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    時間的容器丨楊躍文 FILL STUDIO?




    Human existence?goes beyond the concrete identifiable social forms known to man. During the creative thinking process, it is as if an invisible version of yourself floats from your body in an attempt to extend your existence. A space can tell you everything about its designer.


    We have attempted to make the studio space feel like air: objective, homogeneous, concrete and yet abstract. It?doesn’t?say anything, but when you immerse yourself in it, it?is as if?time and space?are homogeneous.


    The first floor is a multifunctional space that covers reception, product research, and an art gallery. There are obvious differences in the space of the two floors of the studio. The first floor tends to be classical and symmetrical in terms of its spatial dimensions. Space acts as the background to all else, and a clean framework and objectivity are required to support all possible changes to the display in the future. This is crucial for designers.


    Through control of the spatial?proportions?and the absolute submission to and grasp of natural light (a vital material), the designer has provided the studio?with?an immersive atmosphere in which people and objects are homogenized. People and objects have their own place, and there is no principal-subordinate?relationship?between the two.?Objects seem to adopt a fresh and new look every day, and people have a greater awareness of the objects in the space.


    In the search for objects, the designer stumbled across a Leizhou stone dog. Clumsy yet modern, with its head tilted up and its mouth exposing two large teeth, the stone dog is both cute and lifelike. It sits peacefully as an “infinite” artwork that contends with time.


    Objects in space are often subject to changes. The addition of an item, the sudden change of natural light at certain times, or even visits from friends may also make the designer re-consider the spatial state.To some extent, the spatial state of the studio indicates the design team’s concept of space?as well as their?strong vision of trying to practice contemporary life?and aesthetics in an interdisciplinary way.

    The semi-tranparent curtain creates different perceptions of the spatial dimensions and the circuitous line depending on if it is partially or fully opened. From time to time, the designer will change the way it is opened and make adjustments based on the new space arrangement.


    The space on the second floor is relatively dynamic, incorporating?office, conference,?and?lounge?and leisure facilities. Arranged in an array, the randomly staggered high and low ceilings (the sections of low ceiling are designed to hide?the irregularly distributed beams)?and the wall cabinets on both sides find an effortless balance between virtual and solid design elements. This is the outcome of combining?site structure and functional requirements. ?The track spotlights are arranged on the side of the?ceiling?blocks, producing an effect of “invisible lighting” in some spaces.


    In the corner of the space hangs a transparent image of a human with part of its body suspended in the air parallel to the ceiling. This design serves two purposes. First, it emphasizes the horizontal pull of space. Second, just as desired, it brings fun and artistry while “playing” with the gravity of space.


    The oak lighting pillar is not simply defined by its shape. In fact, the computer equipment rely on it to obtain power from the ceiling. The designer has also added a set of pure copper wall lamps at equal spacing on the side, aiming to disguise its true purpose as a utility pillar.Surrounded by worktables, the lighting pillar pierces the sections of ceiling. Its positioning is related to the plane line. The designer hopes to create a circuitous line around the working area within the limited space available, so as to facilitate the interaction between workers.


    The natural light, track spotlights, and wall lamps help produce subtle changes in the?lighting atmosphere in the work area.?At certain moments, the lighting pillar?seems to transcend its material nature, endowing a sense of ritual and mystery into the space. In this respect, the lighting and spatial design collaborate as one effective team.



    As early as in school, the designer became interested in the concept of “infinity”, attempting to touch on it?in his graduation thesis.?Firstly, for the designer, “infinity”?is an invisible and ever growing perception that is related to the designer as a living being. Secondly, “infinity”?could refer to an “infinite”?feeling created in a space, an image, or an object.

    The designer is concerned with the “infinity”?of space. “Infinity”?does not mean that the physical space is not complete, but rather it signifies the possibilities in the space inspired by the design concept in the time after the space is put into use. This includes subjective and objective, planned and accidental, and visible and invisible possibilities.


    The designer has tried to interact?and strike a balance with the original spatial structure by adapting the site, leveraging its advantages, or simply by implementing the desired effects. This is an energy field related to “objects”. The designer never tires of managing the space. It’s an endless game of seeking a balance between internal and external, the macro and the micro.


    Space is the art of time. Immerse in it, think freely, and progress forward……

    Name?|?項目名稱:FILL STUDIO楊躍文|時間的容器

    Interior Design?|?主案設計:楊躍文? | FILL STUDIO

    Assistant design?|?助理設計:吳瑾、林千植、曾春眉、孫國棟?|?FILL STUDIO

    Construction execution |?施工執行:洪海湛?|?廣州正點裝飾

    Installation|藝術裝置:FILL – ART


    Editor?|?編輯:梁健苗?| FILL STUDIO



    Brands of lamps and lanterns?|燈具品牌:SIKI石客、PZEN品相、&Tradition








    Fillstudio is a cutting-edge interdisciplinary design studio founded in 2015 by Mr. Yang Yuewen, specialized in interior design, product design and consulting and art direction. It is the primary principle of the studio to reconcile art and technology, imagination and reality to the highest standard in its daily practices. Designers try to manifest the aesthetics of space design with a contemporary perspective and a rigorous way of working, ultimately giving the project a sense of comfort, artistry and timelessness.

    團隊曾獲得意大利A-DESIGN設計獎,美國IDA國際設計獎,APDC亞太室內設計獎, IAI全球設計大獎,艾特獎,40UNDER40(廣東)設計杰出青年(2019-2020)等殊榮。

    The?team?has?won?the?Italian?A-DESIGN?Design?Award,America?IDA?International?Design?Awards,APDC?Asia?Pacific?Interior?Design?Award,IAI?Global Design?Award,IDEA-TOPS?Award,Finalist?of GuangDong?lnterior Design 40Under40?(2019-2020),and Other?Awards.