This page contains a Flash digital edition of a book.
055


Hanjie Wanda Plaza is a new luxury shop- ping mall located in the Wuhan Central Culture Centre, one of the most important areas of Wuhan City in China. Following a competition in 2011, with de- sign entries from national and international architects, UNStudio’s overall design was selected as the winning entry for the façade and interior of the mall, which houses in- ternational luxury brand stores, world-class boutiques, catering outlets and cinemas. In UNStudio’s design, the concept of luxury is incorporated through the craftsmanship of noble, yet simple materials and combines both contemporary and traditional design elements in one concept.


The architects worked closley with German lighting design practice ag Licht, who was brought on board at an early stage to act as the content provider for the façade lighting (together with control specialists, LightLife) and as the lighting consultant. In this capac- ity, ag Licht aided local lighting design firm BIAD Zheng JianWei Lighting Studio with the façade lighting scheme and lighting supplier Shengzen BUME for the interior lighting. ag Licht, in close cooperation with UNStu- dio, produced sketches, lighting fixture proposals and detail solutions as a base for further development through BIAD and BUME. The subsequent sampling and mock- ups were all prepared by the local design firms and then confirmed or altered by ag’s team in China.


The lighting scheme for the public spaces plays an active role in guiding customers to enhance their shopping experience. To choreograph such an experience, UNStudio coordinated all the lighting elements specif- ically addressing different needs. Entrances and atriums are implemented with celebra- tory lighting whereas shop front corridors were filled with calm steady lighting. For Ben van Berkel, Co-Founder and Princi- pal Architect at UNStudio, lighting was an integral aspect of the project: “Reflection, light and pattern are used throughout the Hanjie Wanda Square to create an almost fantastical world. New microcosms and experiences are created for the shopper, similar perhaps to the world of theatre, whereby the retail complex becomes almost a stage or a place of performance and offers a variety of different impressions and experiences to the visitor.” Visitor flows are guided from the main routes towards the façades and entrances of the building. From the three main entranc- es, visitor flows are thereafter guided to two interior atria.


The concept of ‘synergy of flows’ is key to all of the design components; the fluid articulation of the building envelope, the programming of the dynamic façade lighting


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174