「比完美更重要的事」專訪和和設計簡嘉儀：氣和則潤，在一方院落裡練習放過自己

 

和和設計總監, 簡嘉儀（K.Chien, Head Director of HOHO Design)

 
 

「設計這間辦公室的過程，其實是學會放過自己。」這是一句令人感到意外、卻又無比誠實而真摯的開場白。

走進和和設計的新辦公室，首先迎接你的是一座充滿呼吸感與自然氣息的院子。在那一刻，城市的喧囂與繁忙彷彿被完全隔絕於外，取而代之的是難得的寧靜與平和。這處耗時多年尋覓與細心打磨的空間，對於簡嘉儀總監而言，除了是工作基地，更形同一場關於心境的深層修煉與自我認識的旅程。

當設計師成為自己的業主，這通常是最為嚴苛、也最具挑戰性的考驗。

在這個過程中，必須面對個人思維與美學標準的重新定義與反思。因此，我們邀請簡嘉儀總監分享這段從「追求完美」的執著，逐漸走向「放過自己」的豁然開朗歷程。透過他的分享，我們得以看見他的心念，如何在時間的淬鍊中轉變，多了一份歲月賦予的從容與智慧。並且在這個場域，與團隊成員、與生活、更與自己的內心，找到最自在的共處頻率。

（以下內文用簡稱 K 替代簡嘉儀總監）

 
 

  • “The process of designing this office was about learning to let go.”
    It is an unexpected opening, yet a revealing one.

    HOHO Design’s new studio unfolds around a quiet courtyard that immediately distances itself from the pace of the city. Air, light, and greenery shape the first impression, setting a tone that feels deliberate rather than decorative. For Kayi Chien, the space represents more than a workplace. It marks a personal shift in how he approaches design, work, and himself.

    Designing for one’s own practice leaves little room to hide. Habits, standards, and long held expectations are all brought into question. In this project, Kayi reflects on moving away from an uncompromising pursuit of perfection toward a more generous and grounded way of working. The result is a studio that feels closer to a home than an office, a place shaped by time, clarity, and a renewed sense of ease.

    (In the following interview, Kayi Chien is referred to as K.)

 
 
 
 

❝
整修這間辦公室的過程，完全是一種心態上的修煉。我也在學習，如何在自己的堅持與現實中達成妥協

— 簡嘉儀/ K. Chien

 
 

Q：新辦公室正式啟用時，你的心情是什麼？這個空間帶來哪些新的可能？



K： 正式啟用那天，真的有種「大石頭放下、終於鬆了一口氣」的感覺。這幾年下來，我們開始定調一個相對明確的風貌和走向。我想看自己還能如何提升，創造更多不同的藝術創作。

當時為了找這個理想的地點，前後花了兩年多。加上這是一棟五十年老屋，現況並不理想，面臨到很多挑戰，所以施工又磨了一年多。

對我來說，這個空間代表的是一種「家的感覺」。我不希望辦公室像新大樓那樣制式，而是能呈現溫暖、讓人放鬆的氛圍。

比起舊空間，新辦公室最大的轉變在於擁有一座「院子」。它創造一個進入主空間前的「轉折」與「過渡」。與其客人一進門就直接坐下來，談嚴肅的事情，我更想先跟他們分享我喜歡的植物，從窗戶看見戶外的景致。在那段慢下來的時間裡，先建立彼此的舒適和安定感。

 
 

  • Q. How did you feel when the new studio officially opened? What new possibilities has this space created for you?

    K:
    When the studio officially opened, I felt a profound sense of relief, as though a long held weight had finally been released. Over the past few years, our work has gradually settled into a clearer direction, and this space prompted me to reflect on how I might continue to evolve and expand my artistic practice.

    Finding the right location took more than two years. The building itself is over fifty years old, and its condition posed significant challenges, followed by another year dedicated to careful renovation.

    To me, the studio feels like a home. I never wanted an office that felt rigid or corporate. Instead, I hoped to create a space that feels warm, informal, and grounded.

    The most meaningful change from our previous workspace is the courtyard. It introduces a moment of transition before entering the main interior. Rather than moving straight into formal discussions, I prefer to begin by sharing the plants I enjoy or inviting clients to pause and look outside. That brief slowing down helps establish a sense of ease and trust before any conversation begins.

 
 
 
 
 
 

Q：從早期到現在，你的風格與觀點經歷過哪些轉折？有沒有特別明顯的階段經歷，讓你對設計的看法產生改變？



K： 真正的轉折點，應該是我去了一趟泰國的 The Naka Island。那是彷彿與世隔絕的離島，島上的 Villa 設計帶給我極強的「包覆感」，能讓住進去的人徹底放鬆。

那次旅程對我的影響非常深遠，它像是一顆種子埋在我的潛意識，我發現原來自己這麼嚮往那樣的環境。後來便開始接觸並大量運用「塗料」，就是想把度假時感受到的心情，帶回都市建築。城市空間並非一定要冷冰冰的，即便是診所或辦公室，也可以是個療癒、有溫度的場所。

 
 

  • Q. From your early work to today, how have your perspective and approach to design evolved?

    K:
    A pivotal moment came during a trip to The Naka Island in Thailand. Being there felt completely removed from daily life. The villas offered a strong sense of enclosure that allowed the body and mind to fully relax.

    That experience lingered. It stayed quietly in my subconscious and made me realize how much I was drawn to spaces that provide comfort and protection. After returning, I began working more extensively with plaster finishes, using them as a way to translate the atmosphere of that retreat into urban contexts.

    I came to believe that city spaces do not need to feel cold or rigid. Even places like clinics or offices can be warm and restorative, offering a sense of ease rather than pressure.

 
 
 
 

Q：為自己設計空間，過程最大的挑戰是什麼？



K： 最難的其實是「放過自己」。我以前對很多細節都追求盡善盡美，希望能達到心中的理想狀態。設計這間辦公室，同時像在進行心態的修煉，練習接納「完美中的不完美」，讓自己摸索到一種舒服且最自然的狀態。

Jamie： 那在這次的設計裡，有沒有你長久以來想嘗試、卻未能實現的想法，終於在這裡實現？

K： 其實沒有。每一段設計都是新的開始，如果不顧空間本質，硬要加入一些過去沒實現的想法或元素進來，某個程度來說是不合理的。

 
 

  • Q. When designing a space for yourself, what was the greatest challenge?

    K:
    Learning to let go was the hardest part. In the past, I pushed every detail toward an ideal image in my mind. Designing this studio became a kind of inner discipline, one that taught me to accept imperfection within an otherwise complete whole.

    It was less about control, and more about finding a state that felt natural and genuinely comfortable.

    Jamie:
    Were there ideas you had long wanted to explore but had never realized, that finally found their place here?

    K:
    Not really. Every project begins from zero. When ideas from the past are forced into a space without responding to its own nature, they quickly lose their relevance. Each space has to be understood on its own terms.

 
 
 
 

❝
設計應該是因地制宜、隨著空間原始樣貌去調整的

 
 
 
 
 
 

Q：除了 Naka Island 的旅行經驗。平時你如何把旅行經歷，轉化成設計靈感？



K： 旅行就是一種充電，那些在國外看見、感受到的東西，會不自覺滲透進靈魂。我今年跟熟悉義大利的朋友，去了一趟較長時間的自助旅行，所以有更多時間真正「走」入他們的生活，慢下來體會當地的文化樣貌。那時我發現，最吸引我的往往是最單純的日常。例如食物，可能只是番茄、橄欖油加一點鹽巴，但那種極致的天然與純粹，我就很喜歡。

期間我們去卡拉拉（Carrara）參觀大理石礦區的洞穴。這對我來說是非常震撼的體驗，當地人還用大理石壓製發酵肉品（Salami）。原因是大理石的礦物質、重量與冰冷的溫度，剛好能幫助發酵。

這些對材質「物理特性」的觀察，也啟發我思考材質要怎麼跟人的感官、跟生活需求，產生更深一層的連結。

 
 

  • Q: Travel has clearly influenced your design thinking. How do these experiences shape your work?

    K:
    Travel is a way for me to recharge. What I see and feel abroad gradually seeps in, often without me realizing it. Earlier this year, I took an extended independent trip to Italy with a friend who knows the country well. Having more time allowed me to truly step into everyday life there, to slow down and experience the culture as it is lived.

    I found that what stayed with me most were often the simplest moments. Food, for example, might be nothing more than tomatoes, olive oil, and a pinch of salt. Yet that sense of natural clarity and purity is something I deeply appreciate.

    During the trip, we also visited the marble quarries and cave interiors in Carrara. It was a powerful experience. Locals even use marble to press and cure fermented meats such as salami. The stone’s mineral content, weight, and cool temperature create ideal conditions for fermentation.

    Observations like these made me think more deeply about materials and their physical qualities, and how they can connect more directly with human senses and the practical needs of daily life.

 
 
 
 
 
 

Jamie： 回顧這趟旅行，有哪些空間細節或氛圍，讓你印象最深刻，甚至影響了你的看法？

K： 有幾天我們刻意住進有四、五百年歷史的老房子或修道院改建的旅宿，牆上還留著局部的濕壁畫，木頭傢俱散發著歲月的痕跡。比起標準化的現代旅館，這種與歷史共處的經驗，讓我對空間的「原始樣貌」與「保存」更有不一樣的思考。

我也觀察了義大利窗戶的開法、百葉窗的細節與牆面色彩的層次，這些具體的建築元素，都有機會應用在未來設計裡。

 
 

  • Jamie:
    Were there moments or spatial details during your travels that changed how you see space?

    K:
    For several days, we chose to stay in places with four to five hundred years of history, including former monasteries that had been converted into guesthouses. Traces of old frescoes remained on the walls, and the wooden furniture carried a visible sense of age. Living with history in this way offered a very different experience from staying in standardized modern hotels, and it reshaped how I think about a space’s original character and the importance of preservation.

    I also paid close attention to architectural details in Italy, such as the way windows are designed to open, the construction of shutters, and the layered tones of wall colors. These are very concrete elements, yet they hold a quiet richness. They are the kinds of details I can imagine translating and reinterpreting in future projects.

 
 
 
 

Q：旅行時，你會怎麼觀察、記錄和消化？這樣的方式對你回到工作後有什麼幫助？



K： 我會用眼睛去看。雖然我也會拍照記錄，親身感受到的視覺衝擊，空氣裡的溫度和濕度、各種觸感，這些記憶親自感受後，會進入你的大腦與潛意識。當這些記憶沈澱下來，未來可能在不知不覺中，就會被應用於作品上。

 
 

Q：如果把「旅人的節奏」作為命題，你怎麼把旅行經驗轉換成空間體驗？



K： 我們可以藉由「轉折」和「過渡」的手法來創造一種行進的轉換。例如新辦公室就透過院子，建構一段提供停緩的路徑。當你走進院子，先看見植物、感受光影，在那幾秒鐘的步行，心境會自然從城市的喧囂切換到放鬆的頻率。這種層次感的營造，就像是旅途中不期而遇的風景；即使在日常辦公，也擁有一小段心靈的微旅行。

 
 

  • Q: When you travel, how do you observe and absorb what you experience, and how does that stay with you once you return to work?

    K:
    I mostly rely on observation. I do take photographs, but what stays with me more strongly is the direct experience. The quality of light, the temperature and humidity in the air, the textures you touch. These sensations register on a physical level.

    Once they settle into memory, they do not need to be consciously recalled. Over time, they naturally resurface in my work, often without me realizing where they first came from.

    Q: If we think of travel as a shift in pace, how do you translate that experience into spatial design?

    K:
    It often comes down to transitions and moments of pause. These are what allow people to slow down and reset as they move through a space.

    In our new studio, the courtyard plays that role. It creates a brief passage before entering the main interior. As you walk through it, you notice the plants and the changing light. In just a few seconds, your mindset begins to shift away from the city.

    That layering of experience is similar to what happens when you encounter an unexpected scene while traveling. Even within a workday, it allows for a small mental departure.

 
 
 
 

❝
大部分時間我不想透過手機螢幕去看世界，卻錯過當下那份直擊心靈的震撼

 
 
 
 
 
 

Q：你提到「與人和，始氣和」。這句話如何影響你的設計？



K： 這句話的核心，在於追求一種「明淨、溫暖且平衡」的氣氛。正如我們的名字「和和」，人與環境必須契合。當空間的氣氛達到平衡，處在其中的人也才能和氣共處。

這樣的概念常被我們轉化為「圓角」的圓潤設計。造型並非為了做而做，它們都有存在的理由；我會根據空間轉折的比例，去思考哪裡需要圓潤的修飾、哪邊需要直角。透過這些比例與感官的直覺，可以讓材質展現出溫潤感。這麼一來，人在空間走動時，感受到的即是和諧舒快的心境。

 
 

  • Q You mentioned the phrase “harmony between people leads to harmony in energy.” How does this idea influence your design approach?

    K:
    At its core, the idea is about creating an atmosphere that feels clear, warm, and balanced. As our name suggests, HOHO Design is rooted in the belief that people and their environment must be in harmony. When a space is balanced, the people within it can relate to one another more naturally.

    This thinking often appears through rounded details in our work. These forms are never decorative for their own sake. Each curve responds to a spatial condition. I consider where softness is needed and where a sharper edge should remain. Through proportion and sensory judgment, materials begin to feel warmer. As people move through the space, the experience becomes calm, comfortable, and quietly coherent.

 
 
 
 

Q：你認為要如何在極簡與留白中，維持溫度與情感？



K： 關鍵在於「生活感」的營造。空間在極簡的架構下，我會透過幾種方式注入溫度：首先是「景」。我很在意能不能從窗戶看到舒服的戶外景觀，一個好的視野能直接提升空間的舒心程度。再來是「光」，因為光影的層次能賦予留白空間靈魂。最後是使用天然材料，在空間減少人工感的元素，回歸純粹與自然。

 
 

  • Q: In minimalist spaces defined by restraint and openness, how do you preserve a sense of warmth and emotion?

    K:
    For me, it comes down to how the space supports everyday life. Even within a minimal structure, warmth can be built in through a few essential elements.

    The first is the view. I pay close attention to what the windows frame. A calm, generous outlook can immediately soften the atmosphere of a room.

    Light is just as important. The way light moves and settles gives an otherwise quiet space its character. Lastly, I rely on natural materials. By reducing artificial finishes and letting materials remain close to their natural state, the space feels more grounded and more human.

 
 
 
 
 
 

Q：在團隊逐漸擴張的過程，你要如何保持和和設計的美學核心，同時讓團隊持續成長？



K： 我不會刻意要讓自己成為「領導者」。我會溝通我的觀點，也會給予夥伴們獨立創作的機會，讓彼此的想法進行融合，也是一種「和和」精神的體現。

Jamie： 那你通常如何和同事協作溝通？又是怎麼與客戶建立信任，讓他們願意接受前衛或創新的想法？

K： 對內溝通我給予很大的創作空間，對外則是必須先與客戶建立起一定的信任度。在服務好客戶的前提下，我會視情況「偷渡」一點自己想要的設計進去。我不會強硬加入自己的想法，而是在滿足需求和尊重的基礎上，引導他們發掘更多可能性。

 
 

  • Q: As the team continues to grow, how do you maintain HOHO Design’s aesthetic core while allowing the studio to evolve?

    K:
    I do not deliberately position myself as a leader. I share my perspectives, but I also give my team space to create independently. When different ideas come together and inform one another, that exchange itself becomes a reflection of the HOHO spirit.

    Jamie:
    How do you usually collaborate and communicate within the team? And how do you build trust with clients so they feel open to more progressive or unconventional ideas?

    K:
    Internally, I allow a great deal of creative freedom. Externally, the priority is always to establish trust with the client first. Once that foundation is in place and their needs are properly met, I may gradually introduce elements that reflect my own design intentions. I never force my ideas into a project. Instead, I work within a framework of respect and shared understanding, guiding clients toward possibilities they may not have initially considered.

 
 
 
 

Q：除了設計師的身分，妳現在也在校園授課。面對這群相差一個世代的學生，甚至是團隊裡的年輕夥伴，這種「跨世代」的交流帶給妳什麼樣的啟發？



K： 我現在在大學教大二建築系，他們對我來說真的就是一群很可愛的小朋友。我發現這種「年齡差」是非常棒的養分。這中間的學習絕對不是單向的。雖然是我在教導他們，但更多時候，我也在向他們學習。年輕世代有自己觀看世界的眼光與邏輯，透過互相交流，往往會撞擊出連我也沒想過的新觀點。

我自己公司內部組成也是，我常笑稱我們是「和和幼兒園」。團隊裡也有剛畢業不久的年輕夥伴，我會想去了解他們在學什麼、說什麼、喜歡什麼，透過彼此的眼睛去看世界，設計的靈魂才會保持彈性與流動。

 
 

  • Q: You also teach at college. How does working across generations influence your perspective on design?

    K:
    I teach architecture students at university, and to me they are genuinely young and curious in the best way. The age gap is incredibly enriching. Learning is never one directional. While I am there to teach, I often find myself learning just as much from them.

    The younger generation has its own way of seeing the world and forming logic. Through conversation and exchange, new perspectives emerge, sometimes ones I would never have arrived at on my own.

    The same dynamic exists within my studio. We have team members who graduated only recently, and I enjoy understanding what they are learning, talking about, and drawn to. Seeing the world through each other’s eyes is what keeps the spirit of design flexible and alive.

 
 
 
 

採訪｜Jamie Lo ． 編輯｜ChichiL
攝影｜Jamie Lo、ChichiL
 
 
 
Jamie Yelo 是攝影師、創作者，也是 Hey!Cheese 創辦人。他的專欄，是思考與實驗的場域，亦是他在專業與探索之間，不斷建構自我語言與獨特視角的重要延伸。
 
 
 
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