Yi Xiang Lin ᱨᱮᱱᱟᱜ Overture of Daylight ᱰᱮᱺᱞᱟᱭᱴ ᱨᱮᱭᱟᱜ ᱢᱩᱴᱟ ᱠᱟᱛᱷᱟ (ᱚᱲᱟᱜ ᱨᱮᱭᱟᱜ ᱵᱷᱤᱛᱨᱤ ᱰᱤᱡᱟᱭᱤᱱ) ᱫᱚ ᱵᱷᱤᱛᱨᱤ ᱡᱟᱭᱜᱟ ᱟᱨ ᱯᱨᱚᱫᱟᱨᱥᱚᱱᱤ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2022 A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱞᱚᱦᱟᱵᱷᱤᱛᱨᱤ· 2022
Overture of Daylight ᱰᱮᱺᱞᱟᱭᱴ ᱨᱮᱭᱟᱜ ᱢᱩᱴᱟ ᱠᱟᱛᱷᱟ (ᱚᱲᱟᱜ ᱨᱮᱭᱟᱜ ᱵᱷᱤᱛᱨᱤ ᱰᱤᱡᱟᱭᱤᱱ)
Yi Xiang Lin ᱞᱮᱠᱟᱛᱮ
ᱜᱟᱦᱟᱠ: WJ Interior Design
ᱵᱷᱤᱛᱨᱤ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#127776 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Overture of Daylight ᱰᱮᱺᱞᱟᱭᱴ ᱨᱮᱭᱟᱜ ᱢᱩᱴᱟ ᱠᱟᱛᱷᱟ (ᱚᱲᱟᱜ ᱨᱮᱭᱟᱜ ᱵᱷᱤᱛᱨᱤ ᱰᱤᱡᱟᱭᱤᱱ) ᱵᱟᱵᱚᱛ ᱛᱮ
ᱰᱮᱺᱞᱟᱭᱴ ᱨᱮᱭᱟᱜ ᱢᱩᱴᱟ ᱠᱟᱛᱷᱟ ᱚᱠᱟ ᱢᱤᱫ ᱚᱲᱟᱜ ᱨᱮᱭᱟᱜ ᱵᱷᱤᱛᱨᱤ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱟᱛᱶᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱡᱚᱛᱚ ᱞᱟᱹᱜᱤᱫ ᱵᱮᱱᱟᱣ ᱟᱠᱟᱱᱟ ᱾ ᱨᱟᱸᱰᱷᱟ, ᱡᱚᱢ ᱚᱲᱟᱜ ᱟᱨ ᱛᱷᱤᱨ ᱚᱲᱟᱜ ᱛᱟᱞᱟ ᱨᱮ ᱢᱮᱱᱟᱜ ᱯᱩᱨᱟᱹᱛᱮ ᱵᱟᱝ ᱠᱚ ᱚᱛᱟᱭ ᱞᱮᱱᱟ, ᱟᱨ ᱟᱲᱮ ᱢᱟᱨᱟᱝ ᱟᱨ ᱦᱟᱹᱴᱤᱧ ᱠᱚ ᱠᱟᱛᱷᱟ ᱠᱚ ᱢᱮᱸ ᱮᱴᱟᱜ ᱮᱴᱟᱜ ᱡᱟᱭᱜᱟ ᱠᱚ ᱵᱟᱰᱟᱭ ᱮᱫᱟ ᱾ ᱡᱟᱦᱟᱸ ᱠᱷᱩᱞᱟ ᱰᱤᱡᱟᱭᱤᱱ ᱛᱮ ᱵᱷᱤᱛᱨᱤ ᱠᱚ ᱦᱟᱹᱴᱤᱧ ᱟᱨ ᱡᱚᱛᱚ ᱞᱟᱹᱜᱤᱫ ᱡᱚᱲᱟᱣ ᱜᱟᱱ ᱦᱩᱭᱩᱜ ᱟᱠᱟᱱᱟ ᱾ ᱢᱟᱨᱟᱝ ᱯᱨᱟᱸᱥ ᱡᱷᱟᱨᱚᱠᱟ ᱴᱮ ᱰᱮᱺᱞᱟᱭᱴ ᱦᱮᱡ ᱟ, ᱟᱨ ᱢᱟᱸᱰᱮᱨᱟᱠᱟᱱ ᱵᱞᱟᱭᱤᱸᱰ ᱟᱨ ᱡᱟᱯᱟᱱᱤᱡ ᱞᱟᱴᱤᱥ ᱦᱚᱸ ᱢᱮᱱᱟᱜ ᱠᱟᱱᱟ ᱾ ᱯᱷᱮᱰ ᱨᱚᱝ, ᱡᱚᱸᱠᱷᱚ, ᱣᱮᱱᱤᱭᱟᱨ ᱟᱨ ᱫᱤᱨᱤ ᱛᱮ ᱢᱮᱱᱟᱜ ᱢᱤᱫ ᱥᱟᱹᱱᱛᱤ ᱟᱨ ᱮᱞᱮᱜᱮᱸᱴ ᱚᱲᱟᱜ ᱡᱟᱶ ᱜᱩᱬᱩᱬ ᱮᱢᱟ ᱾ ᱴᱟᱴᱟᱢᱤ ᱟᱨ ᱦᱟᱹᱴᱟᱶ ᱡᱚᱸᱠᱷᱚ ᱯᱞᱮᱴᱯᱷᱚᱨᱚᱢ ᱛᱮ ᱢᱮᱱᱟᱜ ᱢᱤᱫ ᱨᱤᱥᱮᱯᱥᱚᱱ ᱨᱩᱢ ᱛᱮ ᱦᱮᱡ ᱦᱚᱲ ᱠᱚ ᱮᱢ ᱞᱮᱱᱟ ᱾
ᱢᱟᱱᱟᱱ
A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Overture of Daylight ᱰᱮᱺᱞᱟᱭᱴ ᱨᱮᱭᱟᱜ ᱢᱩᱴᱟ ᱠᱟᱛᱷᱟ (ᱚᱲᱟᱜ ᱨᱮᱭᱟᱜ ᱵᱷᱤᱛᱨᱤ ᱰᱤᱡᱟᱭᱤᱱ) ᱫᱚ A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Overture of Daylight ᱰᱮᱺᱞᱟᱭᱴ ᱨᱮᱭᱟᱜ ᱢᱩᱴᱟ ᱠᱟᱛᱷᱟ (ᱚᱲᱟᱜ ᱨᱮᱭᱟᱜ ᱵᱷᱤᱛᱨᱤ ᱰᱤᱡᱟᱭᱤᱱ) ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ
ᱯᱨᱮᱥ ᱠᱤᱴ
ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾
- ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
- As the client has the need to host, the designer has broken through the stereotypes of space concepts. The clear partitions between the kitchen, dining room, living room, and so on are diminished by the conceptual implication of utilizing ornaments which have made the inner space visually broaden, and also the client can use the house for banquet much more conveniently. Moreover, the designer has established large French casements to introduce more sunlight into the mansion which is consistent with the light-adjusting blinds and Japanese lattices in the room, making the interior space brighter.
- ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
- The designer has planned the flow line of the main bedroom carefully such as the blank aisle behind the bedside which has not only widened the leisure space but also preserved the space for storage, redefining its scenery of it. Furthermore, the designer has combined different materials together to build the door of the closet so as to correspond with the elegant space concept. The partition of the bedside is chosen in simple color so as to make it consistent with the closet behind it. Also, the design of the cladding of the circular arc camber with the bedside lamp chandelier has given the bedroom a comfortable and relaxed mood.
- ᱴᱮᱜ ᱠᱚ
- Japanese leisure mood, brighter, modern, elegant
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- The designer has established the space an elegant ambiance with simple colors such as white paints, wood material, and stones. By utilizing natural materials such as wooden makings, veneers, and slates, the space has been outlined in a gentle image. Moreover, the lightweight wooden TV wall matches with the wooden lattices have established a refined Japanese style. In addition to the bright atmosphere, the designer has put a dressing mirror at the entrance, which is a bold skill that fulfills the transparency and brightness of visual perception.
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- In order to meet the expectation of hosting guests, the graphic design has eliminated the traditional definition of domain and has brought in a little concept of the clubhouse. Therefore, instead of a distinct partition, the designer has used ornaments, furniture, and other functional items to imply the domains so that the graphic design of the interior needs to plan the flow line of the public domain carefully which has been discussed with the client over and over. Finally, they have come to a decision that has also made the house a place for hosting and resting.
- ᱜᱚᱵᱮᱥᱚᱱᱟ
- The client has the need for hosting and expects the space can accommodate as many people as it can, and also wishes all the guests can share the same mood when staying in it. Therefore, the designer prime consideration is the space concept of the public domain. Considering the sufficient sunlight of the house, the designer has demolished the partition between each area so that the natural lights can supply the whole space. The designer has used the materials in low Chroma to decorate the house such as simple materials which have expressed the quiet and elegant features.
- ᱯᱨᱮᱨᱚᱱᱟ
- The daylight appears in slow-motion with the shadow of the cloudy, and the window eaves are like the horizon in the distance. The warm sunlight has accompanied by the overture of the space filtering into the room, making the living room bright and quiet. WJ Design has taken advantage of the natural sunlight, supplemented with a bold texture that utilizes geometric lines, sunlight, and plain materials to break through the stereotypes of leisure space, creating a Japanese relaxing style.
- ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- The project finished in June 2020 in Kaohsiung.
- ᱠᱟᱹᱢᱤ ᱦᱚᱨ
- The designer has taken the client expectation of hosting into consideration. Hence, by using wooden materials, simple building stones, and a gentle color tone, the designer has established a Japanese leisure style that is bright and clear. In order to fulfill the purpose of entertaining guests, the designer has built a reception room which is in Japanese style and the painted wall has created an image of mountain and river. By utilizing Tatami as the foundation of the room, supplemented with a low wood platform under the windowsill.
- ᱴᱤᱢ ᱥᱮᱫᱟᱭ ᱠᱚ
- YI-XIANG LIN, CAI-JIE LIN
- ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
- WJ Interior Design
ᱥᱯᱚᱱᱥᱚᱨᱰ
Designers.org ᱠᱷᱚᱱ ᱯᱟᱨᱚᱢ ᱛᱟᱞᱟᱥ
ᱟᱞᱮᱭᱟᱜ ᱵᱤᱜᱽᱭᱟᱯᱚᱱ ᱥᱟᱹᱜᱟᱹᱭ ᱠᱚ ᱠᱷᱚᱱ ᱯᱨᱚᱰᱟᱠᱴ, ᱥᱮᱵᱟ ᱟᱨ ᱢᱚᱠᱟ ᱩᱫᱩᱜ ᱢᱮ᱾
ᱟᱨᱦᱚᱸ ᱠᱷᱚᱡ ᱢᱮ
ᱥᱟᱹᱜᱟᱹᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ
ᱢᱤᱫ ᱞᱮᱠᱟ ᱠᱮᱴᱮᱜᱚᱨᱤ ᱠᱷᱚᱱ ᱟᱨᱦᱚᱸ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱧᱮᱞ ᱢᱮ, ᱡᱚᱜᱭᱟᱛᱟ ᱧᱮᱞ ᱛᱮ ᱵᱟᱪᱷᱟᱣ ᱟᱠᱟᱱᱟ᱾
