Furniture Learning

Restrained orientalist philosophy-Liú Ting Yu

Designing is not creating. We are not the Great Maker.We designers are the media connecting different times and spaces. To do things right, it is our duty to appreciate the Chinese culture and the geography .

Our project is based on the place where the project is rooted. We must value the customs here to make people long for living here, a residency with uniqueness and a sense of belonging.

The Eastern people are concerned with the interplay of the five elements of yin and yang, which has an extraordinary presence in the inherent logic of this project (the unspeakable layout of Feng Shui). All the above uses reflect our thinking and understanding of the depth of the space to find an appropriate way to interpret it.

These intrinsic logic and meticulous arrangements are the inheritance of a pragmatic and can only be understood by professionals and cannot be revealed in words.
It is my responsibility to answer for myself and to share more experience with the industry, which is also the utmost respect to non-professional homeowners.
The highly consistent comments – “atmospheric”, “understated luxury”, “comfortable”, etc. – were in fact “premeditated” by me. Some designs are ahead of their times. People need to enhance their recognition to understand its inner beauty. I think this kind of transcendence is of my pursuit!
We must understand the aura here to make our company to adapt to this place. Our project is the carrier of the torch of the history, telling old tales to people in the future. It aims to be eternal from the initiation.
A oriental interpretation is as follows. The oriental beauty is about the beauty of mountains and waters. Our project stands against the mountain of its west and cuddled by the sea surrounds it in other three directions. This geographic advantage makes us to be cautious when we applies the art of Chinese landscape paintings into our design. Compare to the two-dimensional paintings, we make our design to be three dimensional and abstract.

We spent several days observing the changes of the light and shadow projected from outside all day long. At the same time, we checked the changes in the sunlight level over the year at the latitude where the project is located. Using walls as panels, decorative lines as hills, and sunlight as painting brush, we present 365 variations of light and shadow on the wall! It is hoped that we can respond to the current scandal of design by looking at pictures, which should be based on site, space and people.

This unique and native collocation is rare and thoughtful, which fits the spirit of Confucianism generated in Shandong Province, China. This strong contrast of layers, colours, warm and cold, volume, reality and yin and yang makes it possible to strike a balance of spatial aesthetics, spatial tension and spatial aura. The design is also an innovative attempt to build on tradition. Our relentless efforts are paid to create a decoration art of Chinese people.
The visible beauty of the design can be easily realized nowadays with efforts and concentration. However, our pursuit is what is invisible, such as memory and happiness. 
————Liú Ting Yu

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