建筑师提供的文字说明。由波士顿建筑公司法国2D设计的离群值是一个修复站点的许多历史层的更新。在查尔斯顿附近的一个城市拐角处，现有的结构经历了一系列的重新定位，一个历史表明，法国的2D线进入了新的设计，考虑到它的三个侧面都是这样操作的。"后退"以及“前线”大楼里。

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.

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.

 © John Horner

约翰·霍纳

这座建筑最初建于19世纪，是一对连接在一起的联排别墅，入口处面向一条宽阔的运河，沿途有一片土豆棚。在20世纪60年代的一场大火摧毁了三楼之后，这座建筑被重新定位，它的主要入口被移到了一条紧靠的小街，最终变成了一家酒吧。目前的翻修保持酒吧的侧门，并创建三个阁楼风格的公寓，从建筑物的短边进入。每套阁楼面积1，529平方英尺，有两间卧室和两间浴室。以前的入口处的鬼魂被保留在建筑物的原始正面，新的窗户布置与联排住宅的节奏相呼应。建筑师们重新介绍了丢失的三楼，合并了一个新的锯齿屋顶，创造了一个“莫霍克式”的轮廓面对高架公路和道路。建筑物的短边保持了传统邻居之间的直面整合。“就像友好地向那些从高速公路进入波士顿的人致意一样，这座重新设计的大楼把这座城市称为一个新的正面，而这个社区本来可能被视为内向的，”联合创始人之一珍妮·弗伦奇(珍妮·弗兰奇)指出。

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.

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.

对于新的设计，法国2D对想象中的建筑内部生活产生了浓厚的兴趣，并创造了一种表面张力来容纳它的许多历史迭代。由于没有路标，但有很高的政治能见度(通过历史上的政治客户)，以前居住在这座建筑的酒吧-“老萨利”-是查尔斯敦最看不见却最显眼的建筑之一。它也是本·阿弗莱克最近的电影“城市”中的一个地点。法国2D通过这些叙述，以及与工业边缘的原始联排别墅的叙述，达成了一个当代的住宅，使多种历史可以通过一个单一的结构。

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.

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.

 © John Horner

约翰·霍纳

 Folded Drawing

折线图

 © John Horner

约翰·霍纳

法国2D对想象生活和分层历史的兴趣是在一个实验性的舞台项目中被探索出来的，以创造阁楼的内部图像。合作伙伴安达·弗伦奇(Anda France)表示：“这个项目是通过误用虚拟舞台(VirtualStage)等代表性工具来进行建筑制作的，虚拟舞台是房地产行业中一种非常流行的渲染技术，用来销售空置的房屋，并使用正形图来召唤鬼魂。计划和高地会摧毁多个现实，而最终的照片则是由对该建筑过去和未来家具住户的塑造。”

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.”

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.”

 © John Horner

约翰·霍纳