Janus Dhizaini yeMukati meBhawa naJunlin Zhang

Dhizaini Janus Dhizaini yeMukati meBhawa naJunlin Zhang ndiye mukundi anokudzwa zvikuru wemubairo unoremekedza we2024 Mubairo weSirivha we A' Design Award muChikwata cheKukwikwidza cheNzvimbo yeMukati neMusangano.

SirivhaMukati· 2024

Janus Dhizaini yeMukati meBhawa

na Junlin Zhang

Mutengi: Janus

Mukundi weMubairo weSirivha we A' Design Award muChikwata cheMukati

20,522

Mukundi weMubairo Akasimbiswa

Simbisa Mamiriro eMubairo we#156360

Shanyira Saiti Ona pa A' Design Award Mashoko Enhau Bheji reMubairo

Mavara

Dhizaini

Nezvekwa Janus Dhizaini yeMukati meBhawa

Janus ibhawa rewhisky nemacocktail riri muChangsha, China. Mukati macho makakura zvingasvika mamita mana akaenzana nemazana maviri uye makarongwa pazvidziro zviviri. Kunze kwechivako kwakaumbwa nezvidhinha zvitema zvakareruka zvine chimiro chegeometry nezvishongedzo zvekare, uye pane chikuva chakarembera chakatakura chivezwa chekare. Chidziro chekutanga inzvimbo inotsigira, nepo chidziro chechipiri chiri nzvimbo huru uye chinowana chiedza chezuva kuburikidza nebuli riri padenga. Manera acho anoshandisa matanda akasunguka anopa ruzha rwakapfava nekudzoka zvishoma kana uchitsika. Mapuranga ane mitsetse yakamira uye simbi isingacheki inopenya segirazi ndizvo zvinoumba mamiriro enzvimbo iyi.

Kuzivikanwa

Nezve Mubairo weSirivha we A' Design Award

Mubairo weSirivha we A' Design Award wakahwinwa ne Janus Dhizaini yeMukati meBhawa, rukudzo rwakakwirira zvikuru runopiwa kumadhizaini epamusoro, anonaka uye anofadza. Vakunda veSirivha mabasa anopenya kwazvo uye ane kugadzira kwakasiyana anoratidza unyanzvi, hunyanzvi hwekusikwa nekungwara kwevagadziri vawo. Janus Dhizaini yeMukati meBhawa inotarisirwa kuva basa rinoshamisa, rinotangira vamwe, rine hunyanzvi hunoonekwa uye zvitsva zvakadzika. Dhizaini iyi yakahwina Mubairo weSirivha we A' Design Award chigadzirwa chinoshamisa, chinokudzwa chinobatsira uye chinosundira mberi miganhu yehunyanzvi, sayenzi, dhizaini netekinoroji. Janus Dhizaini yeMukati meBhawa chigadzirwa chinoshuvirwa nevazhinji, chinomutsa zvishuvo, chinouya nemanzwiro akanaka uye chinomutsa kushamisika.

Shure kweDhizaini

Bepa Renhau

Zvikwereti, nhengo dzetiimu nezvimwe zvakadzama zvakapihwa nemudhizaina.

Hunhu Hwakasiyana: 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.
Kukura & Kupakiwa: 200 meter-square
Matagi: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
Tekinoroji Yekugadzira: 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.
Changamire yeDhizaini: 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.
Tsvakurudzo: 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.
Chikurudziro: 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
Nguva yePurojekiti: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
Mafambiro eBasa: 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.
Nhengo dzeTimu: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
Zvikwereti zveMifananidzo: Ueya photography（Lei Liu）