從一道地平線，開始閱讀空間
人類對空間最初的感知，或許源自遙遠的地平線。彼時，天地存乎一線，而世界便在冉冉升起的日輪中逐漸清晰。當視線觸及事物消失的盡頭，「邊界」於焉浮現。然而，眼前所見並非全部，在地球運轉規律下，隨著視角偏移，看似固定不變的邊界轉而成為一個連續展開的平面。於是每座高山的稜線都將綿延至廣袤平原之中形成起伏地景，而在江河入海的潮汐中，每一滴水花亦能向涓滴細流處追溯本源。對邊界之外產生的好奇心，促使人們進一步窺探事物的可能性——如同，材料在長時間作用下會產生質變，而跨越不同地域的聚落，仍能串起人類共同的生活文本。邊界不只存在於時間與空間維度之中，也存在於現代都市與自然關係的斷裂。為了回應越來越緊縮的人造尺度，室內地坪亦試圖建立起一種延續自然語境的表面，透過回饋肌膚溫度的質地，會呼吸的礦物孔洞，創造承載生活記憶的材質，在流動中呈現不受拘束、無接縫的細膩肌理，一如對遼闊天地的初始凝望。
Perhaps our earliest sense of space began with a distant horizon. There, earth and sky met along a single line, and the world slowly came into focus with the rising sun. Where things vanished from sight, the notion of a boundary took shape. Yet what we see is never the whole. As the Earth turns and our viewpoint shifts, a line that appears fixed becomes part of a plane that continues to unfold. Mountain ridges stretch into broad plains, shaping an undulating landscape; in the tidal waters where a river meets the sea, every drop can be traced back to the smallest trickle upstream. Curiosity about what lies beyond a boundary leads us to consider what else might be possible. Materials change in character over time; taken together, settlements across regions can still form a shared record of how people live. Boundaries exist not only in time and space, but also in the disconnect between modern cities and nature. As the spaces we build become ever more constrained, interior flooring can offer a surface through which the language of nature continues indoors. With its tactile warmth and mineral pores that seem to breathe, the material can hold memories of everyday life within a fine, seamless surface that appears to flow freely, recalling that first gaze across the open breadth of earth and sky.
➤ 台泥 DAKA 園區「塗鴉館」
地坪成為延續空間感知的介面
The Floor as an Extension of Spatial Perception
彷彿是從中央山脈借來的一抹蒼翠，與和平港蔚藍晴空下的青碧水色，於腳下調和出具有層次感的濃淡墨韻，狹帶如裸露岩壁的水泥灰，三色並陳，並由鏝刀手路劃開蜿蜒的水波紋理，為台泥 DAKA 園區裡的「塗鴉館」注入來自戶外林木流瀉而入的沁然綠意。視線隨著不規則色塊遊走，其中漫開的波紋有如漣漪，在戶外陽光的照拂下忽隱忽現，不斷回應著腳步與光線的挪移。室內尺度也因此不再侷促於一方天花與四面圍牆之間，材料與地質產生連結，色彩與景觀互相呼應，無接縫地坪彷彿延伸了身體感知，使心境頓覺開闊，並於花蓮青山綠水的撫慰中逐漸歸於平靜。
The palette of TCC DAKA’s Graffiti Hall seems drawn from the surrounding landscape: a touch of verdant green from Taiwan’s Central Mountain Range, a blue-green tone drawn from the waters of Hoping Industrial Port beneath a clear sky, and a cement grey reminiscent of exposed rock. Underfoot, the three colours blend into layered tonal washes. Hand-trowelled strokes trace winding, wave-like patterns across the surface, carrying the cool green of the trees outside into the hall. The eye follows irregular fields of colour, where ripples appear and fade as sunlight shifts and footsteps pass. The interior no longer feels confined by its ceiling and four walls. The mineral finish ties the space to the site’s geology, while the palette echoes the landscape beyond. With no seams to interrupt it, the floor extends the body’s sense of space, bringing an immediate feeling of openness before the mind gradually settles into the calm of Hualien’s mountain landscape and clear waters.
➤ 台泥 DAKA 園區「塗鴉館」
➤ 台泥 DAKA 園區「塗鴉館」
而要達到如此順其自然的結果，其施工條件卻相對嚴苛。尤其磐多魔（PANDOMO）是一種對地面水平、含水率、環境濕度與溫度都相當敏感的材料，同時要在液態完全乾透之前精準掌握時間窗口進行紋理加工，其本質是時間與技術的高難度競技。由德國 ARDEX 公司研發，採用特種水泥基材結合高分子聚合物調製而成，以克服粉光混凝土容易開裂的特性。既保有樸素的礦物結構肌理，又能展現外觀絲滑與強韌的耐用性。由於塗鴉館定位為對外開放的企業教育訓練場地，因此使用抗壓強度更高的 PANDOMO Floor Loft-K2 系列。然而，決定設計與材料僅只是建築藍圖的序章，真正考驗工程品質的關鍵，仍掌握在施工團隊手上。身為台灣總代理的昊成，也以累積達二十餘年的實務經驗，欣然接下挑戰，勇於探索技術邊界，展現為設計師圓夢的熱情。
A result that feels this natural depends on exacting installation conditions. PANDOMO Loft is highly sensitive to substrate evenness and moisture content, as well as ambient humidity and temperature. Installers have only a narrow window in which to work the texture before the material sets, making the process a demanding test of timing and skill. Developed by German manufacturer ARDEX, it is a polymer-modified cementitious compound formulated to reduce the cracking associated with conventional trowel-finished concrete. It retains an understated mineral texture and a silky appearance while remaining strong and durable. Because the Graffiti Hall is open to the public and serves as a venue for corporate education and training, the higher-strength PANDOMO Loft K2 system was selected. Yet neither the design nor the material alone can determine the result. The quality of the finished floor ultimately depends on the installation team. As PANDOMO’s distributor in Taiwan, Hau Cheng brought more than two decades of practical experience to the project, exploring the limits of the technique to realise the designer’s intent.
➤ Loft-K2 系列
➤ Loft-K2 系列
一種隨時間生成的建築皮膚
An Architectural Skin That Takes Shape over Time
在德國原廠嚴謹的 SOP 規範下，磐多魔地坪的色澤紋理仍極度仰賴調色技術與工匠手藝。由於基底帶有米白色階，色相容錯率低，同時要考慮乾透後的顯色差異，在施作前期便打樣了十數版對色，以達到設計師肉眼校準的精確度。另外由於場館面積較大，由人工施作的鏝刀紋理也特地打了大樣尺寸來確認疏密走勢，所有前置作業都在昊成自己的工廠內預先實驗完成。若是施作壓花紋理的案場，則需要反覆測試施壓模具的時機與長度，太早脫模會影響壓花的完整性、太晚又會難以拆模。而台灣的氣候條件較歐洲濕熱許多，於是許多工法與技巧都是在一次次失敗中嘗試出來的珍貴資產，工班甚至會攜帶冰塊至案場，防止表材乾得太快。這些未曾明文寫在施作細則裡的實作智慧，是由無數不具名師傅以職人精神所貫徹的品牌驕傲。
Even when the German manufacturer’s rigorous application protocols are followed, the final colour and texture of a PANDOMO floor still depend heavily on colour-matching expertise and the installer’s hand. The off-white base leaves little room for error, and the colour shift as the material cures must be anticipated from the outset. More than ten colour samples were prepared before installation, allowing the designer to fine-tune the final tone by eye. Given the scale of the hall, the team also produced a large-format mock-up to study the spacing and direction of the hand-trowelled marks. All preliminary testing took place at Hau Cheng’s own factory. For embossed finishes, the team must repeatedly test when to press the mould into the surface and how long to leave it in place. Remove it too soon and the impression is incomplete; leave it too long and the mould becomes difficult to release. Taiwan’s climate is considerably warmer and more humid than Europe’s, so many of the methods used today were developed through repeated trial and error. Crews may even bring ice to site to slow the material’s set. Such practical knowledge rarely appears in written application guidelines. Accumulated by craftspeople whose names seldom appear, it remains a quiet source of pride for Hau Cheng.
➤ 台泥 DAKA 園區「塗鴉館」
可能少有人知曉，本案原應在工程最後階段施作的地坪，卻因營造排期緣故需提前進場，並在完工後近一年半才揭開保護布幕。當時的成品已有不少處受到滲水、重物敲擊而局部損毀，是仰賴工班深厚的修復功底，才恢復到幾乎看不出瑕疵的原貌，其精湛的修復技術也在與原廠交流時贏得驚訝的呼聲與肯定。雖然磐多魔並非無堅不摧的表面材料，也因為仍保有礦物的原始孔隙而隨環境變化，猶如一層有機的建築皮膚。「如果不將其視為缺點，這就是正常的使用痕跡。」這番話引人思索。因為比起純淨無瑕，會隨時間顯化的不完美，毋寧更趨近於美的本質。在所有無接縫地坪中，磐多魔試圖跨越的是另一種概念上的邊界，從單色鋪陳到異材拼接，自水平地面延伸至垂直立面，不只是施作範圍的無邊，更是創作自由的無邊，在越過重重認知藩籬之後，指向更寬闊的想像空間。
Few people realise that the floor, originally intended for the final stage of construction, had to be installed early because of the construction schedule. Once installed, it remained beneath protective covering for nearly a year and a half. When the covering was finally removed, water ingress and impacts from heavy objects had caused localised damage in several areas. Drawing on its repair expertise, the installation team restored the surface so skilfully that almost no trace of the damage remained. The quality of the repair later drew surprise and praise from the manufacturer. PANDOMO is not indestructible. Its mineral composition retains a natural porosity, allowing the surface to change with its surroundings like an organic architectural skin. “If these changes are not seen as flaws, they are simply the natural marks of use.” Imperfections made visible over time may come closer to the essence of beauty than an immaculate surface. Among seamless flooring systems, PANDOMO seeks to cross another kind of conceptual boundary: from monochrome surfaces to mixed-material compositions, and from horizontal floors to vertical planes. The freedom lies not only in where it can be applied, but also in what it allows designers to create. Beyond layers of preconception lies a broader space for imagination.
➤ 台泥 DAKA 園區「塗鴉館」