工作室 ⁄ 01 WOOMIN
Studio ⁄ 01 WOOMIN
有些美，藏於留白之中，在時間流動裡，慢慢向你我揭露。服飾品牌無名 WOOMIN 即以這樣的觀看方式，打破服飾既定框架。其空間也成為品牌語彙的延伸，不單作為陳列衣裝的場域，而是透過尺度、結構的變化，將服裝內裡蘊含的細節轉化為空間語彙，在光影流動之間，展開空間內蘊的變化。設計師首先打開原有隔間，使視野變得自由開闊。下方工作區採用活動式窗簾作為彈性界定，既保留工作與展示之間的連續關係，又能讓視線深入到空間深處。二樓夾層以玻璃牆取代封閉立面，使光線穿透上下樓層，延續整體開放通透的視覺感受。側邊梁柱結構、試衣間獨立量體，以及二樓的延伸夾層，宛如面料錯位堆疊探索服裝結構，共同構成空間中的錯落層次。其中，區域劃分不再依靠明確隔牆，而是在量體、距離與行走動線之間自然生成。
There is beauty in what is left open, revealed only gradually over time. Fashion label 01 WOOMIN brings this way of seeing to garment design, challenging established conventions. The interior gives the brand’s language an architectural form. It is not simply a setting for display: changes in scale and structure recast details of the garments as spatial elements. As light and shadow move through the space, the character of the interior shifts. The designer first opened up the previously partitioned interior, broadening views through the space. Beneath the mezzanine, movable curtains provide a flexible boundary for the work area. They preserve its connection with the display area while allowing sightlines to extend deep into the interior. At mezzanine level, a glazed partition replaces a solid wall. Light passes between the upper and lower levels, keeping them visually connected. Along one side, the beam-and-column structure, the freestanding fitting room and the mezzanine extension are offset and layered. Their arrangement recalls pieces of fabric shifted and overlapped in garment construction, creating a staggered spatial sequence. Zones are not defined by fixed partitions; they arise from the placement of volumes, the intervals between them and the paths through the interior.
如同服飾以白與米作為基調，空間亦以白色作為主要基調。細膩調製的暖白，使空間純粹不顯冰冷。自然光穿過落地窗與柔軟布料進入室內，於獨有層次韻律的牆面、梁柱與量體之間，在時間流轉中留下光影，使白色空間隱有不同表情。柔軟的光線也模糊了邊界，使線條在明暗交替間展現柔和輪廓，呼應服飾追求的人體曲線與布料垂墜感。在單色無瑕的場域中，設計師以米色注入流動感。側邊樓梯與牆面延續溫潤質地，引導來客向上移動；二樓長方形窗框將戶外綠意引入室內，為純白場域增添呼吸；野口勇燈具則以柔和曲線打破直線結構，進一步開展生機。試衣間以獨立量體形式坐落其中，創造迴遊動線，使展示區如伸展台般具有流動感。
White and beige define the clothing’s palette, while white sets the dominant tone of the interior. The chosen white carries enough warmth to preserve the space’s clarity without making it feel cold. Daylight filters into the room through floor-to-ceiling glazing and soft curtains. It falls across walls, beams, columns and volumes set at different depths. Over the course of the day, light and shadow move among these elements, giving depth and variation to the white interior. Diffused light blurs boundaries and softens architectural lines, echoing the curves of the body and the drape of fabric. Against the otherwise monochrome interior, beige is used to direct movement. It continues along the staircase and adjoining wall, its warmer tone and texture drawing visitors upwards. On the upper level, a rectangular window frames the greenery outside and relieves the expanse of white. A lamp by Isamu Noguchi introduces a gentle curve among the straight lines, animating the space. The fitting room forms an independent volume. Circulation loops around it, giving the display and retail area the fluidity of a runway.
穿著者能在空間中自在行走，感受服裝隨身體移動產生的姿態變化。當自然光落於布料表面，也讓衣著與空間之間，能相互映照，讓品牌的思索無需言語贅述，直覺現於感官之中。這個淨美又富層次的闊朗場域，在極簡之中保留餘韻，在留白之中創造可能，宛如服飾那樣不被定義。當空間不受言語束縛，除了服飾展售，也將有多樣的活動，在裡頭自由發生。
Those trying on the garments can move freely through the space, sensing how each piece changes as the body moves. When daylight falls across the fabric, garments and interior reflect one another. The brand’s ideas are conveyed through movement and light rather than words. The interior is expansive and finely layered. Its restraint invites a slower look, while what remains open leaves room for change. Like the garments, it resists a single definition. Beyond display and retail, other activities can unfold within it.
