The Quiet Craft - 雕刻空間裡的沈靜秩序：專訪挪威品牌 Ask og Eng 創辦人Kine Ask Stenersen 與 Kristoffer Eng

 

Kine Ask Stenersen and Kristoffer Eng (Photo Credit: Ask og Eng ) 

 
 

Ask og Eng 的創作始於一個極具個人意識的起點，來自 Kine Ask Stenersen 與 Kristoffer Eng 為自己打造理想之家的嘗試。那是一段尋找誠實、耐用，並能回應生活價值的旅程。這對來自挪威的創作者發現，市面上沒有任何材料能同時滿足這些條件，於是轉向一種被忽視、卻蘊藏潛力的素材：竹子。它的強韌、靈活與再生特質，成為他們探索材料秩序的起點。

從最初的廚具與家居系統出發，兩人逐步延伸出一套關於生活與空間的語言 — 一種緩慢而專注的 「沈靜秩序」。Ask og Eng 的作品不僅止於功能性的層面，更像是時間在材料上留下的痕跡。它們避開傳統的分類與定義，在反覆的雕刻、構築與拆解中，讓竹子顯現出自身的邏輯與節奏 。這些物件宛如建築的微縮片段，內部結構清晰，卻不張揚存在，只在空間中與光線、比例維持低頻的共振。

 
 

  • Ask og Eng began with a deeply personal ambition as Kine Ask Stenersen and Kristoffer Eng sought to craft their ideal home. Their search for honest and durable materials that aligned with their values proved fruitless within the existing market. Consequently, the Norwegian duo turned to an overlooked resource with immense potential: bamboo. The material’s strength, flexibility and regenerative properties became the catalyst for their exploration of material order.

    What started as bespoke kitchens and cabinetry has evolved into a broader dialogue on living and space. It is a slow and deliberate cultivation of quiet order. The work transcends pure functionality to capture the passage of time on matter. Sidestepping traditional definitions, the studio employs a process of carving, constructing and deconstructing that allows the bamboo to articulate its own logic. These pieces read like architectural fragments. They possess clear internal structures yet remain understated, maintaining a low frequency resonance with the light and proportions of their surroundings.

 
 

Photo Credit: Ask og Eng

 
 

從這場訪談中，Kine 與 Kristoffer 分享他們如何將「緩慢」與「在地」轉化為創作哲學 —— 關於靜默、節奏與物件存在的思考，以及竹材如何在過程中，成為形式的引導者與對話者。

 
 

  • Kine and Kristoffer discuss how they translate slowness and locality into a distinct creative philosophy. Their reflections center on stillness, rhythm and the presence of objects. In this context, bamboo acts as a lead agent. It serves as both a guide to form and an active participant in the design dialogue.

 
 

Photo Credit: Ask og Eng

 
 

從一間房子萌生的生活哲學



HC：能談談 Ask og Eng studio 是如何開始的嗎？

Ask og Eng：Ask og Eng 的起源其實是來自於一個非常私人的專案，它並非一個商業構想，而是我們對理想生活方式的回應 。當時我們親手設計並建造自己的房子，卻找不到感覺誠實、持久、並與我們價值觀相符的材料或解決方案 。於是，我們選擇自己動手——以緩慢、謹慎的方式完成每個細節 。那段為自己而造的過程，成為日後品牌的基礎 。

竹子的出現相當自然 。它是一種永續、靈活且用途廣泛的天然材料 。當時我們並不知道這會變成一個全職工作。但我們意識到，這樣的工作方式，親手參與、貼近材料、深度投入設計與製作正是我們想要延續的生活方式 。

所以，Ask og Eng 並非以「擴張」為目的而開始 。它從一種腳踏實地的創造方式出發，這樣的過程逐漸演變為一種生活哲學：以更少的物質生活、以更有意圖的方式製作，讓空間保有呼吸 。

 
 

  • A Philosophy of Living Born from a Home

    Q: How did Ask og Eng come about?

    Ask og Eng:
    The studio began as a deeply personal endeavor rather than a commercial concept. It was a direct response to our own search for an ideal way of living. We were in the midst of building our home and struggled to find materials or solutions that felt honest, durable and aligned with our values. We decided to craft everything ourselves. We approached every detail with slowness and care. That process of building for ourselves laid the foundation for the brand.

    The turn to bamboo was organic. It offered a sustainable, flexible and versatile medium. At the time, we never anticipated this becoming a full-time profession. However, we realized that this immersive proximity to materials and making was a lifestyle we wanted to sustain.

    Ask og Eng was never founded with expansion in mind. It stemmed from a grounded approach to creation. That process has since evolved into a philosophy: to live with less, to make with intention and to allow space to breathe.

 
 

Photo Credit: Ask og Eng

 
 

以時間、結構與物性對話


從生活哲學定錨後，創作的焦點便回歸到核心材料——竹子。材料、時間與節奏交織出作品的語法，也定義了它們的存在方式。

 
 
HC：面對材料選擇時，你們感覺相當謹慎，但所呈現的結構或形式卻顯得相當直覺。在製作過程中，材料是如何引導你們作出決定？

Ask og Eng：我們常說，材料會設定界線，而我們樂於接受這樣的邊界 。特別是竹子，它的行為方式與傳統硬木截然不同 。竹子有自己的邏輯、紋理，甚至有自己的意志 。與其強迫它成為什麼，我們更傾向與它合作 。

而形式往往源自這樣的關係，介於我們的想像與材料之間 。它讓我們在創作過程中，必須以更誠實的方式去面對問題、尋找解答 。

 
 

  • In Dialogue with Time, Structure and Materiality
    With the philosophy of living anchored, the creative focus returns to the core medium: bamboo. Material, time and rhythm interweave to articulate the grammar of the work, defining its very mode of being.

    Q: Your approach to material selection feels highly considered, yet the resulting forms appear intuitive. How does the material inform your decisions during the making process?

    Ask og Eng:
    We often say that the material dictates the parameters. We embrace those boundaries. Bamboo behaves quite differently from traditional hardwoods. It possesses its own logic, grain and even a sense of agency. Rather than forcing it into a shape, we prefer to work in tandem with it.

    Form usually emerges from this relationship. It exists in the space between our vision and the material itself. This dynamic forces us to confront problems and seek solutions with absolute honesty throughout the creative process.

 
 

Photo Credit: Ask og Eng

 
 

HC：你們曾提到創作的根基在於「節奏」與「結構」。在製作過程中，是否有某種特定的節奏，是貫穿所有作品、始終如一的？

Ask og Eng：絕對存在 。設計與製作都擁有屬於它們的節奏，而我們也學會隨著時間去信任那個步調 。

在工作室裡，這是一種近乎冥想的過程：重複的動作、對於邊角的重視、砂磨與拼合。這些動作之間存在著一種迴旋的「樂章」，不僅出現在我們處理材料的方式，也出現在我們生活的日常裡 。

這個節奏不快，但穩定 。它讓我們能夠專注，並在細微的修正中不斷讓作品變得更完整（resolved） 。那份節奏也延伸至作品之中，垂直線條的重複、比例的平衡、光線在表面流動的方式 。這一切都源於那個身體性的製作過程 。我們始終在「精準」與「平靜」之間尋找平衡 。

 
 

  • Q: You have mentioned that your work is rooted in rhythm and structure. Is there a specific cadence to the making process that remains consistent across every project?

    Ask og Eng:
    Absolutely. Both design and fabrication possess their own inherent tempo. Over time, we have learned to trust that pace.

    In the studio, the process borders on the meditative. It involves repetition, a sharp focus on edges, sanding and assembly. There is a cyclical movement connecting these actions. It is present not only in how we handle the material but in the daily rhythm of our lives.

    The pace is steady rather than fast. It allows for focus and lets us refine the work through micro-adjustments until it feels fully resolved. That rhythm extends into the objects themselves in the repetition of vertical lines, the balance of proportions and the way light washes over a surface. It all stems from the physicality of the making process. We are constantly seeking a balance between precision and calm.

 
 

Photo Credit: Ask og Eng

 
 

空間裡的低頻語言：關於力量與沈靜的場域精神


當物件從工作室進入生活場域，它與空間便展開了一場低頻的對話。Ask og Eng 的作品運用「力量」與「輕盈」的語彙，塑造出一種關於沈靜的力量。

 
 
HC：你的作品並非主動張揚，反而像是在空間中保持靜默，就像正在「等待」著什麼。請問你們如何看待這樣的物件與空間關係？

Ask og Eng：我們一直將作品視為空間的一部分，而非焦點 。它們存在的目的是創造氛圍，而不是干擾它 。對我們而言，一個好的物件應該能夠展現平靜，它應該為生活騰出空間 。若有人形容它像是在「等待」，我們將會視為一種讚美 。



HC：你們創作時會先有特定的空間想像嗎？還是成品後，才慢慢找到適合它的地方？

Ask og Eng：往往是從空間開始。我們觀察它的氛圍、需求與既有條件 。但有時創作形式也會先出現，而我們會透過它的引導，找到一個能與它相契合的場域 。無論哪種情況，最重要的都是兩者之間的和諧 。

 
 

  • Low Frequency Language: Gravity, Silence and the Spirit of Place
    As objects transition from the studio to the living environment, they initiate a low frequency dialogue with the space. Ask og Eng draws on a vocabulary of gravity and lightness to sculpt a strength rooted in silence.


    Q: Your work never clamors for attention. Instead, it maintains a quiet presence within a room, almost as if it is waiting. How do you view the relationship between the object and the space?

    Ask og Eng:
    We have always viewed our pieces as components of a space rather than focal points. Their purpose is to build atmosphere, not to disrupt it. To us, a good object should exude calm. It should yield space to life. If you describe them as "waiting," we take that as a compliment.

    Q: Do you envision a specific spatial context when you begin? Or does the object find its place after the form is finished?

    Ask og Eng:
    It often begins with the space. We assess the atmosphere, the requirements and the existing conditions. However, form sometimes emerges first. In those instances, we let the object guide us to a setting where it resonates. In either case, the priority is always the harmony between the two.

 
 

Photo Credit: Ask og Eng

 
 

HC：在你們的語彙裡，如何理解「力量」（Gravity）？

Ask og Eng：對我們而言，力量是一種「存在感」（presence）。那是一種空間能夠承接你的感受——穩固、誠實、安靜的力量。這種感覺通常來自於天然材料的重量，或是結構被建造以求持久的方式 。它不必沉重，但應該被錨定，像是它本就屬於那個地方 。



HC：The House 似乎也在重新定義「空間」的概念。你們如何透過開放的結構與物件配置，反映出創作價值？

Ask og Eng：我們喜歡讓空間保持流動。每個房間的邊界在銜接到下一個空間時是連續開放的。這樣的連續性反映了我們的生活方式，彼此連結，而非被隔絕 。

空間的配置是刻意追求寧靜的。我們追求更少的物件，以換取更多的餘裕與空氣。這樣的平衡，說盡了我們的思考方式——無論是作為創作者，或是生活中的個體。

 
 

  • Q: In your vocabulary, how do you interpret "Gravity"?

    Ask og Eng:
    For us, gravity equates to presence. It is the sense that a space is capable of holding you. It is a grounded, honest and quiet strength. This sensation often stems from the physical weight of natural materials or the permanence of the construction. It does not need to be heavy, but it must feel anchored. It should feel as though it has always belonged.

    Q: "The House" appears to redefine the concept of space. How do the open structure and arrangement reflect your creative values?

    Ask og Eng:
    We prefer to keep the space fluid. The boundaries between rooms remain open as one transitions into the next. This continuity mirrors our way of life. It fosters connection rather than isolation.

    The configuration is intentionally quiet. We strive for fewer objects to gain more breathing room and air. That balance speaks volumes about our mindset, both as creators and as individuals.

 
 

位於挪威 Drammen 的 The House，完整體現 Ask og Eng 的設計系列與美學體驗。建於 1868 年的建築，經過 Kine 與 Kristoffer 數年的修復，如今已成為一處開放探索的場域。來客可以預約參訪，或是在週末深度體驗旅宿。Photo Credit: Ask og Eng

 
 

當物件成為空間一種存在的停頓


Ask og Eng 的創作回歸到人與物件的關係，鼓勵觀者放緩，並將這種對「慢」的堅持，融入當代的設計景觀之中。

 
 
HC：你們提到希望人們能直覺地與作品互動。當沒有標籤或說明時，你們希望觀者有什麼樣的行為或感受？

Ask og Eng：我們希望作品能引發「內在平靜」，或許只是一個短暫的駐足。願人們能緩下腳步，察覺細節、感受材質的紋理，以及它帶來的觸覺溫度。作品無需被言語解釋，它更貼近於如何默默承載與支持日常生活的節奏。沈靜的設計，能為你創造專注於當下的餘裕。

 
 

  • The Object as a Spatial Pause
    Ask og Eng returns to the essential relationship between person and object. The work invites the observer to slow down, embedding this commitment to slowness into the contemporary design landscape.

    Q: You have spoken about the importance of intuitive interaction. In the absence of labels or explanation, what response do you hope to evoke in the viewer?

    Ask og Eng:
    We hope the work invites a sense of inner calm, perhaps prompting a momentary pause. We want people to slow their pace, to notice the details and to experience the texture and tactile warmth of the material. The work requires no verbal explanation. It is about quietly supporting the rhythm of everyday life. Quiet design creates the margin you need to remain present.

 
 

Photo Credit: Ask og Eng

 
 

HC：作為在地、緩慢創作的工藝者，你們如何看待自己在當代設計與藝術領域中的位置？

Ask og Eng：我們將自己視為一股正在崛起的思潮——它珍視時間、深度關懷與連結，與當今快速、一次性的文化形成對位。

緩慢且在地化的工作模式，讓我們得以維繫品質與完整性，並與材料、在地社群、以及最終生活在作品中的人們建立起更深刻的關係。儘管這只是微小的貢獻，它卻成為當代設計界關於「永續性與意義」這場宏大對話中，至關重要的一環。



HC：最後，你們目前正在思考哪些問題？

Ask og Eng：我們當前正在探索的是：材料如何能更好地與我們共生、共老——在時間的長河中，它們如何變化、適應，並收納生命的記憶。我們也對那些超越功能性的形式感到好奇，它們如何能引發人們的關懷與情感上的深刻連結。

而在所有這些問題之上，最核心的則是：物件如何在不喧賓奪主的前提下，以沈默之姿支持著生活？如何悄然融入，成為一種更緩慢、更專注的生活方式。

 
 

  • Q: As practitioners of slow, local craft, how do you view your place within the contemporary design and art landscape?

    Ask og Eng: We see ourselves as part of a broader movement that prioritizes time, deep care and connection. It serves as a counterpoint to today’s fast-paced, disposable culture.

    Working slowly and locally allows us to uphold quality and integrity. It fosters deeper relationships with our materials, our local community and the people who ultimately live with our work. While this is a modest contribution, it is an essential part of the larger conversation regarding sustainability and meaning in contemporary design.

    Q: Finally, what questions are you currently exploring?

    Ask og Eng:
    We are investigating how materials can better coexist and age alongside us. We want to understand how they evolve, adapt and accumulate memories over the passage of time. We are also intrigued by forms that transcend pure utility. We question how they might evoke care and foster deeper emotional connections.

    Above all, the core inquiry remains the same. How can an object support life silently without dominating the room? We are asking how it can quietly integrate to anchor a slower, more intentional way of living.

 
 

Photo Credit: Ask og Eng

 
 

讓物件安靜地發光


在 Ask og Eng 的世界，物件並非被設計來取悅或說服，而是為了與人共處。它們以最安靜的姿態，讓空間與生活之間的界線變得柔軟。竹子的呼吸、時間的痕跡、手工的節奏，最終構築出一種關於「誠實」的語言。

正如 Kine 與 Kristoffer 所說，創作是一種對世界的回應：緩慢卻持續，低調卻堅定。這份對材料的謙卑、對空間的尊重、對時間的耐心，正是他們所雕刻出的「沈靜秩序」，也是 Ask og Eng 的最深呼吸。

 
 

  • Letting Objects Quietly Shine

    In the world of Ask og Eng, objects are not conceived to please or persuade. They are crafted to coexist. With the quietest of postures, they soften the boundaries between space and life. The breath of bamboo, the patina of time and the rhythm of handcraft ultimately construct a language of honesty.

    For Kine and Kristoffer, creation is a response to the world. It is slow yet continuous, understated yet unwavering. This humility toward material, respect for space and patience with time defines the "Quiet Order" they have carved. It is Ask og Eng’s deepest breath.

 
 

Photo Credit: Ask og Eng

 
 

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Photo credit/ Ask og Eng
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