Project team:

Architects: Noiz Architects – Keisuke Toyoda and Jia-Shuan Tsai,
with Jose Rodriguez, Junjie Sun, Chunwei Lee
Project management: People Tech Consulting
Contractor: KeRui construction company


Products applied:

Chandelier design: Zhongshan lighting company

14. Nov 2014

Shades of white

Text: Joachim Ritter
Photos: Kyle Yu

White offers the best possible proliferation of options when it comes to defining a space. In the case of the design of the Zhengzhou Clubhouse, the conceptual use of white is like a huge sheet of paper on which architectural elements are sketched in and thus documented as a part of the architectural design, and light can only be applied as a subtle element. But beware: Exploded drawing of the two-storey clubhouse.

A large private company based in China commissioned Noiz Architects to design a special clubhouse near their headquarters in Zhengzhou. The project was to include a reception area, meeting rooms, plus dining and recreational areas, as well as private suites for the owner and for guests of the company. The clubhouse is located on the second and third floors of an existing three-storey building with a rectangular footprint. The ground floor is occupied by a bank. The total surface area for the interior is approximately 1,700 square metres. The unique triangular shape of the floor plan restricted the design and functional layout, making it difficult to align rooms within a standard grid. Noiz therefore opted to design the new plan as free-form as possible so it could be flexibly accommodated within the existing structure. This free-form plan allowed the architects to adjust the spatial layout during the various planning phases. In fact, the plan was revised over twenty times throughout design development. The building is located in one of the many large-scale developments within Zhengzhou’s bustling contemporary city centre. Surrounding buildings are all new, though eclectic in their use of styles and materials. To counter the busy, mixed palette of the exterior, the interior palette was designed to be as colourless as possible, making everything white to remove the sense of weight and ‘busy-ness” of the outside world. Within this allwhite palette, the architects introduced a wide range of materials and textures to express variation in space and atmosphere.[…]


The full version of the article can be found in PLD No. 95

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