Interior design is an extremely creative industry.
Disregarding the rules of the game, and simply using your imagination, the possibilities are endless. But once solid space is set by four walls, a ceiling and a floor, it is rather difficult to find the balance between ideal and reality.
Traversing both imagination and practicality, an intense contest between the two that has no resolution, lies Yun-yih’s addiction to the definition of space.
In the past, when people speak of Yun-yih, the first impression they have is always something exceedingly simple and impressionistic, filtering out all unnecessary ornament, and dedicated to retaining the essential structure. Now, Yun-yih is captivated by the strength and changeability of contradiction and conflict, and the originally clean appearance has been sprinkled with stimulative flavors. But, the topic of discussion does not stop here, because the element of “man” will bring much more change and foreshadow to Yun-yih, like energy molecules colliding with one another.
All designers must face the trial of commercialism, utilitarianism, and reality, and in this massive market of creativity, popular trends are easy to observe, and following the crowd is perhaps the easiest shortcut to reap profits. Yun-yih, however, would rather present its specialty to attract potential clientele, and spend time communicating, nurturing, educating, only because Yun-yih believes that even if the perception of aesthetics is not inherited naturally, as long as the frequency is similar, a resonance will be created. It is undeniable that being restricted to the current style, even when we choose to go our own path, it is still impossible to ignore the practical demands and the continuance of the team. Nevertheless, Yun-yih insists on providing different styles for the world to savor.
Yun-yih’s perception, ideas and course of action toward space, is not unlike the laissez faire attitude of Northern European aesthetics: because we cherish our material, and have a deep understanding of all materials, we can predict the chemical reactions of a material in different spaces. More accurately speaking, because the variability of space is closely connected to the actual budget, once the material has reacted, it cannot be undone, and we must undertake all the consequences and risks involved. Therefore, to be unrestrained, Yun-yih must train itself to predict the unknown, and not merely depend on luck and other trickery to get by.
The aesthetic instinct in Yun-yih’s designs, always implement the different innovative logics completely. What’s more valuable, is the indispensable comfort, function and the upgradable possibility of space. Loud extremity might be a hot topic that stimulates the senses, but it is definitely not something Yun-yih can sustain on in the long run.
In the end, this black and white style is merely a chapter in Yun-yih’s quest for perfection.