: Main Image: Photographer Hai Zhu, 2018