Designing with Time — 專訪 OEO Studio 設計總監 Thomas Lykke：「讓我們試著想像：如果一張百年老桌子會說話，它將分享什麼故事？」

 

OEO Studio 設計總監 Thomas Lykke (Photo by Michael Rygaard) 

 
 


" Imagine if a 100-year-old table could talk; what stories would it share? "


 
 
OEO Studio 設計總監 Thomas Lykke 在談到設計與人、與時間的關係時，拋出一記耐人尋味的問題。在這物質氾濫、消費主義主導的時代，快速生產與即時滿足成為設計的主流趨勢。然而，好的設計不應只是回應當下世代的渴望，而要能與時間共存，甚至是因歲月的更迭愈顯風采。

當我們回想那些歷久不衰、仍被珍藏使用的物件、空間、乃至古董訂製服，上面的蛛絲馬跡，在在吐露著當時的材料條件、美學觀點，甚至一整個時代的社會氛圍、文化氣息與工藝邏輯。

時間，讓這些設計變得深刻，也讓設計回歸它最根本的價值。

 
 

  • When Thomas Lykke, head of design at OEO Studio, speaks about designing with time, he poses a compelling question. In today's culture of material excess and instant gratification, rapid production often dominates design thinking. Yet good design should not only respond to the desires of today, it should endure, gaining depth and resonance as the years pass.

    Consider the enduring objects, spaces or bespoke garments that remain cherished. The traces they hold reveal the materials once available, the aesthetic values of the time and the craftsmanship behind them, while also reflecting the social atmosphere and cultural spirit of their era. Time enriches these designs, reminding us of the lasting value at the heart of design.

 
 

Terra lamp prototypes at OEO Studio in Copenhagen. (photo by OEO Studio)

 
 

「一個設計隨時光演進後，是否仍具意義？」



這樣的設計哲學，正是 Thomas Lykke 與 Anne-Marie Buemann 自 2003 年在哥本哈根共同創立 OEO Studio 以來始終堅持的核心理念之一。作為一家跨領域設計工作室，OEO Studio 從建築空間到產品設計、品牌策略，皆貫徹了其獨有的「Compelling Minimalism」哲學。

無論是為米其林餐廳 Noma 創造空間體驗，或與 Sony、Bang & Olufsen、&Tradition 等品牌合作專案，他們總是運用內斂而富含溫度與細節的極簡語彙，讓每件創作成為值得細品、引發共鳴的獨特存在。

 
 

  • “I always consider the human experience and the relevance of the design over time. This is one of our core design mantras.” That belief has defined OEO Studio since Lykke and Anne-Marie Buemann founded the practice in Copenhagen in 2003. As a cross-disciplinary studio, their work spans architecture, interiors, product design and brand strategy, all guided by their philosophy of Compelling Minimalism.

    From shaping spatial experiences for the Michelin-starred restaurant Noma Kyoto to collaborating with global brands such as Sony, Bang & Olufsen and &Tradition, OEO Studio applies a refined minimal language imbued with warmth and detail. Each project is envisioned as a unique presence, one that invites reflection and fosters emotional connection.

 
 

Noma Kyoto 2025 with interior design by OEO Studio. (Photo by Mitsuru Wakabayashi)

 
 


" We do not compromise our goals or results for a rushed schedule, though we aim to be pragmatic. "


 
 

慢思，醞釀恆久的設計



「慢」從來不是設計的負累，它是一種結構性的思考方式。Thomas 相信，耐心能構築讓人適當抽離並沉澱的空間，冷靜回頭再看，也更能保持清晰的判斷與聚焦的視角。

「身處這個一切都加速的世界，我們時常缺乏可以稍微抽離、重新審視的時間」。他引用聖奧古斯丁（St. Augustine）的話：「耐心是智慧的良伴」（ “Patience is the companion of wisdom”），並深有所感地認為，有意義的設計，並非在加速與追趕中誕生；而是從放慢腳步，找出設計背後「理由」與「目的」的過程，一點一滴浮現出來。「清晰有力的設計理念，決定了作品能否正面影響人們與世界。」

 
 

  • “ Slow ” has never been a burden in design but a way of thinking in structural terms. Lykke believes patience creates the space to step back, reflect and gain clarity. As he puts it, “ patience allows for reflection and a broader perspective. It fosters focus and clarity. ” 

    “ In our fast-paced world, we often lack the time to step back. ” he says, quoting St. Augustine: “ Patience is the companion of wisdom. ” For Lykke, meaningful design does not emerge from rushing to keep pace but from slowing down to uncover the reason and purpose behind a project. As he notes, “a strong rationale is essential for creating designs that positively impact people and the world. ”

    This does not mean that OEO Studio resists efficiency. On the contrary, they emphasize pragmatism and transparency in their discussions, placing value on thorough planning from the outset. For Lykke, every stage of the process matters; neglecting even one can weaken the final result.

    Usually, they will not sacrifice design goals or outcomes for the sake of speed, but this does not mean time is an unlimited resource. “ Both slow and fast approaches are important; slow can be beneficial, but it can also hinder progress. The key is finding the right balance,” he says. What matters most is knowing when to dive deep into detail and when to move forward decisively.

 
 

Ita Sofa Table designed by OEO Studio for &Tradition. (Photo by &Tradition)

Ita Dining Table designed by OEO Studio for &Tradition. (Photo by &Tradition)

 
 

然而這並不代表 OEO Studio 抗拒效率，相反的，他們強調務實與透明的討論，重視充分的前期規劃。「設計的每一個階段都同等重要」，Thomas 分享道，「它們會共同建構出整體的完整性。當你忽略了其中任何一環，作品最終呈現出來的力道，也會跟著被減弱。」

他坦言，不會為了加快進度，犧牲設計的目標或成果，但並不代表將時間視為無限制的資源，漫無目的的延宕。「儘管緩慢能帶來深度和助益，卻也可能阻礙進展」，最重要的，還是在快慢之間找出恰當的平衡 — 懂得在哪些階段深入推敲、又在哪些時刻，可以果斷前進。

 
 

Designmuseum Denmark with interior design by OEO Studio. (Photo by Christian Hoyer)

 
 

超越潮流，擁抱個體性



Thomas 向來強烈排斥「潮流」這個單詞，「潮流總是曇花一現，代表缺乏原創性與自我表達；相較之下，我更傾向於那些具備前衛精神（avant-garde）、能體現個體性的設計。」他認為，設計應回歸以人為本的本質（human experience），避免追隨稍縱即逝的流行趨勢。

「所謂的經典設計，必須品質與細節上，經得起時間考驗；擁有簡潔卻不失洗鍊的外型，同時在不同世代間，持續保有意義與價值。」

當設計界掀起一波波風格浪潮時，OEO Studio 並不急於追逐表象的即時性，他們選擇保持慢而堅定的思維，專注於創造具有時間韌性的作品。這些設計在十年、二十年後依然呈現當代意義，從而實現永續設計的核心價值：延長物件的生命週期與意義深度。

 
 


" I prefer avant-garde approaches that reflect personality. Trends are typically short-lived, while I believe in designs that hold relevance for generations. "


 
 

  • Lykke has a strong aversion to the very word “trend,” calling them “short-lived” and a sign of “a lack of originality and self-expression.” Instead, he prefers avant-garde approaches that reflect personality. Design should return to its human-centered essence and resist the pull of passing fashions.

    So what qualities define a timeless design? “Longevity in quality and detail, simplicity that conveys sophistication, and classical values that ensure lasting relevance across generations,” Lykke explains.

    As waves of stylistic trends sweep through the design world, OEO Studio resists chasing surface-level immediacy. Instead, they choose to move with deliberation and focus on creating works with resilience over time. These designs remain relevant ten or even twenty years later, embodying the essence of sustainability by extending both the lifespan and the depth of meaning of each object.

 
 

Teapot from the Objects Collection designed by OEO Studio for Kaikado. (Photo by Yasuhito Shimizu)

 
 

每個決策需承載長遠且負責任的思考



事實上，早於「永續」甚至還沒變成廣泛討論的流行詞彙之前，Thomas 就在 1990 年代中期接受時裝設計師專業訓練時，開始關注相關議題。這段早期觀察與意識，為他後來的設計實踐奠定根本性的基礎，並於日後建立品牌的階段，即將永續理念融入創作環節，視為設計過程不可分割的一部分。

「一個設計者有意識地處理這些議題，不僅是讓世界邁向環境友善未來的基礎，同時也能激發出真正的創新能量。」從材料選擇到製作工法，他每個決策都承載著長遠且負責任的考量。

 
 

  • In fact, Thomas’s awareness of sustainability began well before the term became a buzzword. During his training as a fashion designer in the mid-1990s, he had already started exploring these ideas. This early consciousness laid the foundation for his later practice, where sustainability became inseparable from the design process.

    As he notes, “Since my training as a fashion designer in the mid-90s, I have been focused on sustainability, even before it became a buzzword. To me, sustainability is an inherent aspect of creating end products. We have developed sustainable brands and advocated for eco-friendly materials across our projects. Conscious thinking is essential for a greener world and fosters innovation.”

    For him, “ a conscious approach to these issues is not only the foundation for a greener future, it also sparks genuine innovation. ”  From the choice of materials to methods of production, every decision he makes carries a long-term sense of responsibility.

 
 

Terra Portable Lamp designed by OEO Studio for Mater (Photo by Mater)

 
 


" Timeless designs exhibit longevity in quality and detail, simplicity that conveys sophistication, and classical values that ensure lasting relevance. "


 
 

Noma Kyoto 2025 with interior design by OEO Studio. (Photo by Mitsuru Wakabayashi)

 
 

設計之所以具有跨越疆界的影響力，在於它作為全球性語言的本質。「真正有力的創作超越語言的傳述，它能夠直觀地觸動人們的情感，緊密牽繫在地的文化脈絡。這種深層的觸動與共鳴，正是設計能夠被長久記憶與理解的關鍵所在。」承接這樣的理念，我們接著問，對 Thomas 而言，一件好的作品，應該是完整的，還是應該保留空間，讓人們參與其中、共同塑造？

他的答案揭示了設計的雙重本質：兩者都重要 — 設計應該具備完成度；不過，為人與物之間的連結騰出空間，亦同等關鍵。它應該被使用，隨著使用而演變，逐漸積累痕跡與歲月的光澤。

 
 

  • The influence of design lies in its nature as a universal language. “Good design transcends spoken language, tapping into human emotions and local contexts. The most powerful creations resonate intuitively and form deep cultural connections. This is what allows them to be remembered and understood over time,” says Lykke.

    Building on this idea, we asked whether a good design should feel complete or leave room for people to take part and shape it over time. His answer revealed the dual essence of design: both are important.

    “Good design is like a book being written—a personal narrative that tells unique stories. Imagine if a hundred-year-old table could speak, what kind of story would it share?”

    Perhaps this is the reminder our time needs most, prompting us to consider a deeper question: are we creating objects destined to be forgotten, or works that carry time within them? The answer we choose ultimately defines the soul of the design.

 
 

Koshido Cabinet designed  by OEO Studio and Garde Hvalsøe. (Photo by Alona Vibe)

 
 


" Good design should feel complete, but personal connections are equally important. It should be used and evolve, gaining marks and patina over time. "


 
 

Kaikado Café Kyoto with interior design by OEO Studio. (Photo by Kunihiro Fukumori)

 
 

Lykke Kitchen designed by OEO Studio for Garde Hvalsøe. (Photo by Michael Rygaard)

 
 

「好設計彷如一本正在撰寫的書，那是一段屬於個人的敘事，講述著獨一無二的故事。讓我們試著想像：如果一張百年老桌子會說話，它會分享著什麼樣的故事？」

或許，這正是我們這個時代最需要的提醒，也是引導大家思索一個更深層的問題：我們是要創造會被時間遺忘的物件，還是要創造能夠記住時間的作品？你心中的答案，已然決定了作品的靈魂所在。

 
 

Noma Kyoto 2025 with interior design by OEO Studio. (Photo by Mitsuru Wakabayashi)

 
 
 
 

Photo credit/ OEO Studio, Mater, Kunihiro Fukumori, Yasuhito Shimizu, Mitsuru Wakabayashi,&Tradition, Alona Vibe, Michael Rygaard, Christian Hoyer
Interview、Text/ ChichiL

 
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