由設計師 Junlin Zhang 創作嘅 Janus 酒吧室內設計係備受推崇嘅 2024 A' Design Award 銀獎得獎作品，獲獎類別為室內空間及展覽設計。

銀室內· 2024

Janus 酒吧室內設計

由 Junlin Zhang

客戶: Janus

室內類別嘅 A' Design Award 銀獎得獎者

20,522

經驗證嘅獲獎者

驗證設計 #156360 嘅獲獎狀態

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色彩

設計

關於 Janus 酒吧室內設計

Janus係一間位於中國長沙嘅威士忌雞尾酒吧。室內面積約200平方米，分佈於兩層。外立面由帶有古典細節嘅簡約黑色幾何體塊構成，懸挑平台上放置咗一座古典雕塑。一樓係輔助空間，二樓係主要場地，透過屋頂開口引入自然光。樓梯採用鬆動嘅木踏板，行上去有柔和嘅聲音同輕微嘅回彈感。直紋木飾面同鏡面不鏽鋼共同塑造出整體氛圍。

榮譽認可

關於A' Design Award 銀獎

Janus 酒吧室內設計是 A' Design Award 銀獎得主，這是授予頂級、華美而令人印象深刻的設計的極為崇高的認可。銀獎得主是極其卓越、極具創造力的作品，展現出其設計師傑出的專業技能、才華與敏銳。預計Janus 酒吧室內設計將成為一件出色的典範之作，兼具非凡的專業性與深刻的創新性。這件贏得 A' Design Award 銀獎的設計是一項備受矚目、令人欽佩的發明，造福並拓展藝術、科學、設計和技術的界限。Janus 酒吧室內設計是一件令人羨慕的創作，它喚起渴望，帶來積極的情感，並激發驚嘆與讚嘆。

設計背後

新聞資料包

由設計師提供嘅製作人員名單、團隊成員同技術詳情。

獨特屬性: 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.
尺寸同包裝: 200 meter-square
標籤: bar, whisky, postmodernism, hard and warm feeling, retroism, experimental
生產技術: 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.
設計挑戰: 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.
研究: 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.
靈感: 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
項目時長: The project was launched in March 2023 in Changsha, China and completed in June 2023 in Changsha, China
操作流程: 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.
團隊成員: Lead designer: JunLin Zhang
Extension designer: WenLiang Liu
Rendering designer: JingYu Zhang
圖片來源: Ueya photography（Lei Liu）