「不隨波逐流的反骨精神」青田中室內制作如何從當代設計的思路，開闢東方混血的折衷美學

青田中室內制作創辦人, 左：Hugo / 右：Anny（Founders of AODA Interior Design, Hugo & Anny)

當代室內設計的命題，時常反映著我們受西方美學教育的思考。若關於「東方風格」的操作，有時難免陷落於符號的表象堆砌，或是在懷舊與老派之間，迷失了現代生活該有的俐落與功用。然而，青田中室內制作卻以一種優雅的反骨姿態，在喧囂的主流趨勢裡，闢出一條獨樹一格的道路。

創辦人 Hugo 與 Anny 將視野從台灣展延至更宏觀的「泛東方」混血視角。如同運筆行書，他們精闢地拿捏空間氣韻的呼吸吐納，透過「虛」的留白，去顯現材料與立面「實」的筆觸。

訪談的過程，我們聆聽他們如何巧妙結合現代語彙，撞擊、並平衡東方元素的溫潤和空靈；看見他們在寸土寸金的都市住宅，透過將機能隱形，把空間的餘裕交還給光線與空氣。最迷人的是，經由這場對話，青田中引領我們思考：「在物質材料的層層堆疊之外，什麼才是屬於我們，那份終而完整的精神樣貌？」

Contemporary design is predominantly shaped by Western aesthetics. When attempts are made to articulate an "Eastern" narrative, the result often lapses into a superficial layering of symbols or a nostalgia that loses sight of the clarity essential to modern living. Yet, AODA Interior Design moves against this grain with elegant defiance.
Founders Hugo and Anny adopt a broader, hybrid perspective they term "Pan-Asian." Much like the fluid strokes of calligraphy, they masterfully navigate the breath of a space—using the "void" to accentuate the "solid" reality of materials.
In this conversation, we explore how they reconcile the warmth of the East with the clean lines of modern design. In the density of the city, they render function invisible, returning luxury to light and air. Ultimately, AODA leads us to question: beyond the physical assembly of materials, what constitutes the spiritual wholeness of a home?

❝

一直以來，我們在視覺與精神層面上都在追求一種對比的平衡

— 青田中設計/ Hugo & Anny

Q：你們的作品展現了一種獨特的「東方氣韻」。這份對於該文化的喜愛與實踐，最早是源自什麼樣的經驗或觀察？

   Anny：
我的養分很大部分來自家庭，我母親畫國畫、父親寫書法，至今已經將近四十年。所以從小耳濡目染之下，很習慣這類的東西。後來讀室內設計，看到國外很多設計雜誌裡的作品，像是漢斯・韋格納（Hans J. Wegner）的「Y Chair」，便是受明式傢俱啟發。我就在想，既然我們這麼了解這塊文化，為什麼不能用自己的方式來詮釋它？

Hugo：
十年前我們剛創立公司時，那時的台灣室內大致有些標配的流行元素。但我們兩個骨子裡有種叛逆，覺得既然大家都往那邊走，我們能不能走一條屬於亞洲、屬於台灣的道路？

一開始很辛苦，因為當時業主聯想到的東方都偏傳統或是老舊。所以我們決定跟隨直覺，不定義風格，而是用「泛東方」的混血視角，在現代設計中表現文化的根源。

"We have always pursued a balance of contrasts, both visually and spiritually."

Q. Your portfolio exudes a distinct Eastern atmosphere. Where does this deep-seated appreciation stem from?
Anny:
It’s in my DNA. I grew up watching my mother paint ink wash and my father practice calligraphy—he’s been at it for forty years. When I later studied design, I saw how Western masters like Hans Wegner drew from Ming Dynasty furniture for his Y Chair. It struck a chord: if they can interpret our culture so beautifully, why can’t we define it in our own language?
Hugo:
When we launched AODA a decade ago, the Taiwanese scene was dominated by standard trends. We had a rebellious streak. We refused to follow the herd, aiming instead to forge a path that was authentically Asian, yet specifically Taiwanese.
It wasn't easy. Back then, "Eastern" implied traditional or dated to most clients. We decided to trust our intuition, bypassing strict definitions in favor of a "Pan-Asian" hybrid perspective—expressing cultural roots within a strictly modern framework.

Q：你們所詮釋的東方，有別於傳統符號的堆砌，而是強調「對比」。就你看來，如何運用不同層面的對比，讓空間產生書法般的留白意境？

   Anny：
就像書法有筆觸處為「實」，空白處則是「氣」。我們會刻意製造出「虛」的留白空間，藉此呈現一種安靜的東方意境。

為了強調這份意境，我們透過不同材質對比的方式，像是「粗獷」跟「細緻」來表現。例如在保留清水模牆面的原始樣貌下，放入做工和線條都很細的黑鐵線條，讓現代的元素與牆面原有的粗獷感並置。兩種質地的拉扯，會讓空間產生對應的時間感、溫度和餘韻。

❝

我們喜歡融合東西方元素，讓細節在空間相互襯托，使兩者都能突顯而出

Q: You emphasize "contrast" over the accumulation of symbols. How do you use this to create the "void" found in calligraphy?
Anny:
In calligraphy, the ink is form, but the white paper is breath. We deliberately carve out "voids" to manifest that quiet Eastern sentiment.
To heighten this, we rely on material juxtaposition. We might keep a raw concrete wall but slice across it with incredibly fine black iron. Placing the precise against the primitive creates a tension that imbues the space with a sense of time and warmth.

Hugo：有一個例子是在萬華的住宅案《貓間小路 A Path Amongst Cats》。屋主是土生土長的萬華人，當時我們便抓取「廟宇」的元素，進而重新轉化。譬如內化廟宇的紅色，應用在樓梯踏板的跳色上；並將窗花的形狀再簡化，開在廚房的小窗上。這樣的做法當時讓國外媒體很驚喜，因為他們能從這些細微的關鍵字中，看見東方文化如何優雅地融入現代生活。

Hugo:
Our project, A Path Amongst Cats, illustrates this. The owner is a local, so we recontextualized elements from the district’s temples. We applied "temple red" to the stair treads and abstracted traditional window grilles for the kitchen. International media were intrigued because they saw Eastern culture woven into modern life elegantly, without resorting to clichés.
"We enjoy fusing Eastern and Western elements, allowing details to support one another so that both narratives stand out."

Q：考量到我們自身背景和東方文化的連結，當這類的元素處理不當，容易會感到「俗掉」。要如何在新舊之間精準抓取精神，而不流於表象或是拼貼感？

   Anny：
東方元素若運用過度，容易流於俗套，因此我們會搭配現代材質，比如不鏽鋼、玻璃、鏡子等來平衡整體效果，將空間張力拉回現代。

Hugo：
像我們現在使用的這張長桌，就經歷了無數個版本討論。

那時整體空間我們想保留東方 「圓」的意象，但為了打破傳統的感受，我們結合玻璃桌面與不鏽鋼桌腳，使桌子下方結構和關係一目了然。桌面上也刻意挖一個專門用來插花的孔位，在機能和美學結合之餘，也不會使味道太過偏移古樸。

Q. Cultural elements can easily feel kitsch if mishandled. How do you capture the spirit without it feeling like a costume?
Anny:
If the Eastern note is too heavy, the space loses its modern edge. We anchor it with contemporary materials—stainless steel, glass, mirrors—to pull the tension back to the present.
Hugo:
Take this long table. We wanted to retain the Eastern symbolism of the "circle," but to avoid heaviness, we combined a glass top with a stainless steel structure, exposing the mechanics underneath. We even cut an aperture in the glass for floral arrangements. It marries aesthetics with function, preventing the piece from drifting into nostalgia.

Q：設計的過程，你們最在意哪件事情？

   Anny：
我們希望整體是平衡的，但裡面要有一點巧思與驚喜。

當初辦公室落成時，我們請書法家王意淳老師寫下「青田中」三個字。他提到這三個字本身都是左右對稱的字體，所以他在書寫時特別創造了不對稱的細節，不約而同剛好跟我們的理念契合！

   Hugo：
Anny 指的平衡，是一種氛圍與機能「並景」的平衡。如果這個案子機能需求極高，我就會用更具「氛圍感」的視角或材質去拉回來；如果案子已經很有意境，我就會回過頭去強調它的機能。我們不希望美學是虛幻的，每一種細節都是為了服務生活，它必須建立在好用的基礎上。

台灣的住宅坪數普遍越來越限縮。面對小坪數空間，最怕的就是被機能牽著走。所以我們會不斷透過 「收斂」與「捨棄」，讓真正的主角被凸顯出來。這種收斂不是在追求極簡，極簡有時會給人很大的壓力；我們想追求的是一種精神層面的乾淨。

   Anny：
設計師提供一個平衡的容器，並在最美的時候退後一步，讓空間保持安靜和收斂的狀態。業主住進去，他可以放心讓那些隨興的生活痕跡進駐、填滿它，活出屬於他們的居住樣貌。

Q: What is the primary concern during your design process?
Anny:
We aim for equilibrium, but one that allows for wit. When our office was completed, calligrapher Wang Yi-chun wrote brand name, "AODA" (青田中). She noted that while the characters are symmetrical, she brushed them with deliberate asymmetry. It perfectly mirrored our philosophy.
Hugo:
That balance is what I call a "dual-scenery"—the symbiosis of atmosphere and function. If a project is functionally demanding, I soften it with atmospheric textures. If it’s poetic, I ground it with utility. Aesthetics cannot be hollow; every detail must serve daily life.
With residential footprints shrinking in Taiwan, the danger is letting function dictate form. We practice "editing"—constantly refining and discarding to let the true protagonist emerge. This isn't minimalism for the sake of style, which can be sterile, but a pursuit of spiritual clarity.
Anny:
A designer provides a balanced vessel. We step back to let the owners fill the void with their life traces, creating a home that is truly theirs.

❝

一個空間如果什麼都想要表現，最後反而什麼都看不見；用「收」的方式，主角才會呈現出來

Q：從實作面來看，你們是如何整合機能及氛圍，破除空間的框架？

Anny：我們不喜歡追隨時效性或流行的東西，而是希望創造能經得起時間考驗的作品。在做設計時，我同時會用「鏡頭視角」去構思。例如我們用「框景」的思維，刻意在空間製造「破口」或「框中框」，讓視覺產生延伸。

同時我們也會試著說服業主，將機能「群組化」。如同現在的手機介面，儘管內部功能強大，但外型一樣簡潔。透過把零散的收納整合，讓剩餘的空間得以留白，餘韻便會自然散放開來。

Jamie：能否跟我們分享實際案例操作？

Anny：以《隱約的斑點 Soft Spots 》這個案子為例，屋主的特殊愛好就是最理想的靈感來源。這是一個僅有十坪的空間。屋主是位女工程師，對於生活的想像很完整。希望有更衣室、大量的儲藏空間，甚至還有插花的愛好。加上她非常喜歡長頸鹿，我們就把這個意象轉化成設計細節。包括空調出風口和門片上的方形孔洞，就是從「長頸鹿斑紋」發想而來的。這會讓原本較無情感的工程細節，變成了空間裡的趣味亮點。

Q: In practical terms, how do you dissolve spatial boundaries while integrating function?
Anny:
We avoid fleeting trends. I often design through a "camera lens," utilizing framed views to extend visual depth.
We also treat function like a user interface: powerful capability hidden behind a clean form. By consolidating scattered storage, we allow the remaining space to breathe.
Jamie:
Could you share a specific case study?
Anny:
In Soft Spots, a 33sqm apartment for a female engineer, her hobbies became the muse. She loves giraffes, so we abstracted that imagery into square perforations on air vents and doors. It turned cold engineering necessities into playful highlights.

Hugo：
這個案子如果按照傳統做法，櫃子一定會塞滿整面牆，勢必沒有餘裕。為了不讓整個空間因為機能的置入，導致過於侷促，我們將所有機能，包括收納、更衣室、甚至廚房的一部分，全部整合進像盒子的量體。除了規劃「回字型動線」，也刻意用垂直性的設計分隔空間，讓床鋪位於盒子上方；同時也藉由兩種不同深淺的木色，平衡整體的視覺感受。

當光線、空氣、甚至屋主的視線可以在空間流動循環，大腦就會被欺騙，覺得這個空間其實沒那麼小。

我們希望即使在機能壓力這麼大的案子裡，屋主住進去還是能感覺到「家的柔軟」，不要像住在收納倉庫裡一樣。

Hugo:
Traditionally, cabinets would suffocate a space this size. Instead, we consolidated all functions—storage, closet, kitchen—into a central "volume." We placed the bed atop this volume, utilizing verticality. By manipulating wood tones, we balanced the visual weight. When light and air flow freely, the brain perceives the space as expansive. We wanted the owner to feel the "softness of home," not the confines of a storage unit.

Anny：《樹梢上的動物園 Once upon a treetop》則是另一個極致機能與美學平衡的案例。屋主家有五隻貓，其中一隻會在主人出門時因為生氣而亂尿尿，所以他們提出了一個難題：需要一個可以「關貓」的空間，但這個空間必須靠窗、有採光，且要包含貓砂盆。

由於空間有限，我們不想刻意隔出一間房，所以設計三片大型屏風滑門，平常是維持隱私的屏風（取代因貓咪會抓而不便安裝的窗簾），出門時滑門一推，就變成獨立的貓室。如此，呼應東方文化的屏風，便同時解決現實面的生活難題。這也扣回我們前面提到的，機能跟氛圍是兩者並景的形式。

Anny:
Once upon a treetop is another exercise in this balance. The owners needed a "cat room" for a pet with behavioral issues, but required natural light and ventilation.
Instead of a wall, we designed three large sliding screens. They act as privacy partitions—replacing curtains—but can slide to enclose a secure cat room when the owners leave. These screens, echoing Eastern partitions, solve a pragmatic problem. This is the "dual-scenery" in action.

❝

我們會刻意在空間製造一些空白，這不是為了留白而留白，而是要把「生活的責任」交還給業主

Q：光線也是刻畫氛圍的重要元素。你們怎麼思考光線的規劃？

   Hugo：
我們對光線非常敏銳，即使在格局固定的新大樓，我們也會透過平面配置去討論光如何被引導進來，讓光線在區域與區域之間流動。就像我們喜歡用不鏽鋼與玻璃的穿透感去處理結構，便是為了讓光線能穿透過去，空間才不顯得沉重。

甚至，我們連辦公室下班後的燈光都會設定。「有燈」會給人安定的感覺，那是一種空間的溫度，我們很喜歡把虛的光影，轉化成實體的生活感受。

Q: Light is crucial for atmosphere. How do you approach it?
Hugo: We are incredibly sensitive to light. Even in fixed layouts, we guide light to flow between zones. We use the permeability of glass and steel to ensure the space never feels heavy.
We even choreograph the lighting for "after hours." Light offers stability; it sets the temperature of a home. We enjoy translating intangible light into tangible experiences.

Q：除了空間設計，你們也投入大量的精力在選品與跨界合作，之前曾舉辦過設計師二手拍賣會。對你們來說，物件在空間扮演什麼樣的角色？

   Anny：
我們對物件有一種執著。家具與藝術品在設計環節中極其重要，我們會從日本、歐洲、甚至泰國採購藝術品或燈飾，透過專屬的管道購回台灣。

之前會舉辦二手拍賣，是因為我們害怕重複風貌的東西，物件有進有出，空間才能保持流動感。對我們來說，這些選品除了是案場佈置用，也是為了更完好表現我們想像中的樣貌。有時我們也會為了業主的特殊喜好，去定製專屬的五金或找尋對應的軟裝，讓那些機能性的櫃體看起來不那麼剛硬。

Q: Beyond spatial design, you invest heavily in curation. What role do objects play?
Anny:
We have an obsession with objects. Furniture and art are crucial—they are often the final touch that brings the atmosphere to life. We source pieces from Japan, Europe, and Thailand through our own channels.
We hosted a second-hand sale once because we don't want things to feel static. Objects need to flow in and out for a space to feel alive. For us, these selections aren't just styling props; they are essential to completing the vision we imagined. Sometimes we even customize hardware or find specific soft furnishings just to soften the hard lines of the cabinetry.

Q：最後，想請你們聊聊日前與日本設計師的合作。這段經歷是否影響了你們哪些觀點和想像？

   Anny：
他們對「細節」的看法與我們完全不同。對他們來說，精準的細節只是基本功，他們更在乎的是這件作品背後的主軸與精神。

在台灣，很多時候裝修是在進行材質層面的疊加。但在那個案子裡，我們試著去平衡「材料」與「精神」這兩個面向，在降低材質上的層疊堆砌，反而可以創造出精神層面的豐盛感受。

   Hugo：
日本設計師不斷在探討那種精神性的東西，這也影響了我們回頭看台灣的設計。雖然市場觀念不同，但我們也想試著引導屋主去思考，不只是現在的需求，究竟什麼東西，才是屬於他們這個家的未來樣貌。

Q: Finally, regarding your recent collaboration with Japanese designers: How did this cross-cultural dialogue recalibrate your approach to materiality and the essence of a space?
Anny:
It fundamentally shifted our definition of "detail." For them, technical precision is merely the baseline; the true rigor lies in the spirit behind the form.
In Taiwan, renovation is often understood as the additive layering of textures. This collaboration challenged us to balance the physical material with the spiritual. We learned that by stripping away the unnecessary physical layers, we could actually create a sense of spiritual abundance.
Hugo:
Japanese designers are constantly interrogating the intangible. This influenced us to look back at our own practice with fresh eyes.
Although the market demands are different, we now try to guide homeowners to look beyond immediate needs. We ask them to consider the future form of their home—to identify what truly belongs to them, not just in terms of the tangible assembly of materials, but in the emotional resonance of the space.

採訪｜Jamie Lo ． 編輯｜ChichiL
攝影｜Jamie Lo、Szuting Liu

Jamie Yelo

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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SPEAKOUTJamie LoDecember 30, 2025column, jamie, Voice

「不隨波逐流的反骨精神」青田中室內制作如何從當代設計的思路，開闢東方混血的折衷美學

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