洛杉矶的房子1是一个多方面的艺术工作室和住宅院落,为一对专业的视觉艺术家,一个画家和一个摄影师。该项目包括对客户现有的中世纪住宅的增建,一个为他们的工作提供工作室空间的客房,以及用于展览和活动的专用结构,客人可以在室内和室外空间之间无缝移动。坐落在洛杉矶海兰帕克社区的一个深层住宅区的中间,该建筑群的四个结构通过一条长长的车道与街道相连,并流畅地散布在广阔的半英亩山顶地块上,重新定义了整个洛杉矶传统的紧凑、正面朝上的郊区建筑。

House in Los Angeles 1 is a multifaceted art studio and residential compound for a pair of professional visual artists, a painter, and a photographer. The project comprises an addition to the clients’ existing mid-century home, a guest house that provides studio space for their work, and dedicated structures for exhibitions and events during which guests can move seamlessly between indoor and outdoor space. Situated in the middle of a deep residential block in Los Angeles’s Highland Park neighborhood, the compound’s four structures are joined to the street by a long drive and scatter fluidly across the expansive half-acre hilltop lot, redefining traditionally compact, front-facing suburban architecture across Los Angeles.

在视觉上,不同的结构由一系列独立的墙体连接起来,这些墙体的灵感来自于该地块现有的牧场房屋–特别是它唤起了洛杉矶建筑师Cliff May设计的世纪中期战后 “梦想家园 “的方式。”LADG的联合创始人和共同负责人安德鲁-霍尔德(Andrew Holder)说:”梅的住宅设计之所以引人注目,是因为墙壁和内部元素似乎自由地漂浮在地面上,而不是简单地重申上方屋顶的边界。

Visually, the various structures are connected by a collection of freestanding walls that were inspired by the site’s existing ranch house—particularly the way it evoked mid-century, post-war “dream homes” designed by Los Angeles architect Cliff May. “May’s residential designs are remarkable because of the way walls and interior elements appear to float free on the ground plane, without simply reiterating the boundary of the roof above,” says Andrew Holder, co-founder and co-principal of The LADG.

在整个场地中,墙体的组装在设计中占首要地位,而室内几乎成为副产品。其结果是一个由有盖结构和墙体组成的矩阵,远远超出了它们,划定了户外走廊和动态的多功能空间,用于露天工作和社会互动。

Across the site, the assembly of walls take primacy in the design, while the interiors become almost by-products. The result is a matrix of covered structures and walls that extend well beyond them, delineating outdoor corridors and dynamic, versatile spaces for en-plein-air work and social interaction.

对于一些墙体,LADG借鉴了梅的长滩住宅开发设计方案,该方案强调墙体的不同功能。在《洛杉矶的房子1》中,它们被安排在整个场地,暗示着内部,尽管内部可以被解释为向所有方向延伸。有几面墙延伸到室内空间的界限之外,装满了存储和公用设施,如浴室、户外淋浴、大型帆布存储和设备存储。

For some walls, The LADG borrowed from the plan of May’s designs for his Long Beach tract home development, which emphasizes walls that serve varied functions. Within House in Los Angeles 1, they are arranged across the site to imply interiors, albeit interiors that can be interpreted as extending in all directions. Several walls stretch beyond the bounds of interior space and are packed with storage and utilities like a bathroom, an outdoor shower, large canvas storage, and equipment storage.

横跨洛杉矶的房子的屋顶加强了这种宽广的内部感。它们被松散地放置在墙壁的排列上,以庇护客房、工作室和一个车棚/活动空间,屋檐还覆盖了几乎每个边缘的角落和凹槽。这种安排将房产(包括原来的房子)重新组织成九个海湾,每个海湾都被赋予不同的活动:工作室、庭院、车棚/活动空间、花园、客房、庭院、花园、门廊和主屋。

Roofs across House in Los Angeles heighten this sense of expansive interiority. They are placed loosely atop the arrangement of walls to shelter the guest house, studio, and a carport/event space, with the eaves also covering nooks and recesses at almost every edge. The arrangement reorganizes the property (inclusive of the original home) into nine bays, each of which is assigned a different activity: studio, courtyard, carport/event space, garden, guest house, courtyard, garden, porch, and main house.

该计划的极端松散性是其决定性特征,它将整个场地变成了一系列的房间,这些房间独立于零星的墙壁之间,不受炉灶的约束,就像站在田野中一样,互不相干。因此,在那些可能不在彼此视线范围内的空间之间出现了互惠的关系,这些空间位于墙的两边。例如,在工作室建筑中用于浴室水槽和盥洗室的墙面上的石榴裙,如果从院子一侧考虑,可以作为花园工具的架子。这种对等性存在于整个建筑中,大院表面的小凹槽在一侧发挥着世俗的、程式化的功能,而在另一侧则发挥着某种雕塑般的、更自发的作用。这种多变性回应了客户的具体愿望,以及更普遍地回应了天使们所向往的休闲的室内外生活方式。

The extreme looseness of the plan is the defining feature, turning the entire site into a series of rooms that stand-alone between a smattering of walls, unbound by rooves and disconnected as if standing in a field. As a result, reciprocal relationships emerge between spaces that may be out of view of one another, on opposite sides of a wall. The crenellation in a wall for the bathroom sink and vanity in the studio building, for instance, could be used as a shelf for garden tools when considered from the courtyard side. This reciprocity exists throughout, with little jogs in the compound’s surfaces serving a mundane, programmatic function on one side, and some kind of sculptural, more spontaneous role on another. This versatility responds to the specific desires of the clients as well as, more generally, to the casual indoor-outdoor lifestyle to which Angelenos aspire.

洛杉矶的房子1》的建筑反映了这种休闲的方式,采用明显松散的建筑技术和不起眼的材料。建筑物的最低部分由现浇混凝土制成,在施工过程中使用的木板上有垂直的木纹图案。在这之上,墙壁是白色光滑的抹面灰泥,而屋顶是用最后时间的金属架设的。

The architecture of House in Los Angeles 1 mirrors this casual approach with apparently loose construction techniques and unassuming materials. The lowest portions of the buildings are made of poured-in-place concrete, with a vertical wood grain patterning from the boards used in the construction process. Above this, the walls are white smooth troweled stucco, while roofs are erected with Last-Time metal.

在内部,表面同样不显眼,揭示了制作的过程,反映了该院作为制作和展示艺术的灵活空间的功能。在工作室内,一层干墙位于裸露的墙骨之上,为客户提供了大量的白色墙面,用于绘画和展示工作室参观的成品作品。霍尔德说:”工作室的装修试图让客户可以使用和修改表面,”。天花板上裸露的横梁也可以用来悬挂工作室的照明网,以及根据需要支持其他功能,如货架。暗房也同样采用了最小化的胶合板包覆,客户可以灵活使用和修改。

Inside, surfaces are equally unassuming and reveal the process of making, reflecting the compound’s function as a flexible space for making and showing art. Within the studio, a skin of drywall sits atop exposed studs, affording the client plenty of white wall surface for painting as well as exhibiting finished work for studio visits. “The finish of the studio tries to make surfaces available for the client to use and modify,” says Holder. The ceiling’s exposed beams can also be used to suspend a studio lighting grid, as well as support other features, like shelving, as needed. The darkroom is similarly clad in minimally finished plywood panels, which the client can use and modify flexibly.

这种融合了适应性和耐用性的方法延伸到了景观中,客户将在车棚和工作室之间的院子里举办艺术开幕式和活动,以及接受和释放艺术品的交付。在工作室后面的院子里,将种植本地草,院子里的家具将随着时间的推移,随着客户发现他们喜欢的地方,在他们的日常生活中,临时积累起来。

This approach, which fuses adaptability and durability, extends to the landscape, where the clients will host art openings and events in the courtyard between the carport and studio, as well as accept and release deliveries of art. Native grasses will be planted in the rear-most yard behind the studio, and yard furniture will accumulate ad-hoc over time as the clients discover the places they enjoy spending parts of their daily routine.

Architects: The LADG
Year: 2020
Photographs: Saam Gabay, Injinash Unshin
Project Team:Claus Benjamin Freyinger, Andrew Holder, Trenman Yau, Anthony Chu, Kenji Hattori-Forth, Remi McClain, See Hong Quek, Jonathan Rieke, Morgan Starkey
City:Los Angeles
Country:United States