I IN Inc.'s open class is based on thetheme of "Project". The two founders, Yohei Terui and Hiromu Yuyama divide the course content into four parts, in the order of"input"-"one design"-"execution"-"completion"In turn, share with us the firm’s project inspiration, material selection anddetails and experience in the design process. At the same time, we also invitedthe guest interpreter Hu Jialin, who is a member of the Architectural Societyof Japan and has studied in the Department of Architecture of the University ofTokyo and obtained a master's degree. At the end of the course sharing, they also gave a very detailed explanation in the Q&A session to respond toeveryone’s enthusiasm. Please look back at the live video for details!
The design of I IN Inc. pursues new possibilities of space design and makes impressive and surprising interiors. Designers believe that good designs must resonate and create lasting memories. By making use of the diversity of human behavior and experience, the I IN team found creative and wide-ranging solutions, combining sublime beauty and strong ideas, conceiving a cohesive design, and making the final design easy to communicate to people，touch people's hearts.

Yinji：Why is the firm named I IN? Does it represent your idea?
Yohei Terui：This I in actually comes from im in, so it has two meanings. One is im in & mdash& mdash; I'm in it, whether I'm in the space or in the knowledge system; Another meaning is that we are interested in all kinds of things, so this in is also from the head word of interaction. I think design is a process that you want to go into the field and interact with all kinds of things, so this is the idea of our name.

Yinji：Because there are only two people in the company at present, we admire each other for doing so many projects in three years, so we want to know what the division of labor is?
Yohei Terui：It's up to us to discuss from the time we get the project to the time of design. In fact, one person is enough from the time of design to the time of implementation, so we will have more cooperation in the design stage, and one person may be responsible for the real implementation of the project. As for the division of projects, we don't have too much preference. Basically, after getting the project, two people will analyze it together and then carry out the design. Most companies in Japan are made up of a boss at the top and a lot of employees at the bottom. The employees follow the boss's instructions to do a lot of things. However, the company we want is a completely different business philosophy. Although we have only two people and no partner now, a third person may come in later, This third person can also be upgraded to a partner after several years of work practice, so the whole company will become a very flat management model. Maybe all people are partners, and all people can decide according to their own wishes. This company model is very rare in Japan, but it is something we want to challenge.
Hiromu Yuyama：At the beginning, two people do it together, and then one person does it. But if one person keeps staring at a project, your vision will become narrower and narrower. If another person provides you with a different perspective to see the project and puts forward different opinions, it is very good, so I think we cooperate very well.

Yinji：What is the current project cycle, such as Shiseido project in Shanghai?
Hiromu Yuyama：As for the project of Shiseido just now, the first time we talked about this project was in August last year. It took about three months to determine the design of the project. It took another month or so to deepen the details of the design. Then construction began in January this year. The construction time was about two months, However, we all know that because of the epidemic situation this year, the opening ceremony did not start immediately after the completion of the construction, so it was about seven months from the design to the completion of the construction.

Yinji：So how do you communicate with foreign projects, such as a project in Shanghai, China, when there is a rush or something can not be achieved?
Yohei Terui：First of all, we do have overseas projects, but in today's society, language can not constitute too big a barrier. In fact, you can translate in real time with wechat, so we have not encountered too big problems in overseas projects or even construction. But on the other hand, what Mingming can do in China has been successfully completed in terms of construction, but there is no way to successfully complete it in Japan. On the contrary, there are more such problems. And I'd like to tell you what problems I encountered in Japan. The production technology of the whole product in Japan is very advanced, so Japan is very good at mounting on one entity. For example, if we want to make a stone, maybe in China we will use a real stone for you, but in Japan we often make a fake stone veneer. So I think it's easier to design good materials in China or abroad, but it's more difficult in Japan.

Yinji：How do you start your brand development when you are doing a project? How to get your first project?
Yohei Terui：I'd like to make an introduction to you through the sharing of the screen. This is our earliest project, Pinocchio. It was a bakery. At that time, there was almost no budget. It was the customers who asked us to do a strong spatial performance. At that time, our strategy was to use such a piece of raw wood to cut it into a large desktop and put it in the center of the whole space as the focus, Even if you have very few elements and very low cost, you can still complete a space with strong expression,. So this is actually a starting point for us. We have something in common with the one design we shared with you just now, that is, we use a powerful element as a leader of our space.

Yinji：How do you see the difference between Chinese design and Japanese design from your perspective when you are in contact with the state of Chinese design?
Hiromu Yuyama：The first is the difference in area. A restaurant in China is different from a restaurant in Japan in size, height and overall space. So when we face different scale space, the design idea will also change. There's also the way materials are treated. In Japan, for example, stone materials are usually made in a regular and orderly way, which is very good in Japan. Because China is rich in materials, but when dealing with stone in China, it is more likely to extract the original energy and possibility of the stone from the materials as much as possible. I think this is something that is more likely to be accomplished in China. Therefore, when we design in China, we are also very concerned about how to maximize the possibility of materials.
Yohei Terui：Japan is very small and narrow in scale and space, so how to make spatial distribution and diversity in small and narrow space becomes a more important topic in Japan. But China is different, China has a large space in general. So how to present the great courage, charm and shock to the audience is a relatively many topic in China. In recent years, China has also produced many excellent interior designers and many projects, so China has given interior designers a very good environment in recent years.

Yinji: Is your design philosophy influenced by a master?
Yohei Terui：There are many, but there is a very important one. I'll look for some information. Before the establishment of the company, we worked in the curiosity office, where we met. We were greatly influenced by the company, especially a French designer named Gwenael Nicolas. Therefore, we think that the influence of curiosity office is the biggest。