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Water Luster Daytime Scenery
水光
日景
From ancient times to the present day, people have been constantly pursuing and exploring what an "ideal world" looks like. In the poetry of literati, the paintings of artistic aesthetics, and the composition of architecture and gardens, one can see human interpretations of this virtual world. Tao Yuanming's Peach Blossom Spring, Shen Zhou's landscape paintings, and Wen Zhenheng's Treatise on Superfluous Things all propose possible ideal ways of life, seeking externally and introspecting internally, with the ultimate goal of achieving the attitude of life that reaches the extreme of emotions.
從古至今，人們不斷地在追尋及探討「理想世界」的樣貌為何，在文人世界的詩詞吟唱裡，藝術美學的繪畫中，建築及園林的構成，都能看見人類對於這個虛擬世界的解讀。陶淵明的桃花源，文徵明筆下的山水，文震亨的長物志皆提出了理想生活方式的可能，外尋而內觀，望及達到林泉之志極致的生活態度。
“The place where one can feel delighted does not have to be far away, just within a shady forest and flowing water, one can naturally evoke thoughts of Hao and Pu.” A place that makes one feel content and happy doesn't have to be far away, with lush green trees and natural surroundings that make one feel free and detached from the mundane, a person can achieve spiritual freedom. "Water Luster Daytime Scenery" has created a poetic dwelling in the city. Upon entering the entrance, a small garden is seen, surrounded by greenery and small stones, where the house and trees coexist and thrive. Tang Chung Han intentionally left a hint of curiosity by letting the senses linger on the panoramic view through the top glass window. The entrance of the garden and the wooden steps of the tea room are integrated, and one must walk around them to get close to nature. The winding walls lead to a square and regular area, divided into several spaces by passageways and partition walls, with the tea room connecting to the garden and the bath, open on all four sides yet enclosed. Open, it is designed to be connected with its adjacent functions through fully opening the door, creating a blurred boundary that blends into one, and forms a harmonious contrast with the hundred-year-old pine trees outside the window. Closed, it becomes a cozy corner for leisurely enjoying tea and fragrance after the sliding door is shut. The asymmetrical vertical and horizontal divisions on the window and the intersecting stone steps transform the traditional tea room's symbolic element of a central pillar into a unified whole. Sitting or lying on the stacked tatami mats, with the mottled shadows of trees, the wabi-sabi spirit is vividly manifested.
「會心處不必在遠，翳然林水，便自有濠、濮間想也。」使人怡然自得的地方不必遠，綠樹掩映蔥鬱，自然感覺逍遙脫俗，獲得性靈自由。「水光日景」在城市中創造了一處詩意的栖居，步入門居，開門見山便是座小庭園，小石子圍繞綠意植栽，樹因屋而居，屋因樹得生機。在此唐忠漢刻意將感官覺知停留於頂天玻璃窗產生的開闊視野，留下一絲探尋念頭。庭園之入口與茶室的木踏階鑲嵌在一起，必須繞其而行才得以親近自然。曲牆引導至規矩的方正平面，以過道和遊牆分隔成若干場域，茶室銜接庭園及浴池，四面開放又封閉。開，是其與相鄰機能以全開門形式製成模糊界線串連成一體，而與外界百年松樹利用窗洞框景相映成趣。閉，則是在拉門闔上後自成一隅閒情雅致品茶聞香之處。窗上不對稱垂直水平分割與石階交錯層疊，轉化傳統茶室象徵精神元素的中柱合而為一，坐臥疊蓆，樹影斑駁，侘寂精神油然而生。
Ascending the steps, the stone staircase was designed to integrate the bath into the weakened mass, while also serving as a functional transformation of the space. The wooden lattice not only accommodates the change in elevation, but also functions as a drainage system for the bathroom. The bath is located in the center of the bathing space, emphasizing that bathing is not just about washing away sweat and dirt, but also about washing away the fatigue of daily life. With steam rising and the sound of splashing water in the ears, it feels like a dreamland, where one can get drunk on its ethereal beauty. Wrapped in a bathrobe, one can walk freely under the window barrier without worrying about privacy, enjoying the smooth touch of the skin on the tatami mat. One can squat in front of the tea table and enjoy a cup of tea, feeling as if in a different world. The bathroom faces the Japanese-style room, which is located in a contradictory position in the overall space. It is positioned in the center but is also the only enclosed space. Its contradiction creates a circuitous path in the spatial sequence, with continuous cover and rich layers. The thick wall surface is like a rock, with upper rocks protruding and lower ones curving to accommodate the dual direction of storage inside and outside the Japanese-style room.
拾級而上，為將浴池崁入削弱量體感而產生石階高程，同時作為場域機能的轉換，木格柵除了是材質順應高差轉變外，亦有浴室排水機能。浴池居於沐浴空間正中央，強化沐浴不只是洗除汗水與髒污，更洗淨一身生活疲勞。水氣蒸騰瀰漫，耳邊瀺灂水聲，如夢如幻，欲醉欲仙。裹上浴袍，保留熱氣餘溫，在窗櫺屏障下不畏隱密性自由走動，滑順的肌膚踩在榻榻米上，蹲踞於茶几前品一盞茶，別有洞天。浴室正對和室，和室在整體空間處於一個矛盾狀態，它位居正中央，卻又是唯一封閉的場所，而正是其矛盾感，在空間序列造就路徑迂迴，連綿遮蔽，豐富層次，厚重牆面宛如山石，上石挑出，下石曲迎，兼顧和室內外雙向收納。
Under the design of Tang Chung Han, "Water Luster Daytime Scenery" integrates daily life with philosophical spirit. Walls, windows, and doors are layered and overlapped under the dim and bright light, constructing the opening and closing obstruction of "entering." The height of the steps rises and falls as one enters the hall and room, entering one realm from another. Drinking tea on the couch, bathing in the mist, and the mountains and waters overlapping and stacking become a sanctuary of an ideal world.
「水光日景」在唐忠漢的設計下，將日常生活與哲學精神濃縮融為一體，牆、窗、門扇在幽暗明亮的光線變化疊加下構成了「進」的開闔封閉通阻，踏階高程起伏升堂入室，從一境界進入另一境界，榻上飲茶，氤氳洗沐，山水疊石，成為理想世界庇護所。
