Janus Mamanu o Totonu o le Pa e Junlin Zhang

O le mamanu Janus Mamanu o Totonu o le Pa e Junlin Zhang o se manumalo maualuga tele o le fa'ailoga mamalu 2024 A' Design Award Ario i le Vaega Tauva Mamanu Totonu.

ArioTotonu· 2024

Janus Mamanu o Totonu o le Pa

na mamanuina e Junlin Zhang

Tagata Fa'atau: Janus

Manumalo o le A' Design Award Ario i le Vaega Totonu

20,522

Manumalo Fa'ailoga Fa'amaonia

Fa'amaonia le Tulaga o le Fa'ailoga mo #156360

Asiasi i le Saite Va'ai i le A' Design Award Fa'asalalauga Pailesi o le Fa'ailoga

Lanu

Le Mamanu

E Uiga ia Janus Mamanu o Totonu o le Pa

O Janus o se pa uisiki ma kokoteli o loʻo i Changsha, Saina. E tusa ma le 200 sikuea mita le lautele o totonu ma ua faʻatulagaina i luga o fogafale e lua. O le pito i luma o le fale e faia i poloka faʻafuainumera uliuli faigofie ma faʻamatalaga faʻale-anamua, ma o loʻo i ai se faʻavaa faʻalava e taofia ai se faʻatagata faʻale-anamua. O le fogafale muamua o se avanoa lagolago, ae o le fogafale lona lua o le nofoaga autu ma e maua le malamalama o le ao e ala i se avanoa i le taualuga. O le faasitepu e faʻaaogaina ai laupapa laau e le mausali e maua ai se leo vaivai ma sina toe oso teisi pe a laa i luga. O laupapa laau ma le ivi tuusaʻo faʻatasi ai ma le uʻamea sima faʻata e fausia ai le siosiomaga.

Le Fa'ailogaina

E Uiga i le A' Design Award Ario

O le A' Design Award Ario na manumalo ai Janus Mamanu o Totonu o le Pa, o se faamaoniga matuā mamalu e tuuina atu i mamanu sili ona lelei, matagofie ma mataʻutia. O ē manumalo i le Ario o galuega susulu tele ma fatufatuaʻi e faaalia ai le poto, le taleni ma le atamai o tagata mamanu. E faamoemoeina Janus Mamanu o Totonu o le Pa e avea ma galuega matagofie, o se fesuiaiga mo isi, e iloga i le tomai faapolofesa ma mea fou loloto. O lenei mamanu na manumalo i le A' Design Award Ario o se mea e iloga, ua mataʻina e aogā ma tuleia atu tapulaʻa o le faatufugaga, saienisi, mamanu ma tekonolosi. Janus Mamanu o Totonu o le Pa o se mea e fiafia i ai le toatele, e fafagu ai manaʻoga, aumaia ai lagona lelei ma tupu ai le ofo.

I Tua o le Mamanu

Pepa Fa'asalalau

Fa'amaoniaga, sui o le 'au ma fa'amatalaga fa'atekinisi na saunia e le tagata mamanu.

Uiga Fa'apitoa: 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.
Fua & Fa'apipi'i: 200 meter-square
Fa'ailoga: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
Tekonolosi Gaosiga: 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.
Lu'itau o le Mamanu: 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.
Su'esu'ega: 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.
Fa'aosofia: 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
Umi o le Poloketi: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
Fa'agasologa o Galuega: 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.
Sui o le 'Au: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
Fa'aaloaloga o Ata: Ueya photography（Lei Liu）