拿掉一道門，這個家變成一個房間；留下一面石頭，讓它有重心。
One door removed, and the home becomes a single room. One stone kept, to give it a centre of gravity.
01
廚房原本有一道後門。門只要被看見，空間就會被切成「這裡」和「外面」——視線走到那裡就停住。我們讓它消失，收進同一個材質的立面裡。關上的時候那一面是完整的，沒有把手、沒有框、沒有出口。客廳、餐廳、廚房於是成為同一件事。
The kitchen once had a back door. A visible door divides a space into here and elsewhere — the eye travels to it and stops. We let it disappear into a single continuous surface: no handle, no frame, no exit. Living room, dining room and kitchen became one thing.
02
這個家從上到下用暖灰的層次去詮釋。天花是最淺的灰，牆面的特殊漆帶一點米，地坪再深一階，暖灰一路鋪到底。淺灰皮革、織物、木，都在這條線上。
牆面不是平的。特殊漆是一層一層抹上去的，光斜著走過去的時候，會看見手留下來的細微起伏——不是紋路，比紋路更輕，像布上的織向。整面牆因此不會死。
The home is written in gradations of warm grey. The ceiling holds the lightest tone; the walls, in a hand-applied specialty finish, carry a trace of beige; the floor sits one step deeper. Pale leather, textile and wood all fall on the same line.
The walls are not flat. The finish is laid on layer by layer, and in raking light you can read the faint movement of the hand that put it there — lighter than a texture, closer to the weave of cloth. The wall never goes dead.
03
空間裡唯一的深色是一面背光石材牆。石材的紋路像夜裡的樹影，光從背後透出，讓一面牆同時擁有重量和透明感。它把整個場壓住，讓所有的淺灰有一個落點。
當一面牆會發光，它就不只是牆——空間的邊界因此變得模糊，房間感覺比實際更大，因為眼睛無法判斷牆在哪裡結束、光從哪裡開始。
The only darkness in this home is a single backlit stone wall. Its veining reads like the shadow of trees at night; light comes through from behind, giving one wall both weight and transparency. It anchors the room, and every pale grey has something to settle against.
A wall that emits light stops being only a wall. The boundary blurs, and the room feels larger than it is, because the eye cannot tell where the wall ends and the light begins.
04
餐桌選用深色石材檯面。同樣的材質邏輯，相反的光學表現：一個被光穿透，一個把光吸收。電視牆則刻意保持安靜，沒有造型、沒有裝飾，只留下必要的音響。這種重量的石材，需要一個什麼都不做的背景。
The dining table takes a dark stone top: the same material logic, the opposite optical behaviour — one surface is penetrated by light, the other absorbs it. The television wall is deliberately silent, without profile or ornament, holding only the speakers it needs. Stone of this weight asks for a background that does nothing.
05
中島是廚房裡最重的一件事，四面都會被看見。所以我們在幾個地方切了角：頂面前緣削一道斜，站著看過去檯面的厚度被切薄一半；底部再收一道大斜面，量體不是落在地上，是收在一個看不見的支點上。抽屜面不做把手，用一道黑色凹縫代替。
大理石的紋理在每一面上走到一半就斷了，從下一個面重新開始——繞著它走，紋理會跳。
這些角度沒有一條是現場決定的。形體在數位模型裡算完，用切割機下料做底，現場只負責組裝與收邊。
An island is the heaviest object in a kitchen, and it is seen from every side. So we cut angles into it. The front edge of the top is chamfered, halving the apparent thickness of the counter at standing height; the base is cut back again, so the volume does not sit on the floor but rests on a fulcrum you cannot see. The drawer fronts carry no hardware — a black recessed shadow line stands in for a handle.
The marble veining runs halfway across each facet and starts again on the next. Walk around it and the grain jumps.
None of these angles was decided on site. The geometry was resolved in the model and cut on machine; the site was left with assembly and edges.
06
臥室延續公共區域的灰調，但材質從硬轉軟——織物與壁紙取代石材。天花的間接光帶取代主燈，光從邊緣滲入，整個房間沒有一個明確的光源中心。放鬆，從看不見光源開始。
The bedroom continues the grey of the public rooms, but the materials soften: textile and wallpaper in place of stone. Recessed coves replace the ceiling fixture, and light seeps in from the edges. The light has no visible centre. Rest begins when you can no longer find the source.
07
一道門消失，一面石頭留下。這個家剩下的所有決定，都是從這兩件事推出來的。
One door gone, one stone kept. Every other decision in this home follows from those two.
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