If all colors were removed, and all that’s left was the loneliness of grey,
does that bring one closer to absolution and nothingness? Or a fuller,
more complete condition? What cannot be changed, however,
is the playfulness or agonizing that the rooms induce,
whether in form or in consciousness.

The Pandomo that is normally used only as flooring,
now climbs confidently onto the wall.

From the television wall to the back of the sofa,
three-fourths of the room is steeped in different shades of grey.

Light steals through the flexible metal screen doors, and through it greenery can be seen.

That is the moment when all sounds are hushed,
and one listens to the chanting of praises to Buddha.

In the dining area, the multi-faceted walls are like origami,
the ceiling dance across the room.

The smoothness of the marble, the steadiness of Pandomo,
the flaws of the kitchen counter,
and the metallic sheen of stainless steel compartments all express a unique warmth of grey,
and create a balance between the finished and the unpolished.

The strip of light underneath the television wall and the spotlights on it create layers,
and add warmth to the room.

Asymmetrical storage doors connect two separate spaces,
adding playfulness and harmony.

The low-key tones in the public area and boy’s room are shattered in the girl’s bedroom.

A surging red wall is intensified by the lighting,
and the wooden collage wall of the bathroom is a performance put on by modern building materials.

Precise juxtapositions of angles and surfaces is a stamp of Yun-Yih’s craftsmanship.

Faithfully sculpting the outlines of space,
our expectations for illumination: no halo, no light-spots; Instead,
a ray of light that pulls the heart-strings and the imagination,
catalyzing the rich aroma of tranquility.


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