YINJISPACE use media professional’s unique perspective,try to explore the essence of life behind the design works.
© 粤ICP备19077098号
YINJISPACE use media professional’s unique perspective,try to explore the essence of life behind the design works.
© 粤ICP备19077098号
Suzhou Jingcai Xuan is completely a spiritual garden reconstruction and fiction. The original intention of the project design is to set up an abstract garden sense. The garden is also the absolute protagonist of the whole project, which strongly covers the building and the interior performance space. The whole project only talks about the seclusion and mobility of the spirit in the classical garden. Through the curved path and the light constructed by the virtual and real, the space endless sense of "looking at the empty hall and thinking that there is a road" is formed. The traditional garden means such as empty, open, thin, leaky, borrowed, etc. are thoroughly reproduced in the contemporary spatial language in the project, and show new reading value.
Suzhou Jingcaixuan Chinese Restaurant is located in Li Gongdi, Suzhou. The design goal of the project is to activate the commercial vitality of the community through the renovation of the old building, while establishing the regional effect of the restaurant brand through the reinterpretation of the local typical culture.
Once again, Ann Yu × DOMANI gave the project a completely different, contemporary 'garden feel' through an integrated design concept and a new interpretation of garden culture. At the same time, it demonstrates the aesthetic standards of high-end catering brands, constructs a dining environment that conforms to the logic of local business operations, and through the optimal treatment of the relationship between architecture and environment, the brand quickly becomes a representative restaurant renovation project in Li Gongdi, attracting the continuous attention of many consumers.
[Thin] is the aesthetic tendency of "simple and simple" in classical gardens, covering materials and forms. In a contemporary abstract garden, DOMANI also interprets this classical thinness in a new form and material language, giving the space readability. "Take water as the vein and stone as the bone." As the main material of the ground, the tile floor is cleverly strengthened by the terrazzo process, while presenting the metaphor of the water in the form extension of the S-shaped path. Chinese classical gardens are good at water, and the dry mountains and rivers of later Japan will pull this imagination away from the more extreme. Back to the modern commercial space, after all, can not provide the ideal large area of water space, then the flow of solidified under the foot is a lively and interesting way to retain its divine appearance.
A large number of S-shaped walls separated by virtual and real reinforce the sense of extension of the path, in which the line of sight is thrown to the fictional end scene in the sense of security. The minimalist geometric curves are repeated and extended in the space, and the material is interwoven to reconstruct and translate the classical garden aesthetic of "revealing the spirit". Through the modern and ambiguous interface, the line of sight naturally extends to the distant unfinished place. The design method of path guided perception is exactly the opposite of the concept of "building walking" in modern architecture.
【 Borrow 】 Jing. The emphasis is on clear borrowing and borrowing methods. The lotus walk at the end of space is one such method. It provides the best vantage point for people to see and establish boundaries, or it is a perfect photography spot. It also naturally intervenes a rest between the metaphorical interior and the environment. After a whole section of the ethereal static scene, the spatial rhythm that uses the S-shaped longitudinal moving line is suddenly active, and the spatial strokes seem to be in the arbitrary place of cursive script. Through the curved stairs, people's attention is captured from the relatively static indoor and outdoor landscape that runs through the water to the second floor.
As the management hub of the hall, the guest desk, combined with the appearance of the rocks, means to welcome guests by welcoming pines. With the special shape heavy stone island set the focus of the scene, the management of different private rooms and scattered living rooms and the interchange of the second floor passenger flow. It is an attraction in the sense of flow and lightness of the first floor scene. From the dynamic walking ladder to the second floor hall, the sense of scene changes again. The roof of the apartment hall, which ADAPTS to the softened form of the top of the original building, emphasizes the characteristics of the spatial height and provides a set of abstract mountain art installations. The flow lines of individual guests are split into different rooms at the same time, once again providing a focal point with visual characteristics.
The large green planting device turns naturally along the moving line, cleverly separating the passage space and the dining area, not only maintaining the necessary privacy of the dining area, but also revealing the vague outline of the rocks and light changes through the green planting gap, guiding guests to follow the natural clues gradually deeper into the dining area. The plants in the installation form a texture contrast with the rock texture, so that the original linear passage space presents a rhythmic beauty like a garden gallery, so that the modern dining space also carries the exploration interest of traditional gardens. Follow the trend to the package room, inadvertent side look, or in the non-room can see the room against the border, the arc side wall through the atrium, just constitute the main viewfinder frame on the second floor.
The main chandelier [water drop] in the private room is customized by DOMANI and its brand A&V art furnishings for Jinji Lake View. The main body has a strong sense of existence but is not flamboyant, and it is interesting to reflect the lake in the distance, and it is more exquisite in blues time. The use of large glass Windows in the private room cleverly introduces the vision of Jinji Lake into the interior, forming a natural frame. The diners' sight is guided by nature through the transparent barrier, and meets the distant mountains, lakes and trees, as if they are in a flowing landscape painting. As the "Garden Ye" said: "Lin Gao Yan queue, the edge of the bamboo tree Xiao sen; If the city is small and poor, we must choose to live in a idle neighborhood."
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