李中霖
關於雲邑
室內設計是一種大量消耗創意的產業。
如果撇開一切由人規範的遊戲規則不談，光是想像；當然可以盡情無遠弗屆。然而一但有了實體空間上下四方的界限，想要在理想與現實之間找到平衡點，其實並不容易。
橫跨在想像與實際生活兩端，無關勝負卻異常激烈的拔河競技，正是雲邑設計熱衷定義空間的癮頭所在。
過去談到雲邑，總會第一時間連想到極度精簡的印象派片段，過濾掉一切不必要的裝飾元素，執著於保留接近結構本體的純淨。而現階段的雲邑，著迷於矛盾與衝突的力道和多變性，原本清爽的畫面，開始多了其他刺激的風味。但是，話題絕不會僅僅如此而已，因為「人」的因素，會像是能量分子間的相互撞擊，為雲邑的多變性，帶來更多未知的伏筆。
所有設計者都必須面對商業、功利、現實面的種種試煉，在廣大的創意市場，趨勢的流行是顯而易見的風向球，隨波逐流或者是最容易累積獲利的捷徑。然而雲邑卻寧可端出自家的獨門菜色吸引潛在客層，下工夫溝通、培養、教育，只因為雲邑相信：美感就算無法與生俱來，但只要頻率相近，就能產生共鳴。不可否認，受限於現階段的主流風格，就算是決定走自己的路，還是不能罔顧現實面的需求與團隊的存續，不過雲邑依然堅持以更多不特定風格；為人們提供品嚐新世界的味蕾。
雲邑對於空間的看法、想法、做法，有一點類似無為而治的「北歐美學」。因為珍惜材質；也高度了解各種材質，所以可以預測特定材質在空間中所能衍生的化學反應。更確切地說：因為空間的可變性與實際預算息息相關，一但經過反應不可逆，就必須承擔所有的結果與相對的風險，說到底；為了追求一種不受拘束的自在；雲邑必須訓練自己一套未卜先知的能耐，沒有僥倖；當然也不願用其他取巧的伎倆矇混過關。
解釋雲邑設計一貫發想的美感本能，總是能淋漓盡致貫徹不同的邏輯創新，更可貴的，還兼顧空間不可或缺的舒適、機能與隨時升等的可變性。大鳴大放的極端，或許頃刻之間很能引爆話題、刺激感官，但絕對不是雲邑沈澱自我後，足可永續經營的真實內在。
非黑即白的二分法，到頭來，不過只是雲邑設計精益求精的過程節錄之一。
About Yun-yih
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.
