Home╱Tea House

住宅／茗明居所

Tea and house present our heart.Inner sincerity will surely be expressed outward.

It is presented on tea. It is presented on people, It is also the same on space.

Ming Dynasty is the heyday of the development of tea tasting culture. At that moment, literati and scholars often gathered at tea houses to make tea, taste tea, enjoy tea, and recite poems for emotional expression. While in Taiwan, people often say to their friends, “come for a cup of tea.”It means tea tasting is a culture and custom that unites people. My habit of drinking tea started when I lived at my hometown, Chiayi. My friends often came to my home, and we normally sat around the solid wood table drinking and chatting. I also have a habit of collecting tea leaves. Based on above, the interior design adopts the pattern and materials used for the space at tea houses in Ming Dynasty and combines it with the style of living in the modern family. The core of the family is centered around tea/ dining table, and the ratio of the space for living room is downsized. It is totally different from the common layout. The purpose is to gather family members together at the dining room for interaction, chatting, and working. The traffic flow is open, and all connects to the island in the kitchen. In this way, no matter you are making tea or cooking, it will be naturally connected. The traffic flow of the entryway is also intuitively guided to the dining room through the arc structure.

Centered around the dining room, and all the furniture has its mobility. In responding to the original intention of mobile kitchenware promoted by the Danish VIPP kitchenware, the tabletop of a dining table for four people can be extended to for eight people. The light table legs, which match with the chair legs in the same quality, can be changed and moved at any time. It presents the flexibility of the space at home and shows balance with the island in the kitchen.

The arc in the space is all based on the demand of traffic flow to guide the route of in and out. The material used for wall surface refers to the method of soil compaction for tea houses in Ming Dynasty. The characteristic of cream-colored painting is used to present the unevenness of the soil, and the light color floor also creates a contrast with the furniture in black colors. Black stone material is used to create contrast, and the seamless connection between the wall surface and floor makes the space an integrated area. Only the area in the living room is covered with wooden floor to present gentleness and warmness, and the design is extended to the balcony. Black wooden floor and pine trees are used here to build up a scholar tearoom in the city, very quiet and relaxing. The shadow of light in the space presents readable details from the paint to the wooden floor. The wood window grilles on the wall symbolize the medium of penetrating inside and outside at tea houses. Here, it connects to the outdoor and screens indoor lighting. It reflects the owner’s love for tea and the life ceremony of tea drinking in the design. Moreover, it solves the demand of storage in the family through the design. Elevated bed set is used in the room for daughters to create a lot of hidden storage spaces. The owner has always had the habit of storage through the raised floor. The youngest daughter is still at the stage of playing games. The simple mattress and the enlarged bed set shifts away from conventional use, becoming her paradise.

形於內，必行於外。

茶，如是。人，如是。空間，亦如是。

明朝是品茶文化發展最盛時期，在當時，文人雅士多到茶寮共聚，釀泡茶湯，品茗、享茶，吟詩作對抒發心境是為雅興。而在台灣，人們亦時常向朋友說句：「有閒來泡茶」，意味著品茶凝聚人們的一種文化風情。居住者在故鄉嘉義便有著泡茶的習慣，朋友常來家裡圍著實木桌喝茶談天，也有收藏茶的習慣，以此為出發點，空間設計藉由明代茶寮的空間型態、材質，結合現代家庭的生活習慣而成。家庭的核心以茶／餐桌為主軸，退縮客廳空間比例為次要，一反常見格局，目的是聚集家人共同在餐廳互動、聊天、工作，動線上開放銜接廚房中島，如此一來，無論泡茶或做菜時都能自然而然地銜接，連同玄關入門的動線，也是透過弧形直覺性地引導至餐廳。

餐廳作為核心，其中家具皆有其活動性，呼應丹麥VIPP廚具所設定的初衷亦是可活動的廚具概念，四人餐桌的桌面可延長至八人，輕盈桌腳搭配同樣性質椅腳隨時變換、移動，藉此展現了家空間的靈活性，並與中島呈現輕重平衡。

空間中的弧形都是順應動線需求，引導進出的途徑。牆面上的材質，則是參考明代茶寮使用土去夯實的作法，以米色塗料的特性呈現土的不均勻感，淺色的地坪也與黑色家具之間形成對比，放上黑色石材營造反差，牆面與地坪的無縫銜接讓空間視為一體成型，唯在客廳區域以木地板呈現溫潤，並延伸到陽台，以黑色木地板和松樹打造城市中的文人茶室，清謐而悠閒。光影在空間裡從塗料到木地板呈現可閱讀的細膩，牆上格子木窗在茶寮中象徵著裡外穿透的介質，在這裏連接了戶外，篩濾室內光景，以設計造型呼應屋主愛茶、飲茶的生活儀式，此外，也透過造型解決家庭收納的需求，女兒房裡運用架高臥榻隱藏許多儲藏空間，屋主向來既有如此地板上掀式的貯藏習慣，且小女兒還在玩遊戲的階段，單純的床墊與加大臥榻便能跳脫制式成為她的孩提天堂。