TOTAL FLOOR: 36.7P(122㎡)
PRINCIPAL USE: RESIDENCE
COMPLETION DATE: 2021.10-2022.6
SITE: TAIPEI CITY DESIGNER: SHIHCHIEH JENG + WEI TSENG

Mise-en-Scène 空間映畫

伸展的長廊，似貓的步履，光影無聲變幻。景深之間，空間延展為舞台，感知的視線成為想像運作的鏡頭，編排調度一幕幕生活場景的空間敘事。

The corridor unfolds with the measured grace of a feline stride—light and shadow shifting in quiet rhythms. Through its deep perspective, the space stretches into a stage. Perception becomes a roaming lens, composing and directing a living narrative in motion.

穿越玄關廊道，行過兩側的寢間，視線盡頭，獨具姿態的掛鏡誘引著目光。上方點綴一枚十字星體般的壁燈，彈性的織物纖維包裹著溫暖的光暈；在鋒利的鏡面與柔軟的材質形態間，對映平衡了衝突張力。

Passing through the entryway, flanked by bedrooms on either side, the gaze is drawn to a poised, asymmetrical wall mirror at the corridor’s end. Above it, a cross-star sconce casts a soft, celestial glow—its radiance wrapped in supple, elastic fibers. Between the mirror’s sharp reflections and the lamp’s yielding materiality, a quiet tension lingers—balancing contrast into a state of harmony.

豁然明朗的起居空間舒展坦露，鋪陳一襲溫潤的木質肌理。佈局敞開，橫向遞進；動線如行雲流水，自由寫意的氣息穿引其間。輕盈的光線穿透紗簾與玻璃磚牆，浮光輕曳間，立面細膩的層次與擺設，交疊錯落。內室寢間，採以俐落收整的滑門，並以可調式的百頁簾另闢屋中的玻璃窗景，延伸視覺的感知與想像。

The living area opens in a fluid, expansive gesture. Warm wood textures unfurl across the space, while the layout extends horizontally, inviting movement as easy as drifting clouds, as an airy rhythm flows through the open plan. Light glides through sheer curtains and glass-brick walls, brushing across layered surfaces and loosely arranged furnishings. A sleek sliding door delineates the bedroom, offering a flexible transition between privacy and openness, while adjustable louvered blinds carve out interior vistas—the indoor windows that invite both the eye and the imagination

霧銀鋼管自天花筆直垂落，映照周身的迷離光影；結合方正的黑色大理石背牆，如極簡的建築形態裝置，劃出優雅型格的場景分鏡：

From the ceiling, silver-toned tubing descends in a vertical line, catching the shimmer of ambient light. Paired with a square-cut black marble wall, the structure forms a minimalist composition—an architectural gesture that gently delineates two zones within the open plan. Like a cinematic cut, it introduces a subtle transition between scenes—a spatial cue that defines without enclosing.

裸膚般的米色沙發，慵懶地沐浴於窗邊的暖陽；椅面的拼接格紋，交織低語細膩的層次觸覺。斜倚於大理石背牆的另一側，黑色躺椅勾勒出 Mid-Century Modern 鋼管家具的簡練身姿，與玻璃邊桌成一對隨性時髦的剪影。

On one side, a nude-toned beige sofa rests with effortless ease in the warmth of the sunlit corner, its quilted, modular upholstery whispering in soft textures and subtle tonal nuance. On the other, a black chaise leans against the marble backdrop—its form tracing the poised, unfussy lines of mid-century tubular furniture. A floating glass side table stands beside it, echoing one another in silhouettes—at once chic and casual.

一旁由捷克設計師 Jaroslav Bejvl 於70年代所設計，具現代主義語彙的古董立燈；乳白的玻璃燈罩，映襯鍛黑金屬的神祕骨感，散發時光浸潤後迷人的 Patina 色澤與復古氛圍。

Nearby, an antique floor lamp designed in the 1970s by Czech designer Jaroslav Bejvl brings a subtle touch of modernist nostalgia. Its opaline glass shade glows against a dark metal frame—patinated by time, and imbued with a soft, timeworn elegance.

過道一隅，暗藏由鏡面妝點、迷你精巧的時尚酒吧；藏於深處的廚房，透過光源設置，冷調金屬與釉亮的磚面，對比霓虹般的橘紅色調，將深邃的廊道與烹飪空間引入鮮活的光影氣氛。

Along the passageway, a mirrored mini bar is quietly embedded—a compact ode to urban glamour. At the far end of the space, the kitchen emerges through a carefully lit sequence: cool-toned metals and glossy ceramic tiles contrasted by a neon-tinged orange-red glow, infusing the narrow corridor with dynamic warmth and vivid energy.

落地窗銜接上大面的玻璃磚牆，如替餐廳襯上了粼粼的波光；厚實木質餐桌兩側的流暢弧線，彷彿化為停泊的一葉輕舟。桌上點綴一盞由義大利傳奇燈具設計師 Gino Sarfatti ，於50年代所設計的經典吊燈 Model 2065；擁有航空工程背景的 Gino Sarfatti，開創性的以壓克力取代玻璃燈罩，流體力學的橢圓造型，未來感中亦參透了雋永的禪意。

Floor-to-ceiling windows meet a translucent wall of glass bricks, their soft shimmer forming a luminous backdrop to the dining area. A solid wood table anchors the room—its curved edges hinting at the shape of a vessel at rest within the flow. At its center, a pendant light—Model 2065 by legendary Italian designer Gino Sarfatti—hovers with sculptural restraint. A pioneer with a background in aeronautical engineering, Sarfatti created Model 2065 as an experiment in materials: a simple design that explored the elliptical form and the weightlessness of acrylic in place of glass—futuristic, yet defined by a timeless sense of zen.

Mise-en-Scène 出自法文，最初源於舞台劇場，意為「擺在適當的位置」或「放在場景中」。而電影中的場景調度，除了光影、空間與背景等畫面的內部元素外，更包含了人物與鏡頭的調度。

Mise-en-scène, a term rooted in French theatre, originally meant “to place on stage”—or more precisely, to place each element in its right position within the scene. In film, it refers not only to the composition of lighting, space, and background, but also to the choreography of movement—of characters and figures, and of the camera’s gaze.

正如空間之中，相互對應、牽引的佈局與動線，以及隨生活情節流轉的視線與畫面。如透過隱藏的映畫之眼，空間場景精心的調度編排，瞬息之間亦能如敏銳感知的膠片，讓生活的情感記憶、情緒氛圍，歷歷在目，栩栩如生。

So it is in this space: layout and circulation unfold like a cinematic sequence. The choreography of the gaze follows the rhythms of daily life, framing its gestures in fleeting fragments. As if through a hidden cinematic lens, the space is carefully orchestrated—its surfaces, movements, and atmospheres composing a visual narrative, capturing emotion as vividly as film. In each passing moment, memory and mood flicker to life, lucid and luminous.

攝影PHOTOGRAPHY/ Ivan
文字ARTICLE/ Yuwei
ENGLISH/ Yuwei