來源：設計先鋒隊（ID:toot8448）

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In the urban texture of New Taipei City, T.M Design Studio built the "Declutter" house for a family of four with the spatial philosophy of "disappearing boundaries and growing emotions". The designer abandoned the rigid division of traditional walls and instead used material tones, proportional relationships and spatial coverage to complete the exquisite layout - when the warm oak texture naturally transitions to the coldness of the exposed concrete, when the frosted glass casts a hazy light and shadow between the kitchen and the living room, the 150-square-meter space is no longer a functional container, but a flexible canvas that carries the narrative of life. Here, every design is a reinterpretation of "home": there are no clear boundaries, only emotional fields that change freely with the scenes of life.

在新北市的都市肌理中，T.M Design Studio 為四口之家打造的 "Declutter" 住宅，以 "消隱邊界，生長情感" 為空間哲學。設計師摒棄傳統墻體的硬性分割，轉而以材質色調、比例關系與空間覆蓋度完成精妙布局 —— 當溫潤的橡木肌理自然過渡到清水混凝土的冷峻，當磨砂玻璃在廚房與客廳間投下朦朧光影，150 平方米的空間不再是功能的容器，而成為承載生活敘事的柔性畫布。在這里，每一處設計都是對 "家" 的重新詮釋：沒有明確的界限，只有隨生活場景自由變幻的情感場域。

The moment you enter the house, the open living, dining and kitchen space unfolds like a scroll. The designer deliberately removed the original partition wall to allow the natural light from the southeast to penetrate into every corner without hindrance. The floor of the living room is made of oak flooring with gradient mosaics, which gradually transitions from the dark brown at the entrance to the warm yellow of the sofa area, just like the light and shadow changes of the sun in the woods. One morning, when the hostess was preparing breakfast in the kitchen, she found that the morning light passed through the glass partition of the center island and cast a diamond-shaped light spot on the carpet in the living room, which happened to coincide with the shape of the building blocks her daughter was building. This inadvertent visual echo makes the daily scene full of poetry.

入戶瞬間，開放式的客餐廚空間如畫卷般展開。設計師刻意拆除了原有的隔斷墻，讓東南向的自然光毫無阻礙地滲透至每個角落。客廳的地面采用漸變拼花的橡木 flooring，從入口處的深棕逐漸過渡到沙發區的暖黃，仿佛陽光在林間的光影變化。某清晨，女主人在廚房準備早餐時，發現晨光穿過中島臺的玻璃隔斷，在客廳地毯上投下的菱形光斑，恰好與女兒正在拼搭的積木形狀重合，這種不經意的視覺呼應，讓日常場景充滿詩意。

The connection between the kitchen and the restaurant is a model of material narrative. The countertop of the center island is made of Italian Carrara white marble, and its natural texture forms a dialogue between "water and stone" with the handmade bricks on the background wall of the restaurant; the chandelier hanging above the dining table is made from recycled bicycle rims. The shadows cast by the metal spokes under the light move slowly on the wall over time, like the hands of an old-fashioned clock. During family dinners on weekends, my father often pointed to the light and shadow and laughed: "This is the rhythm of time in Taipei, not too fast or too slow, just right." This ingenuity of transforming industrial waste into art installations not only echoes the concept of environmental protection, but also becomes a memory anchor shared by the family.

廚房與餐廳的銜接堪稱材質敘事的典范。中島臺的臺面選用意大利卡拉拉白大理石，其天然紋路與餐廳背景墻的手工磚形成 "水與石" 的對話；懸掛在餐桌上方的吊燈，由回收的自行車輪圈改造而成，金屬輻條在燈光下投下的陰影，隨時間推移在墻面緩慢移動，宛如老式座鐘的指針。周末家庭聚餐時，父親常指著光影笑說："這是臺北的時間節奏，不緊不慢，剛剛好。" 這種將工業廢料轉化為藝術裝置的巧思，既呼應著環保理念，又成為家人共享的記憶錨點。

The design of the master bedroom is the best interpretation of "gentleness and restraint". The designer gave up complex decorations and used light gray diatom mud walls as the base, matched with frosted glass sliding doors. When the morning light seeps through the gauze curtains, the whole space is shrouded in a soft gray halo. The design of the bedside table hides ingenuity - frosted glass drawers are embedded in the walnut cabinet, which contain travel souvenirs of the couple. One time when the wife was sorting out the items, she found that the amber spots cast by the sun through the glass on the bed sheets were exactly the same as the reflection of the sea surface she saw in Greece during her honeymoon ten years ago. This emotional connection across time and space makes the bedroom a container for memories.

主臥的設計是 "溫柔克制" 的最佳詮釋。設計師放棄復雜的裝飾，以淺灰色的硅藻泥墻面為基底，搭配霧面玻璃推拉門，當晨光透過紗簾滲入，整個空間籠罩在柔和的灰調光暈中。床頭柜的設計暗藏巧思 —— 胡桃木柜體上嵌入磨砂玻璃抽屜，里面擺放著夫妻二人的旅行紀念品，某次妻子整理物品時，發現陽光穿過玻璃在床單上投射出的琥珀色光斑，與十年前蜜月時在希臘看到的海面反光如出一轍，這種跨越時空的情感連接，讓臥室成為承載記憶的容器。

The design of the children's room is a "flexible narrative of growth". The designer uses a liftable hanging bookshelf with enough space for activities at the bottom. As the child grows older, the bookshelf can be gradually lowered to increase storage. The magnetic paint on the wall is covered with "family stories" created by the brother and sister using colorful magnetic tiles - on the left is a scene of the father driving the family out for a trip, and on the right is a picture of the mother cooking in the kitchen. Once, the school homework required drawing "my home", and the daughter directly took a photo of the magnetic tile work and handed it in. The teacher commented: "This is the warmest family portrait I have ever seen." This design that combines functionality with emotional expression makes the space a witness to the child's growth.

兒童房的設計則是 "成長的彈性敘事"。設計師采用可升降的懸掛式書架，底部預留出足夠的活動空間，隨著孩子年齡增長，書架可逐步下放以增加收納。墻面的磁性涂料上，布滿了兄妹倆用彩色磁貼創作的 "家庭故事"—— 左側是爸爸開車帶全家出游的場景，右側是媽媽在廚房做飯的畫面。某次學校作業需要繪制 "我的家"，女兒直接將磁貼作品拍照上交，老師評語寫道："這是我見過最有溫度的家庭畫像。" 這種將功能性與情感表達融合的設計，讓空間成為孩子成長的見證者。

The corridor connecting the public and private areas is a concentrated embodiment of the "borderless" concept. The floor adopts a "gradient joint" design - the first half is the oak floor extending from the living room, and the second half gradually transitions to the carpet in the bedroom area. The joints are inlaid with brass strips, which not only solves the problem of material height difference, but also forms a visual guide. The end wall at the end of the corridor is very meaningful: on the left side are old photos of the owner's grandfather, on the right side are abstract paintings by contemporary artists, and in the middle is separated by a transparent acrylic board. When pedestrians walk by, the characters in the old photos and the colors of the abstract paintings will form overlapping projections on the acrylic board, as if the past and the present are talking in time and space.

連接公私領域的走廊，是 "無邊界" 理念的集中體現。地面采用 "漸變接縫" 設計 —— 前半段是客廳延伸而來的橡木地板，后半段逐漸過渡為臥室區的地毯，接縫處用黃銅條鑲嵌，既解決材質高差問題，又形成視覺引導。走廊盡頭的端景墻極具深意：左側懸掛著業主祖父年代的老照片，右側是當代藝術家的抽象畫作，中間以一塊透明亞克力板分隔，當行人走過時，老照片中的人物與抽象畫的色彩會在亞克力板上形成重疊投影，仿佛過去與現在在時空中對話。

The design of the bathroom space shows the ingenuity of "wet area dry work". There is no traditional partition wall between the shower area and the washbasin, but a semi-transparent glass brick wall as a barrier. The pores of the bricks allow light and water vapor to penetrate, forming mottled light and shadows on the ground. Late one night, when the male owner got up, he found that the water droplets on the glass bricks reflected a rainbow-like halo under the night light, which was very similar to the glazed windows of his grandmother's old house when he was a child. This sudden nostalgia made the cold bathroom space warm.

衛浴空間的設計展現了 "濕區干作" 的巧思。淋浴區與洗漱臺之間不設傳統隔墻，而以一面半透的玻璃磚墻作為屏障，磚體的孔隙允許光線與水汽穿透，在地面形成斑駁的光影。某次深夜，男主人起夜時發現，玻璃磚上的水珠在夜燈下折射出彩虹般的光暈，與兒時外婆家老宅的琉璃窗何其相似，這種突如其來的懷舊情緒，讓冰冷的衛浴空間有了溫度。

The lighting design of the whole house can be called a "narrative poem of light". The main light in the living room uses an adjustable track spotlight. In the evening, the light is focused on a painting on the sofa background wall. The changes in light and shadow will attract children to actively tell the story in the painting; the chandelier in the restaurant is set to "four seasons mode" - soft warm white light in spring, refreshing cold light in summer, amber light simulating the sunset in autumn, and jumping light and shadow like a fireplace in winter. On a typhoon night, the whole family sat around the dining table shrouded by the "fireplace light", listening to the sound of wind and rain outside the window, but felt at ease because of the warm atmosphere created by the light.

全屋的照明設計堪稱 "光的敘事詩"。客廳的主燈采用可調節角度的軌道射燈，傍晚時分，將光線聚焦在沙發背景墻的某幅畫作上，光影的變化會吸引孩子主動講述畫中的故事；餐廳的吊燈則設置了 "四季模式"—— 春季是柔和的暖白光，夏季轉為清爽的冷光，秋季模擬夕陽的琥珀色，冬季則呈現壁爐般的跳躍光影。在某個臺風天的夜晚，全家人圍坐在被 "壁爐光" 籠罩的餐桌旁，聽著窗外的風雨聲，卻因燈光營造的溫暖氛圍而倍感安心。

The treatment of the balcony reflects the concept of "urban oasis". The designer replaced the original railings with a climbable metal flower rack, which is planted with plants brought back from various places by the owner and his wife - maple trees from Japan, green radish from Southeast Asia, and ferns from Taiwan. Whenever the daughter waters the plants, she always points to a leaf and says, "This is what Dad brought back from Kyoto. It was snowing at the time." These plants are not only decorations, but also a carrier of family travel memories. The shadows cast by the flower rack in the room change with the seasons, becoming a natural calendar to record time.

陽臺的處理則體現了 "城市綠洲" 的構想。設計師將原有的欄桿替換為可攀爬的金屬花架，種植著業主夫妻從各地帶回的植物 —— 來自日本的楓樹、東南亞的綠蘿、臺灣本地的蕨類。每當女兒給植物澆水時，總會指著某片葉子說："這是爸爸去京都時帶回來的，當時還下著雪呢。" 這些植物不僅是裝飾，更成為家庭旅行記憶的載體，而花架投在室內的陰影，隨季節變化形態，成為記錄時光的自然日歷。

From the material dialogue between oak and concrete, to the light and shadow game of glass brick walls, to the design of a growable children's room, Declutter redefines the boundaries of home with the wisdom of "disappearance". Here, there are no fixed functional partitions, only emotional spaces that flow with life scenes; there are no gorgeous decorations, only material textures that carry memories. When the first ray of sunlight in the morning passes through the gradient floor, and when the evening light draws patterns on the glass bricks, this home is always telling the same story: the best design is not to define space, but to make space a container of life, so that every corner can grow a unique emotional narrative.

從橡木與混凝土的材質對話，到玻璃磚墻的光影游戲，再到可生長的兒童房設計，Declutter 用 "消隱" 的智慧重新定義了家的邊界。在這里，沒有固定的功能分區，只有隨生活場景流動的情感空間；沒有華麗的裝飾堆砌，只有承載記憶的材質肌理。當清晨的第一縷陽光穿過漸變地板，當傍晚的燈光在玻璃磚上繪出圖案，這個家始終在訴說著同一個故事：最好的設計，不是界定空間，而是讓空間成為生活的容器，讓每個角落都能生長出獨一無二的情感敘事。

編輯：夏邊際

撰文：豆寶寶

校改：吳一仁

編排：布忠耀

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