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Day-to-day life can also be a holiday."Put on your jewelry, and life becomes a holiday." This simple ideal struck a chord with us when we first encountered Vacanza — holidays are not out of reach, but rather a mindset of open perspectives.In the spatial design logic of Vacanza Accessory’s office, we discarded point-to-point, grid-like partitioning and instead opted for winding, non-directional pathways. These create a sense of “exploration” for the users as they move through the space, rather than adhering to the traditional focus on efficiency that compresses individual experience. We hope that through these meandering paths, even a brief walk from their desks to the breakroom can provide a moment of respite in a busy life, like a ritual of self-healing.
品牌于现有的办公室旁拓展了新部门空间，盼能加强商品开发部门与设计总监的沟通强度，同时提供行政、仓储更具余裕的运作环境。基于对现址的熟悉度，业主首先提出大楼落地窗西晒的问题，因传统格局将会议间划于窗边，开会得忍耐曝晒之热；再者，会议间阻断落地窗采光，加上各部门常规隔间的墙体，使工作区域自然采光不足。为此，我们将入口临窗西晒侧设定为短暂停留的动线区，让工作位置脱开日晒范围，别于传统接待柜台及等候区模组，我们设计几座高背座椅建构这段过度空间，这些看似随机的块面如雕塑错落于窗边，比固定隔间更具灵活性，其造型易于控制屏蔽比重又能遮阳，访客候位可于椅阴影乘凉，业主也能利用如墙形式配置品牌讯息。
The brand has expanded a new department space adjacent to the existing office, aiming to strengthen communication between the product development department and the design director, while also providing a more spacious environment for administrative and warehouse operations.Based on the familiarity with the current location, the client first raised the issue of west-facing sunlight through the building’s floor-to-ceiling windows. Traditionally, meeting rooms are placed by the windows, making employees endure heat from sun exposure during meetings. Furthermore, the meeting rooms block the natural light from the floor-to-ceiling windows, and the walls of the regular department partitions further reduce the natural lighting in the work areas.
我们也开始思考空间的惯性是什么？办公空间的配置逻辑除了切割公私领域、有效率分割部门座位外，是不是有一些比较有趣的方式重新经营这段时间与空间？毕竟工作在一日生活中占有相当时间比例，我们又能透过场域改变哪些互动及感受？
We also began to wonder what the conventions of traditional spaces are. Beyond simply dividing public and private areas or efficiently organizing departmental seating, are there more interesting ways to rethink how we manage time and space? After all, work occupies a significant portion of our daily lives. How can we use spatial design to transform interactions and experiences within this context?
制式的水平垂直座向的办公室动线，看似很有效率的沟通动线，却也会造成许多长廊。因此初始配置就希望突破惯性，将座位轴线转向成45度角对应整片落地窗，一方面遮挡西晒问题，也让整体进光量变得更多。加上室内不顶天花板的隔间手法，使用者身处不同角落能从梁下、天花板间隙透出的光线强度、背景色彩甚至声响动态，感知到后方二、三层空间的视觉延续，放大对空间尺度的感受。
The conventional horizontal and vertical office layout may appear efficient in terms of communication flow but often results in long corridors. Therefore, we aimed to break from this norm by orienting seating arrangements at a 45-degree angle relative to the expansive floor-to-ceiling windows. This approach not only addresses the issue of westward sun exposure but also increases overall natural light intake. Additionally, by avoiding full-height partitions, users can experience varying light intensities, background colors, and even dynamic sounds from different corners of the room. This setup creates a visual continuity with the spaces behind and above, enhancing the perception of spatial scale.
By arranging the walls with angled turns and visual continuity, we not only avoid harsh sunlight but also allow light to meander to the back of the space, naturally enhancing the sense of flow and exploration. Moving away from traditional point-to-point, grid-like office layouts, we implemented winding, non-directional pathways. With partitions that do not reach the ceiling, we extend the communication route from point A to point B, encouraging more movement and interaction. This winding journey allows users to reflect, breathe, and release, much like a ritual of self-healing.
除了45度角改变视野，概分部门一段主要立面以不封闭动线的弧墙，渐次展开各区域工作动态。步入开放办公区，将先迎来商品展示区、商品开发部门及总监办公室。此区亦作为空间核心，水滴状曲面界定商开部座位与总监室的范围，却非完全截断动线、采光，由于商品开发部门是强调创意属性的空间，互动性跟关联性的需求强烈，也需比邻总监办公室，充分发挥讨论的即时性。在界定出面积范围后，商开部共用的办公大桌，兼顾工作与讨论会议的功能，并依人数局部内挖、斜切桌面，使这张轮廓特殊的桌子拥有不同坐向的边缘，而内凹的区域则作为商开主管的座位区，方便沟通创意并保有隐私，消弭硬体隔间带来的阶级性，视觉上亦延续整体突破框架的开放策略。
In addition to the 45-degree angle altering the perspective, a main partition dividing the departments is designed with a curved wall that does not completely enclose the pathway, allowing for a gradual unfolding of each area’s work dynamics. Upon entering the open office area, you will first encounter the product display area, the product development department, and the design director’s office. This area serves as the core of the space, with a droplet-shaped curve defining the boundaries between the product development department and the director’s office. However, it does not entirely block the flow or natural light.
Given that the product development department emphasizes creativity and has strong needs for interaction and connectivity, it must be adjacent to the director’s office to facilitate timely discussions. Once the spatial boundaries are defined, the shared workbench for the product development department serves both work and meeting functions. The table is partially recessed and cut at an angle according to the number of people, giving this uniquely shaped table edges that accommodate different seating orientations. The recessed area is designated as the supervisor's seating zone, facilitating creative communication while maintaining privacy. This design eliminates the hierarchical separation typically created by physical partitions, and visually aligns with the overall strategy of openness and breaking boundaries.The pathways lead to an open, plaza-like area, where private meeting rooms are placed along the walls. These rooms maintain the diagonal contours to incorporate natural light, resembling a complete cube pushed inward. Within the volumes, partial and misaligned layers provide concealment, with movable panels controlling the degree of openness.
如此空间是全体相连、随个人或小群体再行分枝的型态，既非僵化也非松散，包容的连续性将带给使用者和缓、并能持续创造意涵的支持。而过往因理货作业总显杂乱的仓储区，在此移至空间最底端，虽然仍用开放层架方便作业，但有别于过往粗暴一分为二的方式，透过45度转向控制过滤较杂乱的部分，将前方座位区、隔板作为前景，保留局部理货动态，人的视线得以延伸穿透，即便是理货的端景也是有趣的画面。
In this space, the overall design is interconnected, with the ability to branch out for individuals or small groups, striking a balance between rigidity and looseness. The inclusive continuity provides users with a supportive and soothing environment that continually creates meaningful experiences.Previously chaotic storage areas due to inventory operations have been relocated to the far end of the space. While open shelving is still used for convenience, the new layout differs from the past’s stark division. By incorporating 45-degree angles, the design filters out more chaotic elements and uses the seating area and partitions as a foreground. This approach preserves some dynamic aspects of the inventory process, allowing visual extensions through the space. Even the end view of the inventory area becomes an engaging and interesting scene.
我们以非规则线条分流使用模式，而非依照部门人数僵硬圈地划分。非矩形、非制式划分的办公场域，色调与材质是界定工作范围的重要指标，或者区域属性的延续、转介。大块面冲撞色彩的变化也形成强烈感受，尤其商开部门是一个需要创意刺激的区块，就像饰品的多样性，提供工作伙伴更多刺激来源。像是工作区之一以冷冻PVC门帘替代传统隔板为界线，其透光、鲜明的黄色不仅视觉浓烈，光线穿透、晕染、渗透至他区的特殊效果，又与另一夹板染靛蓝色对比互映，形成工作路径上极具感官强度的端景。天花板及地坪则转用降低彩度的淡灰绿、粉蓝，延续配色逻辑也松动紧密度，使人感到气氛强弱转换。
We use irregular lines to guide usage patterns rather than rigidly dividing spaces by departmental numbers. In a non-rectangular, non-standard office layout, colors and materials are crucial indicators for defining work areas or transitioning between zones. Large blocks of contrasting colors create strong impressions, especially in the product development department, which requires creative stimulation. Just like the diversity of jewelry, this approach offers more sources of inspiration for team members.For example, one of the work areas is separated by a cold storage PVC curtain instead of traditional partitions. Its translucent, vibrant yellow not only creates a striking visual impact, but also allows light to pass through, casting unique gradients and permeating into adjacent areas. This effect contrasts and interacts with another birch plywood panel stained in indigo, forming a visually intense focal point along the workspace path. The ceiling and flooring, on the other hand, use desaturated light gray-green and pastel blue tones, maintaining the color scheme while easing the intensity, creating a subtle shift in the overall atmosphere.
为了在有效的成本控制中做出质感，我们也利用大量的原始材料，例如夹板染色取代贴木皮、镀锌板直接做隔间墙、地板选用色块地毯，因为这些都是趋近于本质的材料，毋需额外贴附材质修饰，包括原办公室的轻钢架也仅用色彩改变原先质地。在实际行进于空间中时，你会观察到不同时段的光线进来，反射到分界线的镀锌板因能折射光线，在环境中产生近似补光效果，并让背景色、人影又在其上反射叠染，那渐层也与木板染蓝效果相近，于是透过反射出来的光线和折射出来的色彩，每天都会有不一样的发现。让使用者在日常繁忙的工作中，在行进间感知到一些不一样的地方，而非被关进日复一日的循环中。藉由不一样的工作风景，让人的感知能力持续进行。
To achieve quality within effective cost control, we utilize raw materials extensively. For instance, we use dyed plywood instead of veneer, galvanized steel for partition walls, and colored carpet tiles for flooring. These materials are close to their essence and do not require additional surface treatments. Even the original lightweight steel frames in the office are only modified by changing their color.As you move through the space, you'll observe how the light changes at different times of the day. The galvanized panels along the dividing lines, which reflect light, create an effect similar to fill lighting within the environment. Background colors and human shadows are reflected and layered onto these panels, and the gradient resembles the effect of the stained blue plywood. The interplay of reflected and refracted light creates a dynamic environment, offering new discoveries each day. This approach allows users to experience subtle changes in their surroundings amidst their busy routines, breaking the monotony of daily cycles and continually stimulating their perceptual abilities with varied work vistas.
不同区域衔着的色调和材质感受，也恰如纪录假期的各式镜头，有日光下如数位影像聚焦清晰的会议桌；如旧胶卷成像的鲜黄滤镜，也有冲孔铁片看出去、轮廓模糊如低像素时代的画面，透过不同观景窗和媒介，相遇或偶遇的感官被放大、标注或格放记载。如同电影《The Secret Life Of Walter Mitty》传达的讯息：在日常琐碎里，应该勇敢跳脱惯性，追求属于自己的「25号底片」。在工作中，即便是平易近人的细节，一旦打破僵化日常，就是实践旅行的开始。
The color tones and material textures transitioning between different areas of the space are akin to capturing various scenes of a vacation. There's a conference table sharply focused like a digital image under daylight; a bright yellow filter reminiscent of old film rolls; and perforated metal sheets offering views that blur like low-resolution imagery. These varied perspectives enhance and annotate sensory experiences, much like frames captured through different lenses and mediums.As The Secret Life of Walter Mitty conveys, amid everyday trivialities, we should boldly step out of our routines to seek our own "Film No. 25." In the workplace, even small, approachable details, when they disrupt the monotony, signify the beginning of a journey.
项目地点 | 台北
Project Address | Taipei
项目面积 | 476㎡
Project Area | 476 sqm
品牌 | Vacanza假期国际
Brand | Vacanza Accessory
设计时间 | 2024.02-2024.04
Design Period | 2024.02-2024.04
施工时间 | 2024.05-2024.07
Construction Period | 2024.05-2024.07
主持设计 | 李智翔、葛祝纬、汤传亚、曾芷薇/水相设计
Chief Designer | Waterfrom Design
空间摄影 | 揅空间工作室
Space Photography | Studio Millspace
水的形狀來自承載的容器，以無垠想像適應環境變化。——水相設計。
成立於2008年的水相設計跨足室內與建築領域，秉持設計應如『水』的初衷，純淨、有機又多變，本質上保持其原有的簡潔性，意念上展現無框架的可能性。我們致力關注於空間的故事脈絡及時間光線，創造一個具有情感沉澱及訊息想像的空間。近年來，水相設計陸續榮獲紅點產品設計大獎、德國if 設計大獎、A’Design Award、國家金點獎、台灣室內設計大獎、亞太室內設計大獎、IIDA Best of Asia Pacific Design Awards、BoY (Interior Design Best of Year)等獎項殊榮，作品也深受義、荷、法、韓等國際媒體報導。更於2018被美國指標媒體 INTERIOR DESIGN評選全球40間新堀起設計事務所。
予人『沉澱』的空間
我們不希望以『開宗明義』的設計手法，我們希望的作品是，生活在此空間中一段時間、一個月、一年，甚至十年後，讓時間沉澱過後對於空間有不同的解釋與感情。
予人『想像』的空間
我們不做『一目了然』的設計，我們希望空間使用者自己尋找答案，找到屬於自己的劇本，就像藝術評論家用不同的角度闡述畫作。我們試著傳達一種意想不到的訊息，有時使用者比我們更早找到答案。
