［ 專訪 ］設計修羅場上的知止進化論 — 向度設計曾致豪 x 初向設計曾國峰 x HC Jamie

 

左至右：初向設計總監 曾國峰 / 向度設計總監 曾致豪 / HC 主理人 Jamie

 
 

2021 年，我們曾與初向設計的曾國峰（以下內文稱：國峰）及向度設計曾致豪（以下內文稱：Han），暢談設計之外那充滿斜槓樂趣的「B 面人生」。時隔多年，我們三人再次重聚，場景轉換至新開幕的餐酒館「Say When」。在揉雜著黑膠、經典家具與微醺香氣的空間裡，這回我們決定將鏡頭對焦回設計本業。

事實上，所謂的「質的進化」，不在於公司規模的大小，也不在於獎座的多寡。在 Say When 裡，我們聽見 國峰 與 Han 在經歷這些年的歷練過後，蛻變而出更為內斂的定力。他們更懂得在哪裡停下，拿捏前進與關照當下的節奏，並在每一個起伏之間，依然找回那份對設計最純粹的初心。

 
 

  • In 2021, we sat down with Kuo-Feng Tseng (chūxiàng Design) and Han Tseng (Degree Design) to discuss the "B-Side" of their lives—the multifaceted hobbies that exist outside of design. Years later, we reunited at the newly opened bistro, "Say When." Amidst a backdrop of vinyl records, classic furniture, and the scent of spirits, we decided to refocus the lens, returning to the core of their profession: Design.

    In reality, "qualitative evolution" isn't measured by the size of a firm or the number of trophies on a shelf. At Say When, we listened to Han and Kuo-Feng discuss the inner fortitude they’ve cultivated over the years. They have learned where to pause, how to pace their forward momentum while honoring the present, and how to rediscover that purest, original intent for design within every fluctuation of the journey.

 
 
 
 
 
 

Q：距離上次訪談過了五年，回頭看這幾年的作品，你們在設計思維上有什麼轉變？



Han： 這五年的轉變，在於色彩與溫度的流動。早期我的作品多是黑白灰，那時追求帥氣、冷冽的極致。後來隨著家庭客群變廣，我轉而更關注在「人如何在空間中活動」這件事，以及如何把生活的暖意揉進俐落的基底。

現在我更在意平衡，在色彩與無彩色間拿捏比例，讓空間保留現代風貌的同時，多了讓人想親近且有溫度的氛圍。

國峰： 我設計的核心邏輯沒變，依然是以幾何塊體為主軸。但我現在更傾向從環境與心境發想，試圖把看不見的「感覺」融入作品。

這個轉折點，出現在設計我自己家的階段。那時我想要把前幾年業主不敢做的實驗，全部在家裡實現。同時間，受到藝術家澤維爾．可貝羅（Xavier Corberó）的啟發，他提到希望房子裡是有「詩意」（Poetry）的。於是這幾年我一直在想，什麼樣空間可以讓人感受到詩意？

後來我體會到，詩意是種觸動五官、勾起回憶的氛圍，他可能只是一道清晨的光影，但卻能讓家有了靈魂。

 
 

  • Q: It’s been nearly five years since our last interview. Looking back at your work over this period, how has your design thinking shifted?

    Han:
    The shift over these five years has been about the flow of color and temperature. My early work was predominantly black, white, and grey; I was chasing the ultimate expression of coolness and sharp lines, and my clientele was mostly male. As my client base expanded to include families, I had to consider the needs of women and children. I turned my attention to "how people move through a space" and how to weave the warmth of daily life into a sleek foundation.

    Now, I care more about "balance"—managing the ratio between color and achromatic tones. I want the space to retain a modern edge while adding an approachable, temperature-rich atmosphere.

    Kuo-Feng:
    My core design logic hasn't changed; it still revolves heavily around geometric blocks. However, I’m now more inclined to conceptualize from the perspective of environment and state of mind, attempting to infuse invisible "feelings" into the work.

    This turning point came when I was designing my own home. I wanted to realize all the experiments that clients had been too afraid to try in previous years. At the same time, I was inspired by the artist Xavier Corberó, who mentioned that a house should possess "poetry." So, for the past few years, I’ve been asking: What kind of space allows people to feel poetry?

    I came to understand that poetry is an atmosphere that touches the senses and evokes memories. It might just be a beam of morning light, but it gives a home its soul.

 
 
 
 

Q：聽完兩位談論自己的轉變，我們很好奇，作為多年相識的好友，在彼此眼中，這五年來對方最大的「進化」又是什麼？



國峰的作品從早期較偏向現代簡潔，到這幾年有滿明顯的蛻變。儘管設計依舊簡約，但細節越來越豐富，而且因為他在比例的拿捏上很厲害，即便細節很滿，不讓人感到繁複。現在看初向的案子，甚至不需要看名字，就能一眼認出那是他的作品。

 
 

  • Q: Having heard you both discuss your own changes, we’re curious—as longtime friends, what do you see as the biggest "evolution" in each other over the last five years?

    Han:
    Over the last few years, Guo-Feng has clearly transformed his style beyond the strict simplicity of his early career. He has managed to keep the minimalist aesthetic while infusing it with incredible detail. It’s a delicate balance, but his mastery of proportion ensures that the richness never feels overwhelming. His signature style is now so strong that when you look at a chuxiang design project, it’s unmistakable—you know it’s him at a single glance.

 
 
 
 

國峰： Han 有個很特別的特質，他對案子完整度有份驚人的執著 — 即使環境有所限制，他依然會用自己的方式補齊最後一塊缺口，只為讓作品被完整地看見。這點讓我感受很深。

這幾年，他完全走出自己的樣貌，在設計上有很高的識別度。我很羨慕 Han 敢大膽使用「黑色」，此外像是空間的錯位、動線開口，以及層板的細節處理，他都能讓簡單的線條變得細膩而有趣。

 
 

  • Kuo-Feng:
    Back when Han and I were at the same company, I noticed a very distinct trait in him: an astonishing obsession with the completeness of a project. Even if the photography budget was insufficient, he was willing to sacrifice his own bonus to rent expensive furniture just to ensure the work was presented perfectly. That drive—sparing no cost for the final effect—made a deep impression on me.

    In recent years, I feel he has completely found his own voice. His design has high recognizability. I envy Han’s boldness in using "black." Beyond that, his handling of spatial displacement, circulation openings, and shelving details allows him to turn simple lines into something delicate and intriguing.

 
 
 
 

Q：兩位在 2025年 TID 大獎等賽事表現亮眼。在達到一座里程碑的同時，你們現在如何看待「得獎」這件事？



Han： 這幾年能有機會得獎，除了是成就解鎖，我內心更多的是感謝與幸運。隨著這些經驗累積，心裡那股想被肯定的焦慮也逐漸淡去，取而代之的是一種比較安定、踏實的狀態。

現在設計時更自在、放得開。獎項對我來說，變成更像提醒，告誡自己不要遺失回歸人本設計的初衷。設計主要還是回歸業主，我們不會為了得獎刻意去做誇張的造型。

國峰： 我也走過那段渴望拿獎的路，知道獎項是很好的燃料，能提供年輕設計師成就感。不過現在的我已經過了急於證明自己的階段；比起自己上台，我更在意同事們能不能獲獎，幫助他們撐過設計路上的難關。

有趣的是，那天公佈 TID 金獎的時刻我剛好去洗手間，一回會場就被推上台。當時腦袋一片空白，連得獎的是哪個案子都還沒反應過來。這也讓我體悟到，比起獎項，更重要的還是過程中的反饋，以及這件事對業主、對我們自己是否真的有意義。

 
 

  • Q: Both of you had stellar performances at the 2025 TID Awards and other competitions. Having reached these milestones, how do you view "winning awards" now?

    Han:
    Winning awards in recent years has certainly been a milestone, but more than that, I feel a deep sense of gratitude and luck. As I’ve accumulated these experiences, that anxiety and the constant need for validation have gradually faded. They have been replaced by a state of mind that feels much more grounded and settled.

    Awards have become more of a reminder—a caution not to lose the original intention of human-centric design. Design must ultimately return to the client’s acceptance; we won’t create exaggerated forms just to chase a trophy.

    Kuo-Feng:
    I’ve walked that path of craving awards, too. I know they are high-octane fuel that provides young designers with a sense of achievement. But I’m past the stage of needing to prove myself. Rather than going on stage myself, I care more about whether my colleagues can win, helping them push through the tough bottlenecks of a design career.

    Interestingly, the day the TID Gold Award was announced, I happened to be in the restroom. I was pushed onto the stage the moment I returned to the venue. My mind was blank; I didn't even realize which project had won. That moment made me realize that more than the award itself, what matters is the feedback during the process, and whether the work holds true meaning for the client and for ourselves.

 
 
 
 
 
 

Jamie： 拿不拿獎，運氣佔了一部分的因素。我認爲最重要的是還是一份「鬥志」。如果一個人一直用相同的思維做同樣的事，卻期待有不一樣的結果，那是不可能的。所以當我看到設計師開始因應時代與使用者，改變思考切入點，我就知道他們的成功已經在路上了。

記錄案子時我的角色其實更像一個導遊。就像帶人來台北玩，我們不需要逛遍所有夜市或百貨，而是精選出幾個雙方都認同、最有特色的點就好。重點即在於，照片要能講述設計師如何解決問題、如何轉換思考。只要我們用自己認同、且真心的方法，去呈現設計師想表達的畫面，這樣就具備基本分了。再來的話就交給命運。

 
 

  • Jamie:
    Whether you win or not, luck plays a part. I believe the most important thing is "fighting spirit." If a person keeps doing the same thing with the same mindset but expects a different result, that’s impossible. So, when I see designers changing their angle of thought in response to the times and the users, I know their success is already on the way.

    In documenting projects, my role is actually like a tour guide. It’s like showing someone around Taipei; we don't need to visit every night market or department store, but rather curate a few distinctive spots we both agree on. The point is for the photos to narrate how the designer solved problems and shifted their thinking. As long as we agree on it and use a genuine method to present the scenes that the designer wants to express—and that move me—then we have the baseline covered. The rest is up to fate.

 
 
 
 

Q：當外界肯定變多，壓力也會隨之而來。你們怎麼平衡創作的自由度和客戶的期待或限制?



Han： 我反而喜歡某種程度的限制。有時候設計的樂趣就在於破解這些限制，如果完全自由發揮，設計容易變得太發散。我會先剖析業主的調性，拆解適合對方的元素。例如一個 10 坪的小空間，如何滿足大量機能的同時，依然保有我希望達到的構想？能成功破解這些限制因素，成就感也會很高。

國峰： 考量接案的現實面，我一定會有最安全、符合客戶要求的版本。但在這之外，我會準備另一個「我想做的版本」。提案過程中，我會試探客戶底線。只要發現對方眼睛發光，我就會大膽往我認為更好的方向推進；但如果當下有感受到業主一絲猶豫或抗拒，哪怕只是停頓幾秒，我就會立刻打住。

Jamie： 以攝影來說，我區分會「方向性」與「限制」。 你可以給我一個方向（例如：這案子是為了解決小坪數的壓迫感），這是好的；但不要給太多具體的限制（例如一定要幾張廣景、一定要用哪顆鏡頭拍攝）。

我們更希望捕捉空間的詩意與感受性。如果限制太多，感受的層面容易被扼殺。有時不照著既定框架走，反而更能抓到意外的驚喜與張力。

 
 

  • Q: As external recognition grows, so does pressure. How do you balance creative freedom with client expectations or limitations?

    Han:
    I actually enjoy a certain degree of limitation. Sometimes the fun of design lies in cracking those constraints. If given total freedom, the design can easily become too scattered.

    I analyze the client’s tone, break down the elements that suit them, and then deepen and fuse those elements. For example, in a small 350-square-foot space, how do you satisfy massive functional needs while retaining the conceptual vision I want to achieve? Successfully cracking those restricting factors brings a huge sense of accomplishment.

    Kuo-Feng:
    Considering the reality of the business, I always prepare a "safest version" that meets all client requirements. But alongside that, I prepare a "version I want to do." During the proposal, I test the client's boundaries. If I see their eyes light up, I boldly push toward the direction I think is better. But if I sense even a sliver of hesitation or resistance—even a pause of a few seconds—I stop immediately.

    Jamie:
    From a photography standpoint, I distinguish between "Direction" and "Restrictions." You can give me a direction (e.g., "This project is about solving the oppressive feel of a small footage"), and that’s good. But don't give too many specific restrictions (e.g., "Must have X wide shots," "Must use X lens," or overly focusing on the function of storage cabinets).

    Photography shouldn't just record hardware; we want to capture the poetry and sensibility of the space. If there are too many restrictions, the sensory layer gets suffocated. Sometimes, straying from the preset frame captures unexpected surprises and tension.

 
 
 
 

Q：除了熟悉的台灣空間，兩位似乎也有「跨出舒適圈」接洽海外或異地案件的經驗。面對截然不同的環境條件與工班文化，這場跨地域的實驗帶給你們什麼樣的文化衝擊？



Han： 我前陣子完成一個新加坡的設計案，這算是我人生另外一個大解鎖的經歷。實際執行的過程，衝擊接踵而來。首先是工班結構上，文化和語言的差異。再來是「氣候決定設計」的思維翻轉。在赤道悶熱多雨的環境下，設計必須退回最原始的本質：「通風與採光」。

我們必須讓三層樓的動線與視線完全串聯。當時盡可能說服業主捨棄封閉櫃體，改用開放式鐵件與玻璃櫃。我告訴他們：「既然有了大花園，就不該用櫃子把視線擋住。」最後看見他們在不開冷氣的狀態下，依然能享受穿堂風的涼爽，那種回歸生活本質的狀態，是這場跨國合作珍貴的收穫之ㄧ。

 
 

  • Q: Apart from familiar spaces in Taiwan, you both have experience stepping out of your comfort zones with overseas or remote projects. What cultural shocks did this cross-regional experiment bring you?

    Han:
    I recently completed a design project in Singapore. That was another major "achievement unlocked" in my life. Initially, I turned it down. Later, because the local architects couldn't understand the details of Taiwanese living habits, causing a communication gap with the client, they approached me again. after much hesitation, I took it on.

    The execution process was a series of shocks. First was the cultural and linguistic difference in the labor structure. Then came the flip in thinking: "Climate determines design." In the humid, rainy equatorial environment, design had to retreat to its most primitive essence: "Ventilation and Lighting." We had to ensure the circulation and sightlines across three floors were completely connected.

    I spent a lot of energy convincing the owner to abandon closed cabinetry in favor of open metalwork and glass shelving. I told them, "Since you have a large garden, you shouldn't block the view with cabinets." Finally, seeing them enjoy the cool draft without turning on the AC—that return to the essence of living—was one of the most precious rewards of this international collaboration.

 
 
 
 
 
 

國峰： 之前我有接過香港的案子，雖然語言通、居住環境跟台灣比較像，但在營造邏輯上讓我大開眼界。香港的裝修文化非常獨特，他們的設備與材料是高度群聚的，你要買磁磚、衛浴或五金，全部都集中在同一條街上，跟台灣分散採購的習慣完全不同。

最讓我衝擊的就是結構觀念。我去現場工地時嚇了一跳，發現他們磚牆的砌法跟我們不同，後來知道因為香港幾乎沒有地震，這對習慣台灣高耐震法規的我們來說，因地制宜的工法差異，完全是無法想像的文化衝擊。

 
 

  • Kuo-Feng:
    I previously took on a project in Hong Kong. Although the language is accessible and the living environment is relatively similar to Taiwan, the construction logic was an eye-opener. Hong Kong’s renovation culture is unique; their equipment and materials are highly clustered. If you want tiles, bathroom fixtures, or hardware, they are all concentrated on specific streets—completely different from Taiwan's scattered sourcing habits.

    The biggest shock was structural concepts. I was startled when I visited the site for supervision. I found their brick-laying method was different from ours. Later I learned that because Hong Kong has almost no earthquakes, their methods differ. For those of us accustomed to Taiwan’s strict seismic regulations, this adaptation to local conditions was an unimaginable cultural shock.

 
 
 
 

Q：持續前進的過程裡，你們是否會審視過去的作品並反思？



Han： 我會回顧看之前做過的案件，思考如果當時拋開一些限制，表現上能否更有實驗性或是會更好？

但我相信每個案子當時的時空背景一定不同，所以當時的狀態，都會是當下最好的狀態。我不認為現在重新進行調整，就一定會超越之前的版本。

國峰： 我好像很少去看完工後的作品照片，但我很常會去看以前提案的東西。因為我們提案會畫 3D，這個階段的設計會保留下當時很純粹的感受，後續可能會因為預算或現實因素使然，產生一些改動。所以我反而會回顧以前那些沒拿到、或是沒做到的設計現在回顧舊作的話，通常是拿給其他同事看，檢討哪裡做得不好，哪裡做得好。

Jamie： 「回訪」是一件很有趣的事情。特別是我們大部分時間都是拍攝剛完工的空間，以住宅來說，很少有機會可以過一陣子後再訪。所以如果有機會可以回訪，就算跟我們一開始拍攝設定的不一樣，我也會很有感覺。

 
 

  • Q: In the process of moving forward, do you review past works and reflect?

    Han:
    I do look back at previous cases and wonder: If I had cast aside certain limitations back then, could the expression have been more experimental or better?

    But I believe the context of every project is different. The state of the project at that time was the "best state" for that moment. I don’t believe that re-adjusting it now would necessarily surpass the previous version.

    Kuo-Feng:
    I rarely look at photos of finished works, but I often look at my old proposals. Because we draw 3D renderings for proposals, that stage preserves the purest feeling of the design before budget or reality forced changes. So, I tend to review the designs that didn't get picked or didn't get built.

    When I do review old works now, it’s usually to show colleagues—to critique what was done poorly and what was done well, using it as teaching material for the team.

    Jamie:
    I think "revisiting" is very interesting. We mostly shoot spaces right when they are finished. For residences, we rarely get the chance to visit again after some time. So, if there is a chance to revisit, even if it looks different from our initial styling, I find it very evocative.

 
 
 
 

Q：創作產業不一定都是都是快樂的。你們如何面對低潮並重燃熱情？



Han： 一直以來，我始終相信態度決定高度。

之前創業最苦時，我常翻江振誠的《初心》，甚至把勵志片段存進手機相簿，心裡過不去就拿出來看。通常遇到煩心事，我會逼自己先決定方案；一旦決定，思考就此打住，不再往負面情緒裡鑽。壓力大的話，就去騎單車爬坡。極度的體力透支會讓腦袋清空，讓你只剩下「踩完這段再休息」的念頭。當你翻過高峰後就會覺得，連這個坡都踩上來了，好像世上也沒什麼坎過不去。

除此之外，我會在每個案子找一件開心的事。哪怕框架再限縮，只要能實驗一個新材質或新作法，我都感到開心，藉此維持新鮮感。

 
 

  • Q: The creative industry isn't always happy. How do the three of you face low points and reignite your passion?

    Han:
    I have always believed that attitude determines altitude.

    When I was struggling during the early days of my startup, I often flipped through André Chiang’s 初心 (The Beginner's Mind). I even saved inspirational excerpts in my phone gallery to look at when I couldn't get over a hurdle. Usually, when facing trouble, I force myself to decide on a solution first. Once decided, the thinking stops there; I don't let myself spiral into negative emotions. If the stress is high, I go cycling uphill. Extreme physical exhaustion clears the brain, leaving you with only one thought: "Just pedal this section, then rest." Once you crest the peak, you feel that since you conquered this hill, there’s no obstacle in the world you can’t get past.

    Aside from that, I find "one happy thing" in every project. No matter how restricted the framework, as long as I can experiment with a new material or method, I feel happy. That’s how I maintain freshness.

 
 
 
 

國峰： 我常反思究竟是什麼讓我痛苦，並誠實地寫下來。對我來說，第一條生存法則很重要：好好睡覺。這是維持判斷力與動能最基本的底線。

此外，我也愛讀跨產業的書或傳記，跨界的啟發是很好的養分，像是閱讀一些導演或攝影大師李屏賓的思考方式。看大師如何看待創作，會讓我產生想在案子裡試試看的新鮮感。

 
 

  • Kuo-Feng:
    I often reflect on exactly what is making me miserable and write it down honestly. for me, the first rule of survival is simple: Sleep. That is the baseline for maintaining judgment and momentum.

    Also, I love reading cross-industry books or biographies. Inspiration from other fields is great nourishment—like reading about the thought processes of directors or master cinematographer Mark Lee Ping-Bing. Seeing how masters view creation gives me a fresh desire to try things in my projects.

 
 
 
 

Jamie： 我想分享一句改變我很多的話：「問題往往藏在那些我們不願意碰觸的地方。」

很多壓力的來源其實是逃避。人的本能通常是躲開。但後來我發現，越不願意碰觸的地方，越容易長出問題。現在只要我覺得哪裡不舒服，就會強迫自己去碰觸它。自從這個想法通了，生活就也沒那麼多問題了。不管是工作還是家庭壓力，只要你願意主動跨出那步去接觸，很多事情都能順順地解決。

 
 

  • Jamie:
    I want to share a sentence that changed me a lot: "Problems are often hiding in the places we don't want to touch."

    Many sources of stress actually come from avoidance. For example, feeling tension with a colleague or feeling a partner's work isn't up to par—human instinct is to dodge it. But I discovered that problems grow in the places we refuse to touch. Now, whenever I feel uncomfortable about something, I force myself to address it. Since adopting this mindset, I’ve found life has fewer problems. Whether it’s work or family stress, as long as you take the initiative to step forward and make contact, many things resolve themselves smoothly.

 
 
 
 

Q：這些年來你們內部組織也有些變化。在帶領團隊的經營上，你們有什麼樣的調整或規劃？



Han： 我 2024 才跨出招募員工這一步，現在還在摸索跟員工交流的模式。或許是因為第一份工作有些比較難熬的經歷，我會刻意避開以前當員工時不喜歡的對待方式。就算同事有失誤，我也是傾向理性的溝通。

現階段我們趨於協同設計的模式，我會掌控大方向與主要立面比例，再留出空間讓同事發揮，大家一起討論。我始終強調我們是一個團隊，問題要一起處理，不會讓同事覺得自己孤軍奮戰。

國峰： 創業初期我非常嚴厲，後來發現太兇會產生隔閡，但太隨和又容易讓專業界線變得模糊。現在我學會在那種「互相」的關係裡，達成更穩定的平衡。這幾年我學到最重要的事是「不要抓太緊」。以前常覺得要掌控設計的每一個細節，但我逐漸發覺，給予同事越多自由度，他們反饋的東西反而更精彩。

Jamie： 關於帶領團隊，我現在的感受也不一樣了。以前可能覺得像家人那樣相處比較好，但實際上每個人個性不同，很難一概而論。現在使用 AI 下指令的過程，教會我「指令要給得夠明確」這件事。當我們把這套邏輯運用到團隊溝通，對不同人校準說話的口氣，經過調整後的對話，會比單純的情感訴求更精準且有效。

 
 

  • Q: Your internal organizations have also changed over the years. What adjustments have you made in leading your teams?

    Han:
    I only took the step to hire employees in 2024, so I’m still figuring out the mode of interaction. Perhaps because my first job involved some difficult experiences, I consciously avoid treating staff in ways I disliked as an employee. Even if a colleague makes a mistake, I lean toward rational communication.

    Currently, we are trending toward a collaborative design model. I control the general direction and major elevation proportions, then leave space for colleagues to express themselves, and we discuss it together. I always emphasize that we are a team; we handle problems together. I never want colleagues to feel they are fighting a lone battle.

    Kuo-Feng:
    In the early days of my startup, I was very strict. Later, I realized being too fierce created barriers, but being too casual blurred professional boundaries. Now, I’ve learned to find a stable balance within a relationship of "mutuality." The most important thing I’ve learned in recent years is "don't hold on too tight." I used to feel I had to control every detail, but I gradually realized that the more freedom I give my colleagues, the more brilliant their feedback becomes.

    Jamie:
    Regarding team leadership, my feelings are different now, too. I used to think treating everyone like family was best, but in reality, everyone has a different personality, so you can't generalize. Now, the process of giving commands to AI has taught me that "instructions must be specific." When we apply this logic to team communication—calibrating our tone for different people—the adjusted dialogue is far more precise and effective than simple emotional appeals.

 
 
 
 

Q：兩位設計師對下一個階段有什麼新的目標與期待？



Han： 接下來的目標很踏實：我想把辦公室的座位坐滿。以前多是一個人單打獨鬥，但新同事加入後，那種「團隊感」讓上班有了以前在公司體制內才有的熱絡。

設計面上，我想嘗試更多商業空間，像是咖啡廳或診所。住宅是極其私密的，而商空能接觸到更廣泛的人群。我希望自己的設計能走出私人領域，被更多人看見、進而影響更多人。

國峰： 我不希望公司變成設計生產線，還是希望能保有人與人之間的交流溫度，所以現階段不打算擴大規模，維持在 10 人左右是我認為能兼顧情感溫度的極限。

為了維持團隊的創作熱情，現在我想帶領他們去嘗試手作與家具設計。我們目前已經嘗試在設計案中置入自己設計的單品，未來甚至夢想能開一間家具店，讓我們設計的家具擁有真實的展示舞台。

Jamie： 聽完你們的分享，我想 Say When 這句話，正好是你們現階段最完美的註腳！(* 註：Say When 源自英語系國家的餐桌日常。當主人為客人倒酒或添加佐料時，會說 "Say when"，意即「當份量足夠時，請告訴我」。)

 
 

  • Q: What are your new goals and expectations for the next stage?

    Han:
    Next year, I want to fill the seats in the office. Previously, I was mostly a lone wolf, but with new colleagues joining, that "team feeling" brings a buzz to the workday that I missed from corporate life.

    On the design front, I want to try more commercial spaces, like cafes or clinics. Residences are extremely private, but commercial spaces reach a broader crowd. I hope my designs can step out of the private realm to be seen by more people and, in turn, influence more people. That sense of achievement is the direction I want to lead the team toward.

    Kuo-Feng:
    I don't want the company to become a design production line; I hope to preserve the warmth of human interaction. So, for now, I don't plan to expand; keeping it at around 10 people is the limit for balancing emotional connection with work.

    Previously, my source of stress was whether I could give my colleagues projects that were fun, interesting, and nourishing. I often felt like a mother responsible for finding nutrients. To maintain the team's creative passion, I now want to change tactics and lead them to try hands-on craftsmanship and furniture design. We are already attempting to insert our own designed pieces into projects. In the future, I even dream of opening a furniture store to give our designs a real stage.

 
 
 
 

採訪｜Jamie Lo ． 編輯｜Fei W (Lin)
攝影｜Jamie Lo、Jyun
 
 
 
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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