马维斯塔的房子是对洛杉矶西部的一座1953年的平房进行的改造。该物业位于离海洋两英里的内陆，在一个较大的郊区总体规划中位于一个死胡同的尽头。
The Mar Vista house is the renovation of a 1953 bungalow in west Los Angeles. Located two miles inland from the ocean, the property sits at the end of a cul-de-sac within a larger suburban masterplan.
客户是一家精品服装店的店主，她想要一个与她的商店里的颜色和图案形成柔和对比的家。作为回应，我们探讨了一个 “全白的房子”。鉴于现有房屋的背景，这个看似简单的指令在概念上被证明是具有挑战性的。虽然它几乎完全是白色的–这是类似的房屋的标志，为了在房地产市场上吸引人而匆忙 “升级”–但它缺乏业主寻求的光线、深度、细节和舒适度。
The client, the owner of a boutique apparel store, wanted a home with a subdued contrast to the color and patterns found in her shops. In response, we explored an “all-white house.” This seemingly simple directive proved to be conceptually challenging given the context of the existing house. While it was almost entirely white, to begin with – a trademark of similar homes that are hastily “upgraded” for appeal within the real estate market – it lacked the light, depth, detail, and comfort the owner sought.
因此，我们在设计中采用了大量的细微差别和多样性，以便在每个空间内达到逐渐展开的深度，同时保持总体的平静感。未经考虑的家庭用品、习惯性的建筑细节和工业标准的材料使用被检查和重新定义，以颠覆它们在家庭中的传统表现。
As such, we approached this design with great nuance and variety to attain a gradually unfolding depth within each space while maintaining a general sense of calmness. Unconsidered objects of domesticity, customary details of construction, and industry-standard uses of materials were examined and redefined to subvert their traditional representation within the home.
厨房岛和抽油烟机被处理成雕塑般的物体，弯曲以软化它们在空间中的存在。天窗被设计得像家具一样，用木制品包覆，每个天窗都装有一个内部灯具，随时提供照明。传统的材料等级被颠倒了，橱柜底部是图形大理石，上面是定制的混凝土背板。整个房子使用了十几种具有轻微触感和色调变化的 “白色 “材料，包括各种大理石、织物、石头、混凝土、玻璃、漆、粉末涂层、染色剂和油漆。每个房间都被分配了一个独特的调色板，所有的表面都是平齐的，以避免任何材料平面优先于另一个平面。
The kitchen island and hood are treated like sculptural objects, curved to soften their presence within the space. Skylights are designed like furniture and clad with millwork, each fitted with an internal light fixture to provide illumination at all times. Traditional material hierarchies are inverted, with graphic marble at cabinet bases and custom concrete backsplashes above. More than a dozen “white” materials with slight tactile and tonal shifts are used throughout the house, including various marbles, fabrics, stones, concrete, glass, lacquers, powder-coats, stains, and paints. Each room is assigned a unique palette defined by use, and all surfaces are detailed flush to avoid anyone material-plane taking precedence over another.
一个新的下沉式座位区被插入客厅，让人联想到在原住宅时代流行的对话坑。这种新的安排从地面以下的不同角度看房子，加强了非典型的材料策略，并提供了一个独特的后花园的有利位置。在房子的另一端，一个斜向的木制隧道有一定的角度，可以从主卧室看到室外的景色，同时也隐藏了里面的一个隐藏的壁橱。几件定制家具和软垫区也被设计成适合每个空间的计划用途。
A new sunken seating area is inserted into the living room, evoking the conversation pits popular during the era of the original home. This new arrangement’s unusual perspective of the house from below ground-level reinforces the atypical material strategies and offers a unique vantage point of the rear garden. At the opposite end of the house, an oblique millwork tunnel is angled to provide views outdoors from the master bedroom, while also concealing a hidden closet within. Several custom furniture pieces and upholstered areas were also designed to suit the planned use of each space.
日光作为最后的 “材料 “凝聚了所有这些策略，随着太阳的移动，不断地用光、影、反射、梯度和色调的变化来重新定义房子。
Daylight acts as the final “material” coalescing all of these strategies, continually redefining the house with shifting layers of light, shadow, reflection, gradient, and hue as the sun moves.
Architects: Part Office
Area: 1516 ft²
Year: 2019
Photographs: Naho Kubota
Contractor: Racing Green
Design Team:Jeff Kaplon, Kristin Korven, Israel Ceja
City:Los Angeles
Country:United States