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"Nothing was drafted, nothing was designed, it was just a relaxing residential environment." This second-floor apartment in Taipei's Tianmu, facing the Southern Sulfur creek view, is a family home that Nic Lee acquired a little over three years ago. "This space meets our expectations for atmosphere," he says, adding that the sweeping floor-to-ceiling windows and terraces provide the family with a sense of fluidity throughout the seasons and a respite from the city. With a simple, well-defined outline, the floor plan features a one-third public domain and two-thirds private domain, with no additional accommodations, offering uninterrupted visibility through the windows upon entry.
With "scenery" as the guideline, everything becomes fluid. "The TV wall is not as important a purpose for the space as it is not a declaration of the atmosphere and the scene's essence, but rather, we readily move and adjust the furniture from time to time," says Lee, describing his at-home lifestyle. For example, he occasionally moves the sofa with the light to adjust his reading angle. Sometimes, he moves the dining table into the living room to enjoy the liberating view from the wide floor-to-ceiling windows and feel the freedom of scenic transformation. Beyond the living room wall, the study is a semi-open space with three entrances, providing the environment for children to run around freely in the spacious home.In contrast, one of the entrances reveals a blue graffiti wall filled with imagination and graffiti, which leads directly into the children's second bedroom. The hallway from the living room to the second bedroom, along with the many windows on the walls, forms a beautiful view of light and shadow in the afternoon, captivating the senses. Although Lee had no intention of residing here long-term, he stayed for over three years.
"We set out to have black wood flooring from the very beginning." Many previous homeowners who received Waterform Design services were hesitant to adopt such a color, so black wood flooring became the first material to be considered in their homes. The flooring features five different types of oak from different water environments, with different textures, deliberately unevenly blended, resulting in spontaneous patterns. All furniture was selected according to the color of the floor, LC1, LC2 horsehair chairs, leather-colored sofa, and walnut chair, all of which classics are in the designer's own house, stringing together the stories of his lifestyle.
With blank walls and retaining the heavy proportions of the beams and columns, the designer intended to display the house's original appearance, opting for rustic materials for the space. The fire-baked wrought iron panels subtly echo blue textures from their dark colors, echoing the blue doors in the kitchen pantry. At the same time, the remaining walls of the house were mostly painted in gray, with the red doors of the master bedroom shimmering with a mysterious glow owing to the unique texture of the paint as if it were stretching backward. Everything is colored to emphasize the layout of the space; even the Pixel paintings on the wall of the dining room were created with post-its that he and his children had at their fingertips, in red, blue, and yellow, defining the ambiance of the space.
Having lived here for more than three years, Lee decided to invite the photographer Lee Guo-min to document the space as he realized an alternative approach. Everything is randomly created, and the space is slowly expanded to meet the needs of his life and his family. This kind of flexibility is his answer in this living environment. Without any intentional manifestation of style, he views the people who come to the green fields along the creek for exercise every afternoon, the blue finches that migrate and gather here every April, and the greenery he has planted on the terrace, all of which make use of the environment and cater to daily life.
框引
「圖沒什麼畫，設計也沒什麼做，只是一個輕鬆居住的場域。」此間座落在台北天母，面向磺溪景觀的二樓公寓，是李智翔三年多前覓得的一處家庭住所，「空間符合我們對場景的期待」他說，寬廣的落地窗和露台為家人帶來流動的四季，以及城市中喘息的休憩空間。單純好規劃的建築輪廓，其平面格局以三分之一為公領域，三分之二為私領域，無需追加調整，一進門便能一路望向窗外，為視線鋪展開來。
以「景」為生活指引，所有事物都是流動的。「電視牆不是空間最重要的目的，不是宣示氣質和場域精神，我們隨時會更動，隨時會調整家具」李智翔描述著居家生活，時而隨著光線移動沙發，調整閱讀的視角，餐桌有時也搬到客廳來，看著寬幅落地窗景，感受場景轉換的自由國度。客廳端景牆後方，書房是一處具有三向入口的半開放空間，孩子可以在廣闊無阻的家裡恣意奔跑，其中一道入口打開拉門，亦能直接穿透小孩的次臥，展示充滿天真想像的藍色塗鴉牆。從客廳延伸到次臥的廊道，沿著牆上多扇窗戶，在午後形成一道光影斜映的唯美景致，使人為之著迷。本沒想過要長住，也因此停留了三年許的日子。
「一開始就設定要黑色木地板」過去許多水相設計服務的業主都不敢使用這個顏色，於是在自宅中，黑色木地板便成為第一個考量的材質。地板採用了五種來自不同水域環境的橡木，有著不同紋理，刻意暈染的有些不均勻，任失誤使然，衍生自然而然的線條。家具皆是根據地板顏色挑選的，LC1、LC2馬毛椅、原皮色沙發、胡桃木單椅，此些經典皆在設計師自宅裡，串連起生活的故事。
牆面留白，保留梁柱厚實比例，設計師希望顯露房子原本該有的面貌，空間選材亦是質樸。火烤過的生鐵板從暗色中些微透映藍色紋路，呼應著廚房儲物間的藍色門片，住宅餘下牆面，除了留白，大多使用灰色塗料，主臥紅色門片也因為塗料特有的紋理，在牆上折射出神秘光暈，彷彿逕自向後不斷延伸而去。所有顏色都在強調空間佈局，一連餐廳牆上的像素格（Pixel）畫作都是他跟孩子用垂手可得的便利標籤，紅的、藍的、黃的一張張貼上而成，界定出場域環境。
在此處生活了三年多之後，李智翔決定委請李國民攝影師記錄下空間，是因為他發現這個空間有另一種思考，所有事物都是隨機而生，空間面容因為生活、家庭需求而慢慢增加，這種調整的彈性，是他在這個居住環境裡獲得的答案。沒有要刻意表現的風格態度，看著窗外每天下午到溪岸綠地來運動散步的人們，每年四月遷徙聚集而來的藍雀，以及他在露台上熙熙攘攘種植的綠意，都是利用環境，滿足了生活。
