这个项目由Adam Nathaniel Furman和Sibling Architecture共同完成，通过从三个空间类型–闺房、沙龙和俱乐部–中汲取灵感，为NGV三年展2020改造NGV的画廊厨房，挑战和重新思考人们如何聚集和社交的规范。现有的咖啡馆被改造成令人啼笑皆非的充满活力的场景，以玩弄人们如何聚集和社交的外观。在中心，一根柱子变成了一个圆形的T台。对于那些不准备大摇大摆的人来说，带有身体图案的谦虚屏风打破了晚餐之间的界限，包括这些谦虚屏风可以在空间中重新排列。屏风，或者说窥视孔，提供了一个窥视同性恋世界的时刻。

This project, by Adam Nathaniel Furman and Sibling Architecture, transforms NGV’s Gallery Kitchen for NGV Triennial 2020 by drawing inspiration from three spatial typologies – the boudoir, the salon, and the club – to challenge and rethink norms of how people come together and socialise. The existing cafe is transformed with ludicrously vibrant scenography that plays with the appearance of how people gather and socialise. At the centre, a column becomes a circular catwalk. For those not prepared to strut, modesty screens, with bodily motifs, ruptures divisions between dinners, including as these modesty screens can be rearranged in the space. The oculi, or peepholes, provide a moment to peer through to a queer world.

这个项目结合了闺房、沙龙和夜总会的设计策略：在这个过程中，重要的是要记住，这些历史上的室内空间提供了一些活动和身份的场所，在这些场所中，常态之外的活动和身份–比如作为一个女人或同性恋者，或者有某些政治或宗教信仰–可以发生和存在。灵感来源之一是Eileen Grey的Boudoir de Monte Carlo (1923)，它将闺房建立在餐厅和卧室之间的空间，使之成为休息、聚会和娱乐的多维空间。这个空间的不确定性–“用途 “并没有被设计过度决定–是其基础。十八世纪的闺房中出现的谦虚屏风，也是错乱场景的一部分。夜总会也是一个多功能的空间，不同的人分层聚集在一起的时刻。我们从都灵的Piper和墨尔本的Inflation等地获得了灵感，跨环境、跨身体的观点是如何分层的。

The project combines design strategies from the boudoir, salon and nightclub: in this process, it is important to remember that these historical interiors provided locations where activities and identities outside of the norm – such as being a woman or queer, or having certain political or religious beliefs – could occur and exist. One source of inspiration is Eileen Grey’s Boudoir de Monte Carlo (1923), which builds upon the boudoir as a space to retreat between the dining room and bedroom to a multidimensional space for rest, parties and pleasure. The indeterminacy of that space -where ‘use’ is not overdetermined by design – was foundational. Modesty screens, found in the boudoirs of the eighteenth century, also take part in the mis-en-scene. The nightclub is also a multifunctional space with a layering of different people that come together for a moment. We took inspiration from Piper in Turin and Inflation in Melbourne, among others, in how views across environments, and bodies, are layered.

这个项目也从意大利发明的沙龙中得到启发，沙龙成为对话和交流的舞台–特别是对于女性，以及那些有非正常宗教和意识形态信仰的人来说–在这里，私人室内没有社会等级制度。家具的摆放允许不同的人在空间中进行交流。总的方法是将这三种类型的设计策略结合起来，注重空间中身体的关系，而不是复制室内空间。由此，一种新的类型出现了–Boudoir Babylon。

The project also took cues from the Italian invention of the salon, which became theatres of conversation and exchange – particularly for women, and for those with nonnormative religious and ideological beliefs – where there is an absence of social hierarchy within the private interior. The furniture arrangement allowed for different constellations of people in the space. The overall approach was to combine design strategies from these three types that focus on the relationships of bodies in space rather than replicating the interiors. From this, a new type emerges – Boudoir Babylon.

建筑师：Adam Nathaniel Furman, Sibling Architecture
面积：400 m²
年份：2020年
摄影：Sean Fennessy, Tom Ross, Eugene Hyland
设计团队：Adam Nathaniel Furman, Timothy Moore, Nicholas Braun, Amelia Borg, Jane Caught, Qianyi Lim, John Tanner
城市：墨尔本
国家：澳大利亚
Architects: Adam Nathaniel Furman, Sibling Architecture
Area: 400 m²
Year: 2020
Photographs: Sean Fennessy, Tom Ross, Eugene Hyland
Design Team:Adam Nathaniel Furman, Timothy Moore, Nicholas Braun, Amelia Borg, Jane Caught, Qianyi Lim, John Tanner
City:Melbourne
Country:Australia