ENSEMBLE OF LIGHTS AND SHADOWS
When we mention Xiamen, people often have the impression of an ideal life: a plain and exquisite elegant style, as well as the unique agility and vitality of a coastal city. Starting from the temperament of the city, this recreational space, which was transformed from the old site with a height of 4.25meters and a base area of only 45 square meters, interprets a simple and full attitude towards life in the way of architectural expression and ensemble of lights and shadows, and has a dialogue about the unique and beautiful city aesthetics. In order to solve the problem of connection between leisure area and restaurant on the second floor and make the best use of the site, the designer introduced the traditional cultural motif of hanging-feet building into it, and constructed a double space which was independent and connected with each other. The huge glass windows on both sides of the doorway greet the baptism of sunshine heartily, and the space becomes the stage of light, which sprinkles brightly and transparently, and reflects the light and shadows, playing interesting dynamic rhythm and carving delicate atmosphere with long lasting charm. The partition space supported by three black circular steel pipes is guided by stairs with thin black steel plates on both sides. It creates a lightweight sense of volume and adds a sense of enclosure, which makes the space scale more appropriately. Between the dining elevator and the hanging-feet building, the light wooden card seat backplane is ingeniously designed. At the junction of the seat and the light wooden backplane, the black steel backplane and the warm light belt are added. The whole and rhythmic visual system is coherent, and the ergonomic design is combined to provide a warm and comfortable leisure experience with meticulous and subtle zones. Black steel leather seats, round and delicate glass chandeliers, the abstract Go device which implies the change of light and shadow at the corner of stairs; the deliberately retained stairs running through the old black sand marble wall at the second floor, gives the place a quiet and flexible atmosphere with a concise sense of line and appropriate proportion. With the changing lights and shadows and the different shapes of the window design of the hanging-feet building, when you lean against the fence to overlook, the chic interest arises spontaneously. Under the interweaving of light and shadow, reality and illusion also become blurred, so the viewer seemingly encounters his own innermost being happily.
Jinan Bocuishan Sales Center
This Equilibrium is the great root from which grow all the human actings in the world, and this Harmony is the universal path which they all should pursue. Let the states of equilibrium and harmony exist in perfection, and a happy order will prevail throughout heaven and earth, and all things will be nourished and flourish.” This quote from the Book of Rites reflects Confucius’ view on the doctrine of the Mean. It represents the ideal state of harmonious interplay between yin and yang, between toughness and softness, and between humanity and nature. In their design of the Jinan Bocuishan sales center, Yi Chen and Muchen Zhang try to integrate culture and art into the space using pure and natural techniques of expression for harmony with nature based on the ancient idea of “rites”. They’ve created an ordered, graceful and Zen-style space imbued with Chinese culture as it echoes the history of ancient Shandong, the poetic charm and architectural style of Han Dynasty, and the essence of Eastern culture. They strive to interpret the Eastern style with their creation and build a spiritual home where the heart can be cleansed and return to a poetic state. This has given rise to an artistic space design rooted in Eastern culture for personal reflection. The dynamic and layout of the space follows the laws of nature, serving as an answer to the traditional Chinese aesthetics of harmony between man and nature. In the traditional shape of the Chinese character “回”, the pathways are symmetrically set across the central axis, as the main and supporting pathways, solemn and tranquil in a seamless pattern, enclose the overall space. The axisymmetric design and the pillar array standing on either side add to the vertical rhythm and horizontal smoothness of the space. The suspended timber frame and the grilles that reach the floor, which are inspired by the freestanding gate tower in Han Dynasty, are strategically arranged to act as partition walls for the functional areas. As light and shadow are intertwined across the space, the pillar array, serving as the focal point of the spatial dynamics, combines both ancient and modern aesthetics and demonstrates the unique eastern ideas of respect and ceremony. Daylighting is maximized in the space. Interlaced into an ethereal pattern, rays of light breathe life into the space just as the subtle interplay of water and ink animates a traditional Chinese painting. The natural transition from the interior to the outdoor water garden perfectly blends the two together, giving rise to an impressive Zen vibe that lightens up the solemn Eastern style. From point to line to façade of the space, either concrete or abstract, exudes an exquisite eastern aesthetic characterized by simplicity, serenity and impermanence. Contemporary visual language is applied in pursuit of Chinese spiritual traditions and continue “image in meaning” in the design. Each visual element is a unique spiritual and poetic expression, which responds to our ever-present longing for aesthetic satisfaction and desire for sentimental resonance. The exquisite combination between spatial perception and natural spirituality, between traditional sentiment and contemporary aesthetics, serves as an attempt at inheritance and sublimation. Drawing on the essential traditional artistic conception of Eastern culture, it develops and advocates a high-quality Eastern lifestyle and a harmonious modern design. Bearing in mind the functional requirements, the designers transform the physical space into a spiritual and sentimental retreat, which allow visitors to savor the unique poetic and artistic meaning in simplicity and tranquility. They transcend the boundaries between tradition and modernity, between dream and reality, to unite aesthetics with life. They provide people living a busy life in the hustle and bustle of modern cities with a spiritual home, where they may embrace nature and their true selves in an artistic and well-balanced space.
FOSHAN BAILIMA WINDOWS & DOORS SYSTEM EXHIBITION HALL
Is the product merely the product itself? Is it all that our eyes can see and our hands can touch? Or will more information be transmitted? Lu Linlin, the designer of Fanchi, believes that people need to recognize products in specific environments, and different environments will give different meanings to products. As a common building material product, doors and windows are no longer limited to the basic functions of lighting and ventilation in modern life, but more reflect the spiritual demands of residents. Through the window, they express their understanding and understanding of time and space, man and nature, self and the outside world. Bailima doors and windows have always been the brand of strategic cooperation doors and windows designed by Fanchi. We have had several successful cooperation experiences before. The Fanchi team also has a deep understanding of Bailima products, brands and teams. As the Flagship Exhibition Hall of Foshan, where Bailima doors and windows headquarters are located, this case is more important and significant. This case designer starts from the architecture, through creating the artistic conception of space light, shadow, air and running water, let guests explore constantly, perceive products, seek poetic expression, and emphasize the overall aesthetic feeling. The original building is a two-storey duplex, central empty structure, we have carried out a second transformation, the elevation space is planned in the household part, guests enter the room, six meters of floor height comfortable and free, up and down, an eight meters long window into the eye, super-long window decoration has also become the exhibition hall to attract visitors to stop and enter one. Every bright spot. The use of the metal mesh above the head will filter and soften the light again. In the afternoon, the sun inclines westward. Spots of light fall on the negotiation area on the second floor, and with the West incline of sunlight, they wander and change on the ground with full implication. Entering the hall is the core sales area. The combination of sales console and background naturally forms the front and back channels. Designers here create a Chinese-style courtyard scene, so that guests can always feel the beauty of nature in business negotiations, throughout the space atmosphere created by the designer has never been separated. The area leading to the stairwell is presented as an independent block. The stairwell design itself has a strong architectural beauty. Through the use of material and lighting, the designer here increases the lightness and permeability, and harmonizes with the characteristics of the door and window products. The second floor area is mainly office and functional area. In spatial planning, it pays attention to the connection and interaction between the second floor space and the empty lobby and the empty landscape area. The overall pattern is flexible and elegant, continuing a layer of temperament, reconciling the spatial relationship between light and shadow, and seeking the expression of poetry. Sunshine, air, running water and nature are available and precious. As an extension of human architecture, windows, like human beings, need to find their own meaning in nature.
SuperLimão Studio는 브라질 상파울루에 기반을 둔 디자인 스튜디오다. 다양한 환경과 그 속에서 살아가는 사람 간의 상호작용을 고려하여, 건축 설계 및 디자인 프로젝트를 수행한다. 이들의 목표는 개인행동의 연장선상에서 제각기 서로 다른 활동의 영향과 공간의 흐름을 이해하는 것이다. SuperLimão Studio는 일상생활에서의 기능과 단순함, 즐거움에 영감을 주는 새로운 미적 언어를 발견한다. 프로젝트의 시작부터 완성까지 모든 과정에 세심한 서비스를 제공하기 위해 엔지니어링 분야를 비롯한 여러 전문가의 경험을 적용한다. 이들은 디자인 프로세스와 공간 개념을 혁신함으로써 기존 모델에 새로운 의문을 제기한다. Bullguer Center는 보드워크와 고가교(高架橋) 사이로 수많은 인파가 오고 가는 복잡한 거리와 다양한 주변 환경이 어우러진 상파울루 중심지에 자리 잡고 있다. 눈길을 사로잡는 건물 외벽의 개성 강한 아트는 브랜드 로고를 표현한 타이포그래피며, 그래피티 예술가 Theodoro Autops와 Raphael Barcelos의 합작으로 탄생했다. 스튜디오는 그래픽 아트를 통해 상파울루 거리의 분위기와 독특한 미학을 프로젝트에 그대로 가져오는 데 성공했다. 강렬한 노란색 컬러의 공간을 지나면 붉은 조명이 은은하게 비추는 공간을 마주할 수 있다. 스튜디오는 컬러를 활용하여 간편하면서도 확실한 공간 구획을 이루어냈다. 셀프 서비스로 운영되는 매장은 고객의 경험에 따라 자유롭게 동선을 바꿔가며 공간을 활용할 수 있도록 테이블 및 좌석을 구성했다. 자리마다 배치된 조명과 매장 곳곳에 보여지는 싱그러운 식물은 이곳만의 유니크한 분위기를 고조시키는 아이템으로써 적절히 배치됐다. 또한, 스틸 구조물로 이루어져 자칫 차갑게 느껴질 수 있는 공간에 따뜻한 느낌을 더했다. 2층으로 이어지는 철제 계단 사이와 매장을 가득 메운 식물 덕분에 어디에서든지 그리너리한 뷰를 감상할 수 있다. 식물에 둘러싸여 높게 이어진 계단을 오르다 보면 패스트푸드 매장을 방문했다기보다 색다른 공간에 들어온 듯한 기분을 만끽할 수 있다. 붉은 조명과 머리 위로 쏟아지는 자연광을 느끼며 2층으로 들어서게 되면 또 다른 공간을 맞이하게 된다. 위층은 조명을 내세웠던 아래의 공간과 달리 밝은 자연광과 검은색 철제 구조를 최대한 활용했다. 강렬한 느낌을 더했던 1층보다 밝고 따스한 느낌으로 공간을 완성했다. 전면 창을 통해 상파울루의 활기찬 거리와 브라질 대표 건축가 Oscar Niemeyer의 Copan Building을 감상할 수 있다. 매장을 둘러싼 창을 비롯하여 천장 역시 오픈 구조로 형성되어 있어, 공간 안을 가득 채우는 따스한 햇볕을 마음껏 느낄 수 있다. The center of São Paulo is characterized by the diversity of surroundings of different natures that we can find. Between boardwalks and viaducts, the sometimes inhospitable or chaotic scenario can offer a momentary welcome in a safe environment. And why not with chips and mayonnaise apart? The in-store flow, guided by self-service and fulfillment systems, makes the customer-centric expierence free-form.
Švyturys Brewery Gastropub
이번 프로젝트의 작업 범위는 광범위하지만 명확했다. Švyturys Brewery Gastropub에는 맥주를 마시고 즐기는 바(bar), 맥주 판매 공간, 테이스팅 공간과 전시 공간, 회의실과 소규모 콘서트 스테이지 등 여러 사람들이 어울리며 리투아니아의 자랑스러운 맥주 양조 문화에 대해 배울 수 있는 공간이 필요했다. Plazma Studio는 여러 프로그램을 소화하려 하는 클라이언트의 요청 사항에 대해 정형화된 방식이 아닌, 그들만의 독특하고 유쾌한 솔루션을 통해 맥주와 사교를 즐길 수 있는 2층 규모의 Gastropub* 공간을 완성했다. *(Gastropub: pub-restaurant, 미식(美食)으로 유명한 식당) 사이트는 리투아니아에서 가장 오래된 도시 중 하나인 Klaipėda의 해안가 도시다. Švyturys Brewery Gastropub의 바로 옆에는 역사적으로 유명한 양조장이 자리하고 있었으며, 이에 따라 스튜디오는 해안지역의 유서 깊고 풍부한 양조 문화를 내부공간 디자인에 녹여내고자 했다. Švyturys Brewery Gastropub은 컬러와 물성의 상호작용, 간결하고 불규칙적인 요소들의 교차와 위트 있는 평면 계획 등을 통해 방문자들 간의 왕성한 교류를 자극할 수 있도록 디자인됐다. Švyturys Brewery Gastropub의 실내 공간은 항구도시, 해안가 마을의 특징은 살리되, 고목 등 인더스트리얼하고 러프한 소재를 통해 전통 있는 양조장의 컨셉이 녹아드는 공간을 구상했으며, 그 외에도 깔끔하고 모던한 사교 공간을 목표로 했다. 이를 위해 대리석과 거친 금속의 조합, 혹은 낡은 선박용 조명과 고급스러운 가죽 가구의 조합 등을 통해 사이트만의 고유한 특징이 돋보이면서도 독특한 분위기를 자아내는 공간 Švyturys Brewery Gastropub이 완성됐다. The scope of our design commission was broad yet clearly defined. The interior of Švyturys Brewery needed to include a bar, a beer shop, a tasting area, an exhibition space, a conference room, a concert stage, and more to become a place where people could socialize and learn about Lithuania’s proud beer brewing culture. These design imperatives allowed us to break free of gastropub interior design standards to come up with our own unique and playful solutions. Located in the seaside town of Klaipėda, Švyturys Brewery stands right next to a historic brewery known throughout the area. Drawing on this coastal region’s rich beer brewing tradition, we opted to emphasize the interplay of colors, materials, and various precise and seemingly random, witty narrative elements to surprise and stimulate conversations. Unexpected combinations of marble and rough-rolled metal, or salvaged marine luminaires and elegant leather furniture allowed us to emphasize the gastropub’s singular location and character while fostering its unique atmosphere. Even the large and startling fish sculptures that fill the pub’s huge open space feel perfectly normal after a short while.
SHENZHEN NEOBIO FAMILY PARK
The design style of Neobio in Shenzhen continue the consistent design style of Neobio brand. The design highlight of Shenzhen Store lies ingenious arrangement of space though the use of floor height. Sims city located in the atrium part of the shopping mall, the designer combined with the high-rise space of the atrium and skillfully built the Sims city into a three-dimensional city in the space rather than waste space. The whole space is supported by corridor, slide, aerial ceiling and a series of components, and create a dream city. At the same time, the Sims city and the original shopping mall space are mixed together. Different from the previous Neobio stores, Neobio in Shenzhen uses the natural transition and seamless connection model among Library Area, Stone Sims City and Restaurant, to avoid the vertical walls and eliminate the sense of estrangement. In the stone Sims city, the bookshelf wall could indicate the orientation more intuitively and concisely for children. The passageway through the library area is the Stone Sims city. The rapid transformation of this two areas benefit from the seamless design. Between the restaurant and the Stone Sims city, the natural transition of different sections can be achieved by the placement and layout of seats without vertical wall. In restaurant, consumers can still enjoy the whole structure of the Sims city, and at the same time, it is convenient for parents to look after children when they playing in the Sims city. C ombining with the glass curtain wall structure of the shopping mall outsides, designers transform the whole facade of the first floor into a bright yellow corridor to attracted visitors' attention. Under the backdrop of the landscape pool, the reflection in the water is integrated with the real scene, which enlarges the visual effect of the facade and plays the role of advertising. The entrance to Neobio's dreamland is hidden in the yellow corridor. There are four iconic umbrella ceiling arouse consumers' emotions and prepare for the next dreamland.
The majority of interior space of tiled exhibition hall on the market has overly complicated generatrix, too many displays and obsolete samples, so that “balance” becomes the most important theme in our design, which means the combination of tender humanity design and different individual experience. Thus, we intended to organize the whole space with simple and open generatrix. It won’t set a fixed shopping route for customers in advance because we hope to offer a free choice for customers in shopping experience. Through the guidance of different layers of colors and textures, the customers can find out their favorites during exploring. The exterior of this exhibition hall is a total open space without any doors and dazzling array of display windows, so you can almost see through the entire exhibition with your own eyes. The oblique entrance attracts people from both sides naturally. The white bricks with stone-like texture suspended on top is the best-selling product in RAGNO, matching with round glowing logo, it becomes our most suitable wall for display. We use some concepts of designing a clothing store for reference, and we expect a multi-dimensional display of different colors and textures of glazed tiles applied. They could be insertions of blocks, backgrounds of displaying, or a surrounding space of a sunken plaza. The simple division of space not only add fun to customer’s interaction with the area, but also give them a brand-new experience of shopping. In addition, plants, flowers, coffee and different styles of furniture and lamps added to this space reveal our expectation of combining aesthetics of everyday life with the exhibition hall, so that we can bring vigor and vitality to RAGNO naturally, and make it real space of living.
SPACE IN SPACE
Located on the east of Zhongshan Park in Changning District, Shanghai, E3 STUDIO has the largest shooting studio in the downtown. Its covering area is more than 2,000 square meters, which makes it extremely malleable and possible to recreate a new space inside. Its height is more than six meters, which not only meet the standard of the film’s shooting, but also can be divided to multiple stories, enriching the space and areas for usage. Originally there is an indoor barrier with a swimming pool kept the other side. Now we dismantled all barriers and the space was completely open to the air. The bare pillars and walls with rough texture are exposed, and the stairs made of castin-place concrete spring up high, leading to a whole orderly space. The space between spaces is more meaningful than the space itself, but it is also easy to be unnoticed. It is precisely the diversity and complexity of “spaces between” and its uncertainty that make spaces potential with infinite possibilities. Six isolated shooting studios provide the comfort and freedom of the large space. The design was inspired by the frame of the photographic camera. We saw the yin and yang through the frame, and the roundabout, squatting, cushioning, overflowing and blooming. Flowing thoughts and immovable architecture. Through these different sizes of frames, people still can see each other in different spaces and add up the fun. Natural lighting is also improved in the interior spaces. Lighting is also the place where we made the most modifications of the entire interior renovation project. We add light without any traces, and all seems to be born like this. Not a drop of paint was used in the renovation process, since we were afraid of destroying the original phase of the space. In other words, paint is not inconsistent with the original intention of sustainable and green renovation at low cost. The old wood sold in the second-hand market was cleaned and neatly arranged as the gates of the six studios. These half-worn woods seem to be born here naturally. They themselves are worn out because of numerous times of usage. Perhaps it is worthless for others, but those who use it again and appreciate it are interested in its past.
ANHUI INNOVATION MUSEUM
Innovation lies in the gene of Anhui people and is the golden sign of Anhui Province. Anhui Innovation Museum, located at the southernmost tip of Binhu New District, Hefei City, Anhui Province, faces the 800 square kilometers of Chaohu Lake and covers an area of 150 acres, including a construction area of 82,000 square meters. The entire museum is composed of three independent venues to form a circular functional chain of “aggregate display, capture search, research and development transformation” with scientific and technological achievements transformation and trading as the core. As China’s first museum with innovation as its theme, Anhui Innovation Museum will become an important base and pivot for the construction of the province’s innovation system, a platform to display major innovation achievements, and an international high-end innovation and wisdom space in the future. The No. 1 Building of Innovation Hall, which covers a total construction area of about 22,000 ㎡ and a layout area of about 14,000 ㎡, mainly serves as the “display window”. In the three-floor exhibition space, three chapters of “Creating Engine, Creating Wisdom, and Creating the Future” were set up to interpret the vivid story of “Innovative Anhui” from top-level design to transformation and then the realization of sustainable development. From “humanoid doublefooted rescue robots” to “container-type of plant factories”, the museum displays more than a thousand pieces of science and technology exhibits, involving strategic emerging industries such as “information technology, high-end equipment, energy conservation and environmental protection”. These can substantially broaden audiences’ horizons and make them truly feel the innovative vitality of Anhui Province. Highlight Innovative Anhui with Black TechnologyMysterious “quantum tunnel”, cool “quantum box”, and creative “digital sandbox” Integrate “Science and Technology Innovation” with “cultural creativity” to refresh the new sensory experience in the digital age. Innovative Highland large art installationFull superconducting tokamak, synchrotron radiation, steady-state strong magnetic field, and advanced light source in Hefei. The large-scale art installations in the preface hall are ingeniously combined with Anhui “National Great Science Installation, City Skyline”, with the map of Anhui Province located at the bottom, revealing Anhui Province’s prominent position in China’s innovation field. Innovation in Anhui Giant Screen with Light and Shadow. The designer makes full use of the high space of the atrium to set up the “Innovation in Anhui” light and shadow device show, bringing a strong visual impact and soul shock to the audience. The audience can step onto the dazzling floor tiles to light up the innovation engine, with the chairman’s innovative message sounding around. Meanwhile, the front and the big screen will be instantly opened, leading the audience to fully understand innovation stories in Anhui Province. The “Innovation Time Hourglass” at the top connects the “QUESS” satellite, “Wukong” dark matter detection satellite, the stratospheric airship, the diamond plane and other floating devices in series. And it interacts with the front ice screen, combining the virtual effect with reality and highlighting the concept of innovation and the achievements made in Anhui Province. Chuang Lifang Innovation Digital Sandbox. The bright light has lit up the 140,000-squarekilometer land between the Yangtze River and the Huai River, outlining the “2+8+N+3” innovation system. The 3D representation vividly represents the overview, history and achievements of the “Comprehensive National Science Center”. Meanwhile, it can also be transformed into “Innovation in Anhui·Big Data Center”, interactively displaying data resources such as key laboratories in Anhui; and through visualization, it can analyze current innovation construction in Anhui Province at various aspects. Quantum Box Immersive Experience Theater. QUESS, the world’s first scientific experiment satellite, has already made us have a bird view of the universe. Walking into the exhibition area, audience can turn on the digital image interpretation by randomly accessing the quantum key to get to know the cutting-edge achievements made in Anhui in quantum communication, quantum computing and quantum measurement. Through the dynamic interpretation of the photoelectric model, audience can view the working principle and operation steps of the full superconducting tokamak, especially the two outstanding achievements, namely “the successful achievement of ultra-high temperature long pulse plasma discharge with an electron temperature of more than 50 million degrees and a duration of 102 seconds in February 2016” and “the 100 million degrees of operation in the plasma center for the first time in August 2018”. The designer makes full use of the building’s high space to set up the “Innovation Space” intelligent product display space on the third floor, perfectly combining technologies and art. “Well Robot” produced by Harbin Institute of Technology is used as guide leading audiences to travel across time and see what Anhui Province will be look like by 2035. Eternity Transition Super-light Speed Flight to the Future. Taking the magic “QUESS” space ship, audiences can fly into the untouched and mysterious spatial and temporal realm. The superconducting Tokamak has solved the ultimate energy problem for mankind; distributed robots have become the absolute protagonists in the factory; flying cars have made the city less crowded; super high-speed rails have made the world no longer out of reach. Anhui is empowered in the 5G Era. As China’s first museum with large-area and full coverage of 5G signals, Anhui Innovation Museum provides application display, 5G Internet experience, etc. in the 5G industry, and it is currently the largest 5G concentrated experience area in Anhui. On the first day when the museum was opened, Anhui Provincial Party Committee Secretary Li Jinbin, Governor Li Guoying, and Deputy Secretary of the Provincial Party Committee Xin Changxing and other leaders came to the 5G exhibition area of Anhui Telecom at the venue to watch an on-site video of Dawan Village Jinzhai County through China Telecom’s 5G+4K technology.
MEET THE BUND
Meet the Bund is located by Shiliupu Wharf on the Bund in Shanghai, which is positioned as the world’s foremost gateway to the city. As a high-end restaurant specializing in Fujian cuisine, it directly faces the discerning tastes of culinary connoisseurs from around the globe. Given the restaurant’s exceptional view, particularly the urban night view of Pudong that is synonymous with Shanghai, we need to consider the visual perceptions of both indoor and outdoor before introducing urban landscape into the restaurant. The ceiling is embellished with hammered copper sheets to reflect Pudong’s architecture and lighting, subtly blurring the boundary overhead. The LED glass at the foot of the walls has been inspired by the plinth commonly seen in residences in southern Fujian Province. In addition, the use of red silk tapestry for the sofas and contemporary furniture both complement and integrate with the night view outside. Meanwhile, the two large tin lanterns are a tribute to the folk art of Fujian as well as the cultural focus of the entire space. Moreover, the cloud-and-thunder motifs are scattered throughout the entire hall and the booths, where the silhouette of Xiapu in Fujian Province is presented through artworks with natural patterns. With strong oriental aesthetics and a southern Fujian flavor, the color scheme of this restaurant perfectly combines the modernity and vitality of the Bund. People from Fujian Province have a strong sense of cultural mission. No matter how distant or strange the land may seem to be, they indefatigably disseminate their culture into it and make it their own. The spatial design of Meet the Bund bears the same spirit.
The Pink Zebra
인도 북부의 공업 도시 Kanpur는 과거 영국 식민지배 시절의 전진기지 역할을 하던 대도시로, 현재는 지역 주민들의 생활상 위로 황량한 무채색이 주를 이루는 곳이다. 클라이언트는 이 도시 Kanpur에서 그동안 볼 수 없었던 공간, 지나가는 누구라도 한 번쯤 돌아보게 할 만큼 인상적인 공간을 원했다. RENESA는 이에 대한 답변으로 식민지풍 클래식한 건물의 볼륨 위에 그려진 펑키(Funky)함과, 영화 감독 Wes Anderson에 대한 오마주를 담아 Feast India Co., The Pink Zebra를 완성했다. The Pink Zebra는 건축물의 대칭적 구도와 극도로 제한된 컬러 팔레트로, 핑크빛 바다에서 막 걸어 나온 얼룩말을 보는 듯 비현실적인 느낌을 자아낸다. 온통 분홍색으로 물든 The Pink Zebra의 실내 공간에는 웨인스코팅, 팬던트 조명과 기둥, 천장 패널이 좌우 대칭 구도를 이루고 있으며, 사선, 직선으로 이루어진 장식적인 요소들, 아치 구조물들로 이루어져있다. 이로 인해 Wes Anderson 감독의 역작, 영화 <그랜드 부다페스트 호텔>의 한 장면으로 들어온 듯한 착각을 일으킨다. 공간 전체에 사용된 분홍색은 단순히 영화 속 미쟝센을 흉내내기 위한 장치만은 아니다. 영국령 인도제국(British Raj) 시절부터 Kapur 지역에는 관공서를 비롯한 대부분의 건물에 분홍색을 사용했으며, 도시에서 가장 오래된 건물 중 하나를 되살려 재해석한 Feast India Co.에도 당시의 건축 양식을 상기시키는 요소로 작용한다. 실내외를 아울러 분홍색 베이스 위에 적용된 흑백의 사선은 공간에 볼드하고 시크한 이미지를 더한다. 2층의 공간에도 역시 사선 형태를 적극적으로 활용했는데, 낮 시간에는 사선으로 만들어진 스틸 그레이팅이 드리우는 그림자가 바닥의 그림자 패턴과 교차되며 더욱 이질적인 장면을 만들어낸다. The Pink Zebra aka Feast India Co. (FIC) is a take on the bygone British Culture in the city of Cawnpore. With the extravagance of the European Grandeur, not many know how important the city of Cawnpore (now Kanpur) was to the British Corporation of India. The design story initiates the change over time by re-writing an architectural essay through this space amalgamation of old with the quirkiness of Art Nouveau glitz (which can be seen throughout the city). The purpose of making "The Pink Zebra" was to speak of a complex and contradictory architecture based on the richness and ambiguity of old and modern experience including that very experience which is inherent in art. The core idea was to create a hybrid rather than pure, compromising rather than clean and leave the visitor hanging in the middle of an artistic sea. Ideating initiated from the clients love for Wes Anderson's set ideology and his love for fearful quirkiness along with constructed frames throughout this space. The love for extreme symmetry and restricted color palettes can often give the expression of a surreal, self contained world but adding that certain bizarre element to break that monotony of Wes's spatial ideology came through the black and white zebra lines dipping themselves in the pink monotone set in the British Raj's colonial order. The simple idea was to create a distinct aesthetic architectural style that connects to the city people and poses its stand by the use of a striking color palette. The Pink Zebra with its unique facade design creates an everlasting effect on the passersby and invites them into a magical, expertly crafted world whose spaces are framed to treat the eyes. How about we dip a zebra into a deep pink sea?
Space principle: It is always boundless. The space and time are infinitive, the space lives only in the current time. A classic space will never exist without the presence of a human being. The interaction between space and human being always enlivens and warms up the space, making it a full-of-story space, while the designer is just out there to get the story ready to tell. The designer needs to take a prior consideration on the relationship between construction and space to make the space more interesting and memorable and with more speciality. In this case, the store takes an area of only 35 square meters. In this simple box-liked structure, we have to keep thinking, discarding and extending, so as to let the light express its pure, smooth and exquisite feelings. The floor is covered with white-colored terrazzo, which makes this clean room even more elegant. The stone would feels like warm and softened under the gentle light. The light strips in both sides of the loft make a big difference in this room, they help build a connection between people and construction. The footlights together with the oak stairs are another ingenious designs to make the narrow stair path outstretched. The white is so simple and impressive that it is sure to be remembered. The front door is small, and the traditional display window is replaced by a horizontally long window with much white at the bottom to attract the passerby. It is the human being that opens the space. It is still the human being that grows up together with the space. We wish it will be turned into what we like it to be like.
425F(425 Fahrenheit)는 레스토랑과 마켓, 와인 바가 함께 교차하는 공간이다. 이곳에서는 셰프 프레드릭 듀포트(Frédéric Dufort)의 음식을 즐김과 동시에 집에서의 식사를 위한 음식과 재료들을 구매할 수도 있다. MRDK가 1950년대 브루탈리즘에서 차용해 새롭게 재해석한 데코레이션은 러프한 물성과 결합하며 더욱 대조를 이룬다. 식료품과 재료, 음식과 와인. 425F의 환경은 요리를 만들어내는 전체 과정에 대한 존중을 직접적으로 드러낸다. 이는 425F의 주방 철학을 잘 반영한 것이기도 하다. 425F로 한 발짝 걸어 들어가 보자. 우리는 얼마 지나지 않아 높은 와인 셀러들 사이에서 수많은 작은 공간들을 만나게 된다. 이를 통해 MRDK는 425F에서 가장 중요한 것이 최고의 와인을 찾아 즐기는 것임을 보여주려 했다. 이 공간은 고객들에게 완성도 높은 오리지널 와인 셀렉션을 제공할 뿐만 아니라, 방문자들이 마치 집에 있다고 착각하게 할만큼의 편안한 환경을 선사한다. 이 레스토랑을 짓기 위해 선택된 곳은 캐나다 퀘벡의 쎙뜨떼헤스에 위치한 300평에 달하는 대지였다. 스튜디오에게 이 넓은 부지에 친근하고 편안한 공간을 만들어내야 하는 일은 무척 흥미로운 도전 과제였다. 사람들이 격의 없이 어울리고, 친근하게 찾을 수 있는 곳. 그렇게 꾸며낸 공간은 인더스트리얼 형식의 천장에서 멋지게 내려오는 빛들로 더욱 포근해졌다. MRDK는 비교적 공간을 세분화해 구분했는데, ‘많은 사람’들로 인한 공간적 부담을 훨씬 적게 느낄 수 있다. 이는 공간을 찾는 이들의 심신을 환경 속에서 좀 더 편안하게 만들고자 한 일이었다. The 425 Fahrenheit concept reinvents the way in which quality produces are come across and experienced in restaurants. At the crossroads between a restaurant, market and wine bar, this project offers a wholesome, lay back and welcoming experience to its clients. The refined brutalist decor plays with contrasts overlaying rough materials to more refined ones. The environment reflects well the restaurant kitchen’s philosophy, which offers modern cooking whilst always respecting and bringing forward the entire produce. As soon as we step in, we notice the spectacular double height wine cellar around which many different smaller spaces have been planed. The intention behind this was to affirm one of the most important vocation in house: great wine. The space offers to its visitors a well crafted selection of original wines to go or offers the full experience at the restaurant, always fostering a comfortable environment where everyone feels easily at home. Ambitiously, the space chosen for this restaurant was unconventional in the way it was over 10,500 square feet. It was an interesting challenge for the Atelier to work in a way where more intimate spaces needed to be created, thus allowing informal and warm exchanges in a space as vast as it previously was.
NĂM•Modern Vietnamese Cuisine
웅장한 아치형 구조와 4.5m에 이르는 거대한 입구가 그 위용을 자랑하는 NĂM • Modern Vietnamese Cuisine은 우크라이나 키예프에 위치한 베트남 요리 전문점이다. 베트남은 과거 프랑스의 지배를 받았었고, 이에 프랑스처럼 독보적인 미식 문화 및 특색을 갖추고 있다. 베트남 스타일 미식의 향연을 만나볼 수 있는 이곳은 높은 천장의 베트남 전통 가옥에서 영감을 얻어 인테리어에 적용했으며, 이외에도 동시대적인 인테리어 요소들을 활용해 유니크하면서도 감각적인 공간으로 완성되었다. NĂM • Modern Vietnamese Cuisine은 전체적으로 딥한 컬러감과 세련된 분위기, 차가운 소재와 따뜻한 소재의 교차가 인상적이다. 디자이너는 열대우림기후를 특징으로 하는 베트남을 조금 더 사실적으로 표현하기 위해 세월을 입은 천연 자재를 최대한 활용했다. 건물 자체에 큰 유리창이 많아 낮에는 자연스럽게 내부가 많은 빛으로 가득 차며 밝은 분위기를 연출한다. 황혼이 지고 어스름해질 즈음, 레스토랑은 점차 깊은 무드와 차분함으로 채워지며 낮과는 전혀 다른 모습과 분위기로 바뀐다. 1층은 쉐프와 손님들, 이곳을 방문한 모든 사람들이 서로 소통할 수 있는 공간이다. 또한, 오픈 키친 구조를 취해 손님들은 가까이서 요리 과정을 지켜볼 수 있다. 친근한 분위기 조성을 위해 식사 공간 바로 옆, 천장 등 곳곳에 자연 친화적인 느낌의 식물을 배치했고, 손님의 편의를 위해 푹신한 의자와 단체를 위한 테이블을 준비했다. 1층보다 사적이고 일행과 단란한 시간을 보낼 수 있는 2층은 어두운 조도와 폐쇄적인 테이블 배치를 특징으로 한다. 2층도 옛 베트남 스타일을 담기 위해 1층과 마찬가지로 천연 자재와 커다란 식물을 활용했다. 디자이너는 그저 평범한 베트남 요리 전문점 아닌 NĂM • Modern Vietnamese Cuisine만의 특색을 위해 인더스트리얼 풍의 그물형 천장 구조와 베트남 여인의 모습을 그려낸 벽화, 용을 형상화한 인장(印章) 형태의 예술품을 문마다 배치하는 등 공간에 다양하고 독특한 요소를 가미했다. 낮에는 밝고 황홀한 미식의 세계, 저녁에는 와인 한잔을 즐기기 좋은 로맨틱한 공간이 되어주는 이곳은 옛 베트남의 이국적인 모습과 현대적인 디자인이 아름다운 조화를 이루고 있다. NĂM·Modern Vietnamese Cuisine it’s a restaurant of modern Vietnamese cuisine in Kyiv. This is a paradise for true gourmets in Vietnamese villa of colonial France, because it is in this form restaurant arises before everyone who opens its huge entrance door in height of 4,5m. The creators and ideologists of this institution are Ector Jimenez-Bravo, who also became its brand-chief, and restaurateurs Taras and Oksana Seredyuk. Interior of NĂM restaurant is decorated in French colonial style with characteristic ethnic blotches. In order to achieve maximum authenticity we tried to apply as much as possible natural materials in decoration, which were specially aged according to conditions of tropical Vietnamese climate. All wooden products including parquet on the ground floor were made from massive 100-year old barrels from under white and red wine. Almost every element in design with the exception of chairs and technical lighting was created exclusively for this restaurant. On the first floor interior space forms by open kitchen, thanks to which guests can observe processes of cooking their meals, and by contact bar which on the one hand is transformed into a scenic landing zone thanks to tiers characteristic of Vietnamese region, and on the other hand – smoothly descends to stairs leading to the second floor to main guest area. Due to experiments with light restaurant radically changing its image according to time of day. In daytime thanks to large windows all halls of restaurant are full of light. With onset of twilight lighting becomes more muted, and closer to night it is almost completely extinguished, leaving only certain accents and shadows that provides a complete transformation of restaurant’s atmosphere in evening. No doubt, exotic attractive interior charm of NĂM restaurant definitely will not leave no one indifferent, and authentic Vietnamese recipes, perfected and modernized under patronage of the very chief Hector Jimenez-Bravo, for visual and flavoring qualities will pleasantly surprise even the most demanding gourmets.
ZHIMU SPA INTERNATIONAL EXPERIENCE CENTER
To live or to live. And the memory of the city's contour and the high frequency of every day, You and I went there with all our might! Then the interaction of body, heart and spirit influences and touches, and comforts and worries people. However, with the image of mu yi zenith, projection in the square inch, return to the id. A soft couch, a furnace of incense, a cup of tea, a time of understanding. Harmonious, simple and natural life aesthetics. designer sun chuanjin. In the city, on earth, hidden in the city, the heart in the world. This case is located in the north of the west of the center of commerce of the city of changzhou. Freehand brushwork in traditional Chinese painting of the white space entrance, immediate and earth away from the hustle and bustle of downtown, beautiful stone road, layered screen curtain, meaning the life of the one with green vigor, the shimmering mushroom lamp to guide the modern urbanite to return to nature, to lay down their pressure, eliminate exhaustion of body and mind. The two elevators run through the space relationship on the second floor of the first floor. The deep entrance of the second floor elevator hall sparkles with a little light, just like a mysterious time tunnel, guiding guests through time and space. Into the reception hall the whole space of unique flavor, the wisps of sweet fume smoke fills the air in the air, in the soft light can show a seductive charm, dribs and drabs, while the stone and wood throughout all areas, crisscross, borrow scene landscape lighting in the space, mutual penetration model with deep space, let the light of this wood one stone presents its natural color, the space permeated with the spirit of the atmosphere, natural, quiet, elegant character, purify the hustle and bustle earth float dry in people's hearts, calm the soul to return to, more in line with the project. Designers in the space frame combining elements of style, carried on the thorough understanding, pay attention to space, into the hands of relationship between space create a soothing atmosphere, project needs to accommodate the reception hall at the same time, two water area, between 28 rooms, two staff rest area, two storage room and a kitchen area after the domain, such as in the limited space design clever line corridor and the space open, one step one scene, more choose in indoor pine bonsai for reference, through the actual situation of light and shadow rendering foil, abandon the complicated factors of traditional design, retain the material nature, showing invigorative quietly elegant is the artistic conception of space. The space that already separates and confluence is on line with the creation of light, halcyon and abstruse, leisurely and calm, in order to obtain small medium see big artistic effect. Space still retains the tea culture, through the modelling, the space and the harmonious unification of material one, to create a cool elegant, quiet extraordinary artistic conception, in the quiet atmosphere adds one copy of the appeal of the natural “Mind like water, quietly elegant qing ning.”
S480 DINING VILLA
In a city known as Jiankang, there is a space theater holding a banquet for the host to interact with guests and friends. A new work created by the interior design and filmmakers to memorize the Southern Dynasty in ancient China. This case is located at Xi Jia Da Tang, and the dining site happens to be located at the site of ancient imperial palace of the Southern Industry, bordering Xuanwu Lake on the north, facing the North Pavilion in the south, adjacent to Gutai City in the west and Jiming Temple (formerly known as Tongtai Temple in the Southern Dynasty) in the east. Thus, it is known as S480 Dining Villa (which means: four hundred and eighty temples), as citied from Du Mu’s poem “Spring South of the Yangtze River”: How many of the more than four hundred and eighty temples left behind in the Southern Dynasty in the misty rain? Its English name is S480 Dining Villa because the Southern Dynasty is from 420 BC to 589 BC. S, which is the pun of the English abbreviation, means south and also southern in the Southern Dynasty. And it can also be interpreted as since 480, i.e., since the Southern Dynasty. The literati space inevitably reflects the spiritual orientation of “Confucianism, Buddhism and Taoism” as well as the pursuit for beautiful scenery and a secular life. After a lot of northern people moved to the south during the Yongjia period, a lot of them became literatus and their inborn positive mind was combined with the beautiful scenery south of the Yangtze River. Most of them describe the landscape to express their thoughts about life, which reflected their reflection on the real life from the perspective of Buddhism. The beauty of the Southern Dynasty is delicate, hidden in the pureness behind the mottled and the freshness of youth. Discovering the beauty of the Southern Dynasties is actually seeking how a city shapes a person and exploring how a person changes a city. The public space combined both the ancient and contemporary art and life, reflecting the designer’s literary accomplishment. The design revolves around the story of the literati’s collection, showing the beauty of life at that time; and while reflecting the ancient memory, the design is also rewriting a new story of contemporary spiritual life. During the Yongming period of the Southern Qi Dynasty, literatus, led by Xiao Yan, Shen Yue, Xie Tiao, Wang Rong, Xiao Chen, Fan Yun, Ren Fang and Lu Chui gathered around the King Jingling Xiao Ziliang, and them were collectively called “Eight Jingling Literatus”. The gracious names of the eight literatus were used at the inclusive space, and only their given names were used. This the simply style in the Wei and Jin Dynasties and the gorgeous style in the Sui and Tang Dynasties are well combined at this room. The main tone of the Southern Dynasty is between the simply style and gorgeous style at a moderate level. The black dark matte wood veneer lining and the abstract oil painting came from the abstract painting “Travel to Snow Mountain” painted by Zhang Sengyao, a famous painting in the Southern Liang Dynasty, with a good balance. S480 Dining Villa is a platform bearing the glorious past years and promising future days, displaying all moving plots orderly and displaying all the poetic and wonderful scenes. This mobile feast of urban civilization belongs to Jiankang and Nanjing. And it belongs to S480 Dining Villa and the people who have created the era.
SEEING JEWELRY owns a lot of artistic works of many famous jewelry designers. It emphasizes on the special story of each work thus the jewelry itself would have some deep meaning. To achieve this story-function, we divided the whole space into two floors. The first floor is designed for hall and video studio. The hall can be taken as the buffer area. A solemn atmosphere can be created due to the concrete cantilever-structured stairs and the tender light from the ceiling. Customers can enjoy themselves in this space without much distraction. The domed roof church gives the designing idea of the second floor. Decorated with an arched-shaped ceiling, the space feels much higher and also obtains some religious ceremonial sense. Extensive hickory grille is used, together with long pile carpet. The above constructed a comfortable environment that can lead the customers into the story of each jewelry. Jewelry contains story while space contains jewelry. We built a Church, hoping the space can lead customers to hearing those moving stories.
THAT ONE RESTAURANT
The overall restaurant space design is extravagant and extravagant, using simple and bright methods, the shape of the Jiangnan eaves was built with wood-grained aluminum tubes, and the theme design of the “That One Restaurant” restaurant was set off, combining the rustic feeling of cement board, creating the beauty of Jiangnan artistic conception. The wood grain aluminum tube is like a building block. It seems to be unintentional but intentional, presenting a “home” to people. The front hall is covered with green plants and creates a quiet and quiet atmosphere. Like a raindrop, a chandelier like a wind chime, adding a little bit of spice to the restaurant space. The wood grain grille, which is intertwined with each other, retains its own privacy and enriches the level of space. The simple restaurant space design combines the current popular terrazzo material, make the space both the shadow of traditional architecture and modern material elements.This fusion maintains the sense of space in modern architecture, not only can it use its functions, but it also strengthens the transition in space, make the restaurant space more visual and more imaginative.
우크라이나 키예프(Kyiv)에 위치한 Normal은 그 이름처럼 평범(normal)하지만은 않은, 다채로운 면모의 레스토랑이다. 동유럽에 자리해 있지만, 트렌디한 뉴욕의 분위기가 물씬 느껴지는 감각적인 공간이다. 모던하고 단정한 외부를 지나 내부로 들어서면 다채로운 컬러 팔레트, 다양한 조도의 조명, 인더스트리얼과 컨템포러리 스타일의 조화를 만나볼 수 있다. 시간대에 따라 변신하는 Normal은 낮에는 밝은 조도와 화려한 페인팅이 세련된, 식사를 위한 레스토랑으로 기능한다. 낮 시간, 데이트나 업무 미팅에 적합한 분위기의 Normal은 감각적인 인테리어로 트렌드에 민감한 이들이 많이 찾고 있다. 도시에 어둠이 내려앉으면, Normal은 새로운 옷을 입는다. 댄스 플로어가 펼쳐지고 라이브 음악이 흘러나오는 화려한 무대가 된다. 푸른 빛과 붉은 빛의 조명을 기반으로 하는 공간은 몽환적이면서도 깊은 무드가 있는 바(bar) 겸 클럽(club)으로 변신한다. 다양한 매력의 Normal에서 가장 특별한 인테리어 요소를 꼽자면, 브루클린 스타일의 낙서를 연상케 하는 벽면의 페인팅이다. 과감하고 유니크한 페인팅은 마구잡이로 그린 듯한 자연스러움과 그 속에 느껴지는 입체감이 Normal을 더욱 역동적인 공간으로 만들어준다. 이외에도 다양한 인테리어 요소를 곳곳에서 볼 수 있다. 화사한 레스토랑과 화려한 바(bar)의 느낌을 동시에 소화해야 했기에 양면적이면서도 반전미 넘치는 요소들로 채워졌다. 천장은 오픈형 인더스트리얼 스타일로 자유로운 느낌을 주며, 파도가 치듯 유연한 곡선형의 스틸을 활용한 조형물은 예술적인 무드를 더욱 강조한다. 자칫 차가운 느낌을 주는 콘크리트 벽에는 천장에 간접 조명을 설치해 부드러운 느낌을 보완했다. 천장부터 바닥까지 길게 뻗은 유리창은 도시의 풍경을 한눈에 담을 수 있으면서도 실내에 채광이 잘 들게 한다. 철제 프레임의 전면창은 채광에 따른 밤과 낮의 확실한 분위기 반전을 위한 인테리어 요소다. 벽과 천장에 다소 화려하고 눈에 띄는 인테리어 장식 요소를 중화시키기 위해 가구 선택에 있어서는 심플함을 추구했다. 군더더기 없는 디자인과 형태의 테이블과 의자를 배치했으며, 컬러 또한 무채색 또는 원목 컬러로 선택해 통일감과 차분함을 더했다. 또한, 낮의 화사한 공간 연출을 위해 식물 위주의 디테일 요소로 온화함과 친근함을 채웠다. 낮에는 업무 회의와 점심 식사가 가능하고, 저녁에는 로맨틱한 바(bar), 더 깊은 밤에는 클럽으로 기능하는 Normal은 한 공간의 다채로운 변신, 다양한 인테리어 요소의 활용을 보여주고 있다. Normal is a new cosmopolitan establishment with atmosphere of street art in New York, which successfully combines several formats. In the daytime «Normal» functions as a restaurant, with the onset of dusk passes into the format of the evening bar, and with the advent of complete darkness turns into AbNormal – night club with dance floor, live music and light installations. Lighting contributes to the triple transformation of establishment in the interior plan and changes itsshade according to the format: white daylight changes with bar blue, that in turn goes into the red in accordance with the club concept. The feature of institution are graffiti and drawings in the style of art vandalism, which immerse into the atmosphere of Brooklyn. In the evenings they «come alive» thanks to 3D-mepping. Due to its multifunctionality and the ability to adapt «Normal» at once attracted attention and became a favorite place for party-goers and supporters of extraordinary places.
Playville & Playville Shop
태국의 디자이너 Nita Yuvaboon과 Prow Puttorngul 은 방콕에 둘의 이름을 딴 건축 및 인테리어 스튜디오 nitaprow를 설립했다. 영국과 미국의 유명 대학에서 건축학, 디자인 전공 과정을 함께 수학한 nita와 prow는 젊은 감각과 서로의 장점에 대한 이해를 바탕으로 여러 프로젝트를 흥미롭게 풀어내고 있다. 그들의 최근 프로젝트 Playville과 Playville Shop은 ‘자연은 최고의 배움의 장소’라는 기치 아래 어린이들이 자연을 담은 안전한 공간에서 자유롭게 학습하고 뛰놀며 영감을 얻을 수 있는 공간으로 완성됐다. Nitaprow는 숲, 언덕과 동굴, 사막과 오아시스, 그리고 인간이 사는 마을 등을 어린이들의 실내 놀이 공간 Playville에 녹여내고자 했다. 자연환경의 다양성은 Playville을 구성하는 4개의 공간 프로그램으로 표현했는데, 각각의 공간은 특유의 캐릭터를 가지면서도 공통적으로는 아이들이 안전하게 놀이를 하며 신체 기능과 감정적인 발달을 도모할 수 있도록 계획됐다. Playville로 들어서자마자 만나게 되는 The Fog & The Tree Tunnel은 안개와 나무 터널을 컨셉으로 한 현관 홀이다. 공간의 목판 마감재는 아치 형태의 복도와 락커를 이룬다. 안개를 표현한 글라스월 너머로는 모래 놀이를 할 수 있는 사막과 오아시스 공간이 위치한다. 언덕과 굴을 표현한 Transition Hall은 단차를 올린 나무 플랫폼으로 층을 구분해 재미있는 놀이 공간을 구성했다. 아이들은 각각 다른 크기의 아치형 입구를 통해 높은 위층과 천장이 낮아 아늑한 아래층, 미끄럼틀에서 이어지는 볼풀장을 뛰논다. 신체 놀이를 할 때의 재미와 안전을 위해 그물망을 설치했고, 파사드 쪽의 글라스월과 그리드 형태의 조명으로 밝은 분위기의 놀이 공간이다. Transition Hall은 The Island & The Lakes를 향해 트여있고, 반대편으로는 The Village로 향한다. 메인 놀이 공간인 The Island & The Lakes는 연속되는 순환의 속성을 표현하는 것에 중점을 두었다. 벽체를 장식한 은경 오브제에 반사되는 자연광이 커스텀 한 볼풀장의 구체들을 투과하며 호수에 햇빛이 비치는 모습처럼 보이도록 했다. 이곳에는 가벽으로 공간이 구분되지 않고 중간중간 놀이기구들이 놓여있는데, 이 역시 탁 트인 호숫가에 섬들이 떠 있는 듯한 풍경을 형상화한 것이다. 전체 놀이 공간은 자연이 보여주는 각양각색의 모습이 은유적으로 함축돼있으며, 뛰노는 아이들이나 부모들 모두가 안심할 수 있도록 밝고 시인성이 좋을 것, 그러면서도 무엇보다도 안전할 것을 염두에 두고 디자인됐다. 실내 놀이 공간 Playville 안쪽에는 키즈 부티크 Playville Shop이 위치한다. 이곳 역시 다른 공간들처럼 자연환경을 닮은 컬러와 형태로 꾸며졌다. 5평이 채 안 되는 협소한 이 공간은 물가의 바위를 닮은 컬러, 질감의 마감재로 벽체와 매대를 구성했고, 거울, 벽체와 선반 등 부티크를 이루는 모든 소품들은 모나지 않은 곡선으로 만들었다. 도시화, 환경 오염 등으로 인해 오늘날의 어린이들에게는 자연 속의 야외 활동이 어려워지고 있다. Playville은 노골적으로 자연을 그대로 옮긴 디자인보다, 은연중에 드러나는 자연적인 요소가 돋보이는 곳, 아이들을 위한 실내 놀이 공간이다. Nature is by far the best learning ground many of us would agree upon. Over the recent years we had all been experiencing increasingly hostile outdoor conditions, conditions that may be at times too harsh for our little ones to comfortably take in what nature has to offer. It was important for us to consciously bring in some of its inspirational aspect into the design thinking of this sheltered playground. An amusing image calls to mind while recollecting on how toddlers constantly strive to make sense of their environments. They toddle, spreading their legs wide apart, swaying from side to side, wobbling back & forward while establishing a new relationship with the ground. They maybe enthralled with their newfound upright position but it was the ground beneath their feet that caught our attention. The ground and its tangible effect becomes an underlying design element of the project. By conceiving and implementing numerous types of architectural terrain and play structure as the tool to encourage the little crawlers and toddlers to walk, climb, dive, crawl in countless ways, may be one of the most fundamental methods in helping them to fully explore their physical and cognitive abilities. Nature’s geological diversity gave us an entertaining lead into pairing the 4 programmatic zones with their conceptually inspired counterpart.
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