Chinese design firm CUN Design has completed a showroom that explores the concept of “squareness and roundness” in the interiors in Guangzhou, China.
Named RARA whole-house showroom, the 312-square-metre space was envisioned for a whole-house custom brand. The space shows the concept of “squareness and roundness” in the hall 3 of Poly World Trade Center Expo exhibition hall which gives the architecture both artistic beauty and formal beauty.
“By using the contrast between constancy and change to reveal the essence of architectural development. By using big history to contextualize specific architectural phenomena. By using a specific and profound analysis of these phenomena to echo the changes of the times. The combination of hand-drawn lines and curved lines, synchronous and diachronic analyses, allows the reader to experience the true meaning of architecture through a grand historical context.” – Sigfried Giedion, Space, Time and Architecture.
NO.1 squareness and roundness, constancy and change
The way of heaven is round and the way of earth is square. Between squareness and roundness, there is both heaven and earth and all things.
RARA, a whole-house custom brand, shows the concept of “squareness and roundness” in the exhibition hall which gives the architecture both artistic beauty and formal beauty. The intersection of the cuboid and the double circular column produces a design texture that has been measured precisely, which completes the structure in the form of beauty. The layout, structure and style no longer simply adopt the rational geometric squares and circles which breaks the traditional way of thinking in terms of architecture.
NO.2 Exploration of order and freedom
There is both change and order, which is the principle that all artworks, especially plastic art forms, must have.
In terms of circulation，we are actually talking about the possibility of the spatial order. The order acts as a vehicle of specific activities for human beings, allowing space to “come alive” and facilitating more interactions.
Compared with the sweeping view of the large opening and closing, the way square and circle are arranged in the RARA hall makes the layout both changeable and orderly, which enables viewers to come in and out flexibly.
The connected structure leaves a strong sense of “lag” in the dimension of time and space, and makes one to be fully involved in an immersive experience that comes from the autonomy of the space.
RARA also demonstrates the potential future style of office design, both as an exhibition hall and an office. With the boundary between the two gradually dissolving and blurring, it not only integrates the unity of function and aesthetics, but also creates a compatible space that integrates movement and display.
Wireless, intelligent and humanized mobile office are springing up, enriching the possibilities of office development in the post-pandemic era.
NO.3 Indoors and outdoors are the one
Continuous integration in the space.
“The architecture itself is completed, sculptural and monumental.” – Yoshinobu Ashihara.
The exterior is composed of bamboo pieces that are horizontally arranged, and the smooth lines and rhythms make the entire exhibition hall naturally magnificent.
The minimalist appearance arouses strong curiosity for the viewers, and the trees that break from seed are particularly prominent, occupying the absolute focal point and infusing vitality into the entire building.
Upon entering, as the scenery changes with each step, a diversified high-quality living scenes unfold gradually with the interplay of light and shadow. The wardrobes, antique cabinets, invisible doors, wall displays, and other elements are effectively integrated into the space, with a focus on refined details and textures.
The towering bookcase is particularly outstanding, serving as a partition that creates a multi-level perspective between concealment and exposure. Visually, it intertwines with the curved spatial frame, offering rich variations in lines.
Every enduring brand, from its conceptual birth to the appearance of design sketches and to the final presentation of works, is inseparable from collective wisdom. RARA, as a high-end brand, integrates top-level resources and drives the original creativity to the utmost. The product, sparking with spatial aesthetics, demonstrates exquisite craftsmanship and long and profound history of RARA in the whole-house custom.
The two together converge towards a perfect presentation. It not only inherits elegance but also develops a deep understanding of luxury. Breaking the limitations of physical space and creating infinite possibilities within the limitations, CUN DESIGN takes the most revolutionary attempt in environments that we are all familiar with, creating an unprecedented space that is full of customized products, presenting cabinets, wardrobes, antique cabinets, invisible doors, wall displays, and other products in the most suitable positions.
The beauty in the architectural space is an encounter full of romance and imagination. On the vertical axis of time, its timeless beauty has been marked on the horizontal axis of space.
Therefore, RARA has achieved a deep integration of functionality and artistic value from the outside in and inside out.
It also achieved a high degree of unity between practicality and aesthetics. Whether viewing from indoors or outdoors, one can be impressed by its integrated design, where the intersection of squareness and roundness begins without ending.
CUN Design also designed a flagship store for a tea brand WILLchá in Beijing, China with strong geometric forms, green and yellow color color palette since the same color palette represents the brand’s color.
Project facts
Project Name: RARA whole-house showroom
Main functions: customized products (wardrobe, closet, antique closet, invisible door, wall displays)
Project Location: Guangzhou, hall 3 of Poly World Trade Center Expo
Design Company: CUN Design
Chief Designer: Cui Shu
Design Team: Kong Weiqing, Xu Lichao.
Starting Time: 2022.08
Completion Time: 2023.03
Project Area: 312m2
All images © Qin Zhaoliang.
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