TOTAL FLOOR: 52.3P (174m²)     PRINCIPAL USE: RESTAURANT
COMPLETION DATE: 2017.5-2017.8 SITE: TAIPEI CITY                                   DESIGNER: SHIHCHIEH JENG + WENTING HSIEH

　　烘焙上色的茶粒，色澤深沈靜墨，彷彿將茶的精華包覆於其中。茶人從大自然裡得來柴與木炭，取水潔器，起火燒水，以沸騰熱氣喚醒茶，使葉片完全舒展開來；金黃色的茶湯，雅緻香氣肆意綻放，久聚不散；飲茶者待時機成熟，聞香識趣，仰頭一刻，吞下茶香，品嚐生命值得推敲再三的韻味……品一碗茶，摒棄所有的煩惱和愁緒，就純粹地烹茶品茶，緩慢的儀式，方能純粹地感受與自然共存「侘寂」（WABISABI）的世界觀。

　　思考「三徑就荒Hermit's Hut」，這個以茶、展覽、授課為主的空間。JSC studio從茶葉有機形體及日本千利休「茶室」文化美學出發，精闢出「包覆」及「開放」 兼具的設計概念。一改日本早期茶室朦朧陰鬱的空間特質，以及行止得宜的拘束氣氛，於茶道精神保留的前提下，將自然光引入，詮釋出輕鬆明亮的新茶室文化，讓茶室不再是寂靜的微光暗室，成為年輕人可以輕易走入體驗的社交場所。

　　所謂的「包覆」，不似日本傳統茶室的窄小拘束，而是堆疊的層次感。從外觀流線下垂的屋簷到室內斜下的紙翼，有如女子頭紗半遮臉龐，引動出「包覆」的隱喻；有機外弧的花圃，對比出玻璃帷幕內弧線條的「包覆」，雖材質通透，亦能向早期茶室的「壺中」概念致敬，彷彿隔絕塵囂，創造了一個不同於世俗的異質世界，讓人在其中思索著浩瀚的宇宙奧義；「包覆」的概念亦於坐席區展現，高起的水泥平台，以圓弧的舞台造型，加上周圍部分包覆的展示檯面，圈畫出場域的獨特展演功能性。整個室內室外圓弧手感的牆面，更創造如子宮、若蛹狀的綿密「包覆」，給予人們被擁抱的療癒歸屬感。

　　「開放」是指開放採光、無牆無隔間的作法。不似傳統茶室以竹片、泥土、紙窗素材，塑造一個僅有兩個榻榻米大小的隱蔽之所，所謂的光，只是透入小小紙窗曖昧模糊的亮度，可隱約照見室內的濃淡輪廓；此空間透過設計師常用「室內即室外」、模糊界線的設計手法來表現，以玻璃介質，歡迎室外光線，輔以自然色調及材質的運用，使室內空間成為室外的延伸，與自然環境共生，給予體驗者和諧舒適的感覺。開門可見的六米長吧台，更以量體展現其霸氣，搭配上寬闊的玄關區，點出空間的重量與氣派感，衍生出無拘束的喝茶氣氛，輕易感染到每位在場的賓客。

　　但「開放」的空間，採光不若幽暗室優勢，可輕易醞釀出柔和陰影的濃淡。設計師在明暗的處理上，以物件交錯遮掩，創造明亮的層次，分散從玻璃引入的直接光源；更從材質肌理著手，以其粗細凹凸所產生的陰影，為室內刷上淡雅墨色；牆面交界處採細縫漏光設計，讓自然光細緻柔和流洩而入；此外，室內洞開的窗及門，或遮或啟，掌握光線進入的主導權。最後，空間深處以投射燈綴飾，重點式的點亮顧客的桌面及展售的商品，讓其餘部分保留暗部的層次，亦巧妙地展現觀者亦演出者的表演意境。

　　侘是簡樸，寂是古舊。要忠實承襲早期茶室「侘寂」美學，一種不刻意突出裝飾和外表，強調事物質樸的內在，並且能夠經歷時間考驗的本質的美，設計師採用粗糙手感的批土手法，讓牆面保有自然痕跡，及起伏轉折有機線條；非對稱、不重複的層架、窗戶、擺設，展現「不完全中的完全」之禪宗思想。良好比例的水泥、木材、金屬等自然異材質結合運用，雜揉黃灰色及象牙白，最後空間刷上黃澄澄的暖光，顯露出的一種歷時性返璞歸真的沈澱靜謐之美；可以想像的是，即使未來室內外表斑駁，或褪色暗淡，其美的韻味悠遊深遠，仍深深敲打觀者內心深處共感的旋律。

Roasted darken tea grains preserve the essences of tea. Tea artist resins the tea wares and uses wood and charcoal collected from the natural environment to boil water. The steaming, boiling water awakens the tea, unfolding the tea leaves. The golden tea liquid spreads out elegant and long-lasting scent. Tea drinker waits for the right moment, first smells the scent, and then swallows the essences of tea, enjoying the profound charm of it. A cup of tea may dismiss all the worries and sorrows. Unhurried tea brewing and tasting ritual demonstrate the world view of coexisting with the nature – WABI-SABI.

The Hermit’s Hut is a space for tea, exhibition, and teaching. JSC studio initiated the design combined both “cover” and “openness” inspired from the shape of tea leaves and the cultural aesthetics of Japanese Sen no Rikyū tea house. Instead of using the gloomy space of early Japanese tea house which produces restrained atmosphere, the design kept only the way of tea spirits and introduced the natural light to generate the culture of new tea house. The new tea house is no longer a silent dimming space but a social arena friendly for younger generation.

Unlike the narrow and restrictive space of traditional Japanese tea house, the “cover” is to create the piling layers in this space. The drooping eaves outside and dripping paper wings inside like a half covered veil, referring to the sense of covering metaphorically. The outer arcing garden mirrors the arcing cover inside of glass curtain to pay tribute to the idea of “inside the pot” by creating a different world detaches from the reality where allows individuals to ponder the meaning of this universe. The idea of “cover” is also showcased in the seating area. The raised cement platform shaped as an arcing stage combining with the surrounding display shelves produce the unique showing feature of this space. The arcing walls both inside and outside serving as a womb to provide the relatedness and comfort.

The open lighting and compartment-less create the “openness.” Instead of the bamboo, mud, or window paper used by traditional tea house which confines a hidden space with only three square meters; and the so-called lighting is merely blurry light beaming from the covered windows that only descript the outlines inside. The new design adopts the ideas of blurring lines and “inside as outside,” introducing the outdoor light through glass materials. The natural colors and materials extend the inner space to outside and co-live with the natural environment in expect to provide the harmonic and cozy feeling. The six-meter bar counter at the door and wide entrance grant the magnificent style of this space. Guests can always enjoy the tea freely here.

However, the opened space is unable to use shadows to create layers inside the room. The designer used the staggered objects to cover as well as hide and create lighter layers with the lights shine in from the glass. The contextures of objects paint the indoor with simple and elegant ink tone. Natural light beam through the stitches between walls and the main sources of light from the opened or covered windows and doors which allows the lighting be adjusted. Finally, the projecting lights decorated in the deep spotlight the tables or projects and the darker layers in the remaining space also create the conception of audience as actors.

Wabi-sabi means simple and traditional. The undecorated appearance emphasizes on the rustic essence of things in order to inherit the aesthetics of Wabi-sabi of the early tea house. The designer intentionally keeps the strokes on the walls while the asymmetric shelves, windows, and furnishing reflect the “perfection in imperfect” of Zen. Well-proportioned cement, wood, and metal combine in the colors of yellow, grey, and ivory. The warm lighting in the space brings out the pure and quiet beauty. As the outer walls mottle or fade with time, viewer would still enjoy the lingering charm of them.

攝影photography /  Ivan

文字article
中文/   Gem Cheng
English/ Min Pan