Nic Lee ᱨᱮᱱᱟᱜ Jinglan Bay Art ᱟᱹᱠᱷᱨᱤᱧ ᱛᱟᱞᱢᱟ ᱴᱷᱟᱶ ᱫᱚ ᱵᱷᱤᱛᱨᱤ ᱡᱟᱭᱜᱟ ᱟᱨ ᱯᱨᱚᱫᱟᱨᱥᱚᱱᱤ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2024 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱨᱩᱯᱟᱵᱷᱤᱛᱨᱤ· 2024
Jinglan Bay Art ᱟᱹᱠᱷᱨᱤᱧ ᱛᱟᱞᱢᱟ ᱴᱷᱟᱶ
Nic Lee ᱞᱮᱠᱟᱛᱮ
ᱜᱟᱦᱟᱠ: China Resources Land South China Guangxi Co.
ᱵᱷᱤᱛᱨᱤ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#152974 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Jinglan Bay Art ᱟᱹᱠᱷᱨᱤᱧ ᱛᱟᱞᱢᱟ ᱴᱷᱟᱶ ᱵᱟᱵᱚᱛ ᱛᱮ
ᱡᱤᱝᱞᱟᱱ ᱵᱮ ᱟᱨᱴ ᱫᱚ ᱞᱤᱭᱩᱡᱚᱣ ᱨᱮ ᱢᱮᱱᱟᱜ ᱢᱤᱫ ᱟᱹᱠᱷᱨᱤᱧ ᱛᱟᱞᱢᱟ ᱴᱷᱟᱶ ᱨᱮᱭᱟᱜ ᱵᱷᱤᱛᱨᱤ ᱥᱟᱡᱟᱣ ᱠᱟᱱᱟ, ᱚᱠᱟ ᱫᱚ ᱵᱩᱨᱩ ᱟᱨ ᱜᱷᱩᱨᱟᱹᱣ ᱫᱟᱜ ᱨᱮᱭᱟᱜ ᱴᱚᱴᱷᱟ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱵᱷᱤᱛᱨᱤ ᱫᱚ ᱑᱗᱐᱕ ᱵᱚᱨᱜᱚ ᱢᱤᱴᱟᱨ ᱦᱟᱹᱵᱤᱡ ᱯᱟᱥᱱᱟᱣ ᱟᱠᱟᱱᱟ ᱟᱨ ᱱᱚᱶᱟ ᱨᱮ ᱫᱟᱨᱟᱢ ᱴᱷᱟᱶ, ᱟᱹᱠᱷᱨᱤᱧ ᱴᱷᱟᱶ, ᱩᱫᱩᱜ ᱴᱷᱟᱶ, ᱰᱤᱡᱤᱴᱟᱞ ᱢᱤᱰᱤᱭᱟ ᱟᱨ ᱣᱤᱸ ᱟᱭᱤ ᱯᱤ ᱴᱷᱟᱶᱠᱚ ᱢᱮᱥᱟ ᱟᱠᱟᱱᱟ᱾ ᱨᱩᱯ ᱛᱮ ᱫᱤᱥᱚᱢ ᱨᱮᱭᱟᱜ ᱪᱤᱛᱟᱹᱨ ᱱᱚᱠᱚᱞ ᱵᱟᱝ ᱠᱟᱛᱮ, ᱢᱟᱨᱥᱟᱞ ᱟᱨ ᱩᱢᱟᱹᱞ ᱦᱚᱛᱮᱛᱮ ᱩᱥᱩᱞ ᱵᱩᱨᱩ ᱟᱨ ᱡᱮᱞᱮᱡ ᱫᱟᱜ ᱨᱮᱭᱟᱜ ᱟᱸᱡᱷᱟᱣ ᱮᱢ ᱟᱠᱟᱱᱟ᱾ ᱦᱮᱸᱫᱮ ᱴᱮᱨᱟᱡᱚ ᱫᱚ ᱟᱭᱱᱟ ᱞᱮᱠᱟ ᱞᱟᱦᱟᱨ ᱟᱠᱟᱱᱟ, ᱚᱱᱟᱛᱮ ᱵᱟᱦᱨᱮ ᱨᱮᱭᱟᱜ ᱧᱮᱞᱪᱤᱛᱟᱹᱨ ᱟᱨ ᱦᱤᱡᱩᱜ ᱦᱚᱲ ᱠᱚᱣᱟᱜ ᱪᱚᱞᱚᱛ ᱚᱱᱟᱨᱮ ᱧᱮᱞᱚᱜ ᱠᱟᱱᱟ᱾ ᱵᱚᱞᱚ ᱫᱩᱣᱟᱹᱨ ᱨᱮ ᱠᱟᱸᱪᱟ ᱫᱷᱤᱨᱤ ᱦᱚᱛᱮᱛᱮ ᱡᱷᱟᱨᱤᱭᱟ ᱨᱮᱭᱟᱜ ᱡᱮᱞᱮᱡ ᱟᱸᱡᱷᱟᱣ ᱛᱮᱭᱟᱨ ᱟᱠᱟᱱᱟ᱾ ᱮᱴᱟᱜ ᱡᱤᱱᱤᱥ ᱠᱚ ᱛᱟᱞᱟᱨᱮ ᱴᱷᱮᱠᱟ ᱟᱠᱟᱱ ᱢᱟᱨᱵᱚᱞ, ᱢᱤᱱᱟᱨᱟᱞ ᱨᱚᱝ, ᱦᱮᱸᱫᱮ ᱠᱟᱴᱷ ᱟᱨ ᱳᱠ ᱠᱟᱴᱷ ᱢᱮᱱᱟᱜᱼᱟ᱾
ᱢᱟᱱᱟᱱ
A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Jinglan Bay Art ᱟᱹᱠᱷᱨᱤᱧ ᱛᱟᱞᱢᱟ ᱴᱷᱟᱶ ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Jinglan Bay Art ᱟᱹᱠᱷᱨᱤᱧ ᱛᱟᱞᱢᱟ ᱴᱷᱟᱶ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ
ᱯᱨᱮᱥ ᱠᱤᱴ
ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾
- ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
- 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.
- ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
- 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 - ᱴᱮᱜ ᱠᱚ
- sales center, landscape, museum, indoor architecture, interior design
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- 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.
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- 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.
- ᱜᱚᱵᱮᱥᱚᱱᱟ
- 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.
- ᱯᱨᱮᱨᱚᱱᱟ
- 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.
- ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- The project started in November 2021 and finished in July 2022, and was exhibited in Liuzhou in August 2022.
- ᱠᱟᱹᱢᱤ ᱦᱚᱨ
- 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.
- ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
- 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.
ᱥᱯᱚᱱᱥᱚᱨᱰ
Designers.org ᱠᱷᱚᱱ ᱯᱟᱨᱚᱢ ᱛᱟᱞᱟᱥ
ᱟᱞᱮᱭᱟᱜ ᱵᱤᱜᱽᱭᱟᱯᱚᱱ ᱥᱟᱹᱜᱟᱹᱭ ᱠᱚ ᱠᱷᱚᱱ ᱯᱨᱚᱰᱟᱠᱴ, ᱥᱮᱵᱟ ᱟᱨ ᱢᱚᱠᱟ ᱩᱫᱩᱜ ᱢᱮ᱾
ᱟᱨᱦᱚᱸ ᱠᱷᱚᱡ ᱢᱮ
ᱥᱟᱹᱜᱟᱹᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ
ᱢᱤᱫ ᱞᱮᱠᱟ ᱠᱮᱴᱮᱜᱚᱨᱤ ᱠᱷᱚᱱ ᱟᱨᱦᱚᱸ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱧᱮᱞ ᱢᱮ, ᱡᱚᱜᱭᱟᱛᱟ ᱧᱮᱞ ᱛᱮ ᱵᱟᱪᱷᱟᱣ ᱟᱠᱟᱱᱟ᱾
