讀後心得

Luxury home design master Qiu De Guang possesses a unique aesthetic vision and has witnessed the transformation of luxury definitions over the past 40 years, shifting from a consensus on opulence to personal taste. He established his personal studio in 1985, focusing on interior design and founding the original furniture brand De Guang Ju. He adheres to the philosophy of "artistic space and life infused with art," blending Eastern charm with modern design thinking. Qiu De Guang also serves as a lecturer at Tsinghua University in Beijing and National Taiwan University of Arts, and has published several works. He believes that the definition of luxury has changed with social progress, moving from the pursuit of diversity to the expression of individuality, and he is committed to creating design works that meet client needs. Recently, his Xi'an Yongshan Fu project combines history with modern art, showcasing unique spatial artistry. Qiu De Guang also looks forward to the application of AI in the design field and hopes to promote more creative works that combine art and technology.

Luxury design master 邱德光 has a unique aesthetic vision. Throughout his forty-year design career, he has witnessed the changes in the definition of "luxury" in Chinese society: from the pursuit of consensus on luxury to the expression of personal taste.

As early as 1985, 邱德光 established his personal studio and graduated from the Department of Architecture at Tamkang University in Taiwan. He studied under the famous architect 修澤蘭 and participated in the design of landmark buildings such as the Zhongshan Building at Yangmingshan. Later, he founded 邱德光 Design Studio and the original furniture brand 德光居, shifting his design focus to the interior space. He insists on the concept of "art in space, life in art," skillfully using artwork and decorative elements to evoke emotional responses in spaces, blending Eastern charm with modern design thinking. 邱德光 also serves as a lecturer at the Academy of Fine Arts at Tsinghua University in Beijing and at Taiwan Cultural University. His published works include "The New Decorativism by 邱德光," "T.K. CHU Trend," and "New Decorativism+," making him an important figure in the Chinese design community. We conducted an in-depth interview with 邱德光 to explore how the definition of luxury has changed with social changes.

How did you become an interior designer? What experiences did you have before becoming an interior designer?

I initially worked in architecture, designing large public spaces and residences. Later, I turned to interior design, which was partly a calling from within. I wanted my design to be more "humane," to genuinely meet the needs of a group of people or a family in terms of lifestyle, aesthetics, and spiritual aspects. This "human touch" is more direct and concrete in the field of interior design. On the other hand, with the evolution of the times, the general affluence of society has increased, and people's needs for personalized living spaces have become increasingly strong. This has also provided opportunities for my growth in the field of interior design. Therefore, I have been engaged in interior design for over forty years, and as the times have changed, my style has continuously iterated, ultimately focusing on meeting the diverse needs of different clients while integrating professionalism and artistic creation.

You have countless luxury projects. What does luxury mean to you?

I have a deep feeling about this. In the past, consumers' pursuit of luxury could be described as "abundance" and "complexity." Some of my early projects exemplified this well. At that time, everyone sought luxurious items to showcase themselves. Now, with the general improvement in material wealth, culture, taste, and uniqueness have become the new luxury. I believe this is an inevitable outcome of social development, and I resonate more with this kind of luxury: the transition from "pursuing consensus" to "showing individuality," expressing one’s unique lifestyle and aesthetic attitude through mediums such as art and culture.

What is the design project you are most proud of this year?

The two super model rooms and the top-floor club of Yongshanfu in Xi'an. This project is located in the ancient capital of Xi'an, directly opposite the Yong’an Gate. We integrated the historical essence of the thirteen dynasties with the "red" elements of the prosperous Tang Dynasty, considering its position as the starting point of the Silk Road and its former status as a world fashion center. From a global perspective, it is also a unique remote oasis in the East. We synthesized cultural, environmental, modern art, and contemporary preferences to create three uniquely charming and cohesive spaces. We introduced elements of nature, history, and the world to richly present contemporary spatial art belonging to Chang'an, which is also a work of art for the world.

What are the secrets to achieving an outstanding interior design project?

In terms of concept, an outstanding design project is a balanced unity of the client's vision and the designer's vision. This requires designers to create a creative space within the scope of the client's wishes. Specifically in design, I emphasize "adaptation to local conditions" and "holistic thinking." I believe that excellent design must be cohesive. In terms of space, good design must be a synergistic whole of architecture, gardens, landscapes, interiors, furniture, objects, and artwork. Therefore, when designing a space, I consider the combination, composition, and arrangement from different angles to connect the space with the architecture, furniture, and artwork in a multi-character way to create a perfect whole.

What book, movie, or music inspires your creative inspiration the most?

I rarely draw inspiration directly from finished works; rather, I am more moved by certain events and moments in daily life. Just like a year ago, when Huang Renxun gave a speech in Taipei and shocked me with the moment he had AI create a song. That moment inspired my understanding of AI. Our design was originally conducted through collisions among a few people in our company, but the use of AI has allowed thousands of people to participate in this collision together, which for me is a new understanding of productivity tools. Therefore, rather than saying my creations are inspired by certain outstanding works, it's more accurate to say they are influenced by every detail in life. I always remain open, drawing nourishment from life at any moment, and then synthesizing it through my logical thinking when needed, transforming it into my creativity and design works.

What significance do 2023-2024 hold for you? What new designs or development directions do you have for next year?

I believe the emergence and application of AI in these two years is significant, providing more possibilities for design. It allows designers, including my philosophy, to achieve more efficiently through this data-driven, rich, and comprehensive creative tool. This year we completed the Ya Garden wedding banquet hall project in Taichung based on AI-assisted design.

Looking ahead to next year, besides successfully completing design projects, I hope to contribute more to the development of the industry, especially in the practical application of AI-assisted design. AI is an excellent tool that helps designers and clients understand design ideas, but how to implement it remains a challenge. This year we collaborated with manufacturers to complete an AI-assisted creative design project, which is an industry-leading attempt. I believe there will be more AI-assisted design projects in the future, and we hope to take the Ya Garden wedding banquet hall project as a foundation to tackle the practical landing challenges of AI-assisted design and push the industry to create more avant-garde and artistic design outcomes.