物哀
Mono Aware
能夠感知「物哀」的心，即「知物之心」，正是人獨一無二的本能。物哀，便是因理解人心，觸景而生情，將此種感動呈現出來，使人能感同身受。
The ability to perceive "mono no aware," the "heart that knows the thing," is a unique human instinct. Mono no aware is the emotional response that arises from understanding the human heart and being moved by scenes and moments, presenting such emotions in a way that others can empathize deeply.
作為業主與未婚妻的家，也是新生命加入未來生活的起點。長屋的格局從採光出發，透過單側兩扇清透且帶柔霧質地的橫移門，將自然光線以兩種明亮的色溫引入客餐廳區域，以多變的光影交錯為業主喜愛的老件家具微添氛圍。
As the home of the owner and his fiancée, and the starting point for a new life in the future, the layout of this long house is designed with natural lighting in mind. Through two sliding doors on one side— one clear and the other frosted—the design brings natural light into the living and dining areas in two distinct color temperatures. This variable interplay of light and shadow subtly enhances the atmosphere around the owner's cherished vintage furniture.
設計師將全室以礦物塗料延續著整體環境的營造，那未經修飾的不平整紋理，回應著真實不造作的訴求，核心領域順勢以低調平穩的質感搭配序列格柵，將主臥牆體及餐廳空間輕柔地區分界線 ; 介於書房與次臥的垂直範圍成為取代電視牆面的功能。而書房內的坐榻，形塑了晉代文人雅士下棋、談天，一處以湯會友、暢談的空間，坐臥彈性還能因應需求切換作為臨時的客臥。
The designer has extended the overall ambiance using mineral paint throughout the room, with its unadorned and uneven textures that echo a raw, unpretentious appeal. Key areas are seamlessly integrated using a low-profile, steady interface with a gridded pattern, gently delineating the master bedroom walls from the dining area. The space between the study and the secondary bedroom serves as an alternative to a traditional TV wall. Inside the study, the seating area is designed to recreate the environment of Jin Dynasty scholars playing chess and chatting—a space for meeting with friends over tea and engaging in lively discussions, with flexible seating that can also be converted into a temporary guest bed as needed.
從貼近身體與日常使用的角度出發，工法上的細節也保持細膩，實木角材與集成材恰如其分的應用，斷、捨、離多餘的框體，細微地將滑門把手整合進門片的框架，和專注呈現玻璃門片的透。設計師在浴廁配置中，也捨棄使用現代化的工業製品，而是親自整合木作、灌漿、精心調整洩水，在「用最少的表現做處理就好」的堅持下，回到生活本質、空間在物質性以外，能賦予人的精神關照。
Starting from the perspective of close bodily interaction and daily use, the construction details are meticulously maintained. Solid wood and engineered materials are applied appropriately, eliminating unnecessary frames and subtly integrating the sliding door handles into the door panels, emphasizing the transparency of the glass doors. In the bathroom fittings, the designer opts against modern industrial products and instead personally integrates woodworking, grouting, and carefully adjusts the drainage, adhering to the principle of 'minimalist treatment is sufficient.' This approach brings us back to the essence of living, where space, beyond its materiality, offers spiritual care to its inhabitants.
過程也協助業主一起了解自身的使用習慣，找到適切的生活態度，很多時候並非真正缺乏收納空間，而是沒有找到適合自己的收納模式跟條件。點到為止的堅持是非常難能可貴的，在妥善、細膩地梳理需求後，精準的設計往往能定義最大的可能，在生活的節點上給予恰到好處的協助。
The process also helps the owner understand their own usage habits and find the right attitude towards life. Often, the issue is not a real lack of storage space, but not having found a storage solution that fits their needs and conditions. The principle of 'just enough' is incredibly valuable. After properly and delicately sorting out the needs, precise design can often define the greatest possibilities, providing just the right amount of help at crucial moments in life.
設計師與業主共同相信極簡的規畫能夠應接未來生活的各種可能。物哀是設計師最後對空間的定義，來自於過程中與業主共同探索出的理解。從業主自身喜歡的風格、生活的態度為起點，發自內心的對懷舊事物的嚮往、對於褪色調的喜愛，逐漸梳理與探索美的本質。
The designer and the owner jointly believe that minimalist planning can accommodate the various possibilities of future life. "Mono no aware" is the designer's final definition of the space, stemming from an understanding developed through the process with the owner. Starting from the owner's personal style preferences and attitudes towards life, a genuine longing for nostalgic items and a fondness for faded tones, they gradually refine and explore the essence of beauty.
