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Outlier Lofts / French 2D

由专筑网杜雨川,李韧编译

来自建筑事务所的描述:独立阁楼项目由美国波士顿的French 2D建筑事务所翻新,建筑师解决了许多场地历史问题。场地位于Charlestown附近,现有的结构经历了一系列的重新改造,建筑师将历史结合进全新的设计方案之中,并且通过“背立面”与“正立面”等3条边来构思。

Text description provided by the architects. Outlier Lofts, designed by Boston-based architecture firm French 2D, is a renovation that addresses the site’s many historical layers. Sited on an urban corner in the neighborhood of Charlestown, the existing structure underwent a series of re-orientations, a history that French 2D threads into the new design, considering the way its three sides operate as both ‘backs’ and ‘fronts’ of the building.

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这座建筑最初建于19世纪,是一系列相互联系的联排建筑,建筑入口面向运河,沿着铁路还有着大片马铃薯棚。上世纪60年代的一场大火烧毁了部分建筑,后来建筑进行了改造,其主要入口面向街道,改造为一座酒吧。建筑师在改造中将酒吧设置为侧入口,并构思了三种风格的阁楼,使用者可以从建筑的一侧进入。每座阁楼面积约为1529平方英尺(约142平方米),有两间卧室和两间浴室。原有的入口仍然位于建筑的正立面,并且还设计了全新的窗户,从而呼应联排建筑的整体韵律。建筑师重新构思了原本烧毁的部分,并结合全新的锯齿屋顶,形成北美“霍克式”的轮廓,而这个立面则直接面对着道路。建筑的短边位于传统建筑之中,它们相互融洽。 合作伙伴Jenny French说:“这座建筑就好像在欢迎来到波士顿的人们,这座建筑就如同城市的大门,一侧对外开放,一侧则向内。”

The building was originally constructed in the 19th century as a pair of connected townhouses with entrances facing a wide canal and a sea of potato sheds along a trainline. Following a fire in the 1960s that destroyed the third floor, the building was reoriented, with its main entrance shifted to an abutting side street, eventually becoming a bar. The current renovation maintains the bar’s side entrance and creates three loft-style flats, entered from the short side of the building. Each loft measures 1,529 square feet with two bedrooms and two baths. The ghosts of previous entrances are maintained along the building's original frontage with the new window arrangements that echo the townhouse rhythm. The architects re-introduced the lost third floor, incorporating a new saw-tooth roof that creates a “mohawk-like” profile facing the elevated highway and roads beyond. The short side of the building maintains a straight-faced integration among its more traditional neighbors. “Like a friendly nod to those entering Boston from the highway, the reimagined building addresses the city as a new front face for a neighborhood that might otherwise be seen as inward-looking,” notes cofounding partner Jenny French.

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在设计方案之中,建筑师对于建筑内部空间的塑造有着浓厚的兴趣,同时通过立面形态来适应历史气息。原有的酒吧虽然不具标志性,但是有着很高的政治知名度,大概是因为历史上的政客,酒吧所在的原有建筑“Old Sully’s”是当地较为隐蔽的建筑,而这里也成为了Ben Affleck最近电影《The Town》的拍摄场所。建筑师通过这些背景信息,以及城市的工业特色,让这座看似简约的现代住宅独具多重历史气息。

For the new design, French 2D engaged in a deep interest in the imagined inner life of the building, and in creating a surface tension that accommodates it’s many historical iterations. With no signage but high political visibility (via a historically political clientele), the bar that previously inhabited the building  – ‘Old Sully’s’ – was one of the most invisible yet visible buildings in Charlestown. It also served as a location in Ben Affleck’s recent film The Town. French 2D worked through these narratives, as well as that of the original townhouses with an industrial edge, to arrive at a contemporary dwelling that allows multiple histories to be read through a single structure.

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建筑师对于生活与历史层次的构想还存在于建筑的实验性理念,从而形成了阁楼的内部场景。合作人员Anda French说:“该项目通过视觉化平台等表现工具来推测建筑产品的发展趋势,而这种视觉化策略则是一种渲染技术,这种技术风靡房地产行业,一般用于房屋的销售工作,另外建筑师还通过正立面投影视图来表达建筑的特征。建筑的平面与立面都表达了多重现实景象,而最后呈现出的场景不仅表达了建筑的过去,更是映射了建筑的未来发展。”

French 2D's interest in imagined lives and layered history is explored beyond the architecture in an experimental staging project to create the interior images of the lofts. Says co-founding partner Anda French, “This project speculates on architectural production by misusing representational tools like virtual staging, a rendering technique popular in the real estate industry to sell empty homes, and by using orthographic drawings to conjure ghosts.  Plans and elevations collapse multiple realities, while final photographs are inhabited by a cast of the structure’s past and future furniture residents.”

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建筑设计:French 2D
地点:美国 波士顿
面积:1600.0平方英尺(148.6平方米)
项目时间:2018年
摄影:John Horner

Architects: French 2D
Location: Boston, Massachusetts United States
Area: 1600.0 ft2
Project Year: 2018
Photographs: John Horner

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