Beyond SAOTA

2018-11-01 19:00

 © Adam Letch & Stefan Antoni

(亚当·莱奇)

建筑师提供的文字说明。超越是当代生活和艺术的一个背景，在那里，现代家庭的完全舒适与从它的戏剧环境中汲取的元素结构有效地结婚。

Text description provided by the architects. Beyond is a contemporary setting for life and art, where the full comfort of a modern home is potently married to an elemental architecture drawn from its dramatic setting.

Text description provided by the architects. Beyond is a contemporary setting for life and art, where the full comfort of a modern home is potently married to an elemental architecture drawn from its dramatic setting.

 © Adam Letch & Stefan Antoni

(亚当·莱奇)

坐落在狮子头的肩膀上，由SAOTA设计的家，从陡峭的山坡上冒出来，从著名的克利夫顿白色海滩到十二使徒。从Nettleton路的入口-南非最受欢迎的街道-给人一种精心构思的印象，即四层较低的楼层，上面还有两个更高的层次的迷人的一瞥。底层有六间宽敞的卧室，其中三间可以作为家庭套房相互连接，还有一间配有温泉、游戏和电影院的双容量娱乐空间。主楼位于这栋建筑的最顶层-一个宽敞、双高的开放式空间，其中包括厨房、酒吧、餐厅、客厅和家庭客房，以及位于阁楼层的冬季休息室、书房和艺术工作室。内外之间的琉璃线向后剥离，模糊了连续透明空间中的边界，这一空间将一个宽敞的后花园直接连接到台山国家公园，另一个游泳池则延伸到前面的大海。

Perched on the shoulders of Lion’s Head, the home, designed by SAOTA, springs from a steep hillside that drops off to the famous sequence of Clifton’s white beaches to the Twelve Apostles beyond. Entry from Nettleton Road - the most sought-after street in South Africa - gives a carefully composed impression of four lower stories with tantalising glimpses of two more levels towering above. The lower levels play host to six generous bedrooms, three of which can be interlinked for a family suite, and to a double volume entertainment space complete with spa, games and cinema. Principal living is at the very top of the building – an expansive, double-height open plan space which houses kitchen, bar, dining, living and family rooms as well as a winter lounge, study and art studio at a mezzanine level. The glazed lines between inside and out peel back to blur the boundaries in a continuous transparent space which links a generous back garden opening directly onto Table Mountain National Park to a pool which stretches out towards the sea in front.

Perched on the shoulders of Lion’s Head, the home, designed by SAOTA, springs from a steep hillside that drops off to the famous sequence of Clifton’s white beaches to the Twelve Apostles beyond. Entry from Nettleton Road - the most sought-after street in South Africa - gives a carefully composed impression of four lower stories with tantalising glimpses of two more levels towering above. The lower levels play host to six generous bedrooms, three of which can be interlinked for a family suite, and to a double volume entertainment space complete with spa, games and cinema. Principal living is at the very top of the building – an expansive, double-height open plan space which houses kitchen, bar, dining, living and family rooms as well as a winter lounge, study and art studio at a mezzanine level. The glazed lines between inside and out peel back to blur the boundaries in a continuous transparent space which links a generous back garden opening directly onto Table Mountain National Park to a pool which stretches out towards the sea in front.

 © Adam Letch & Stefan Antoni

(亚当·莱奇)

入口外墙回应了勒·柯布西耶(Le Corbuser)对建筑的定义，即“聚集在光中的大众的精彩表演”-随之而来的穿越空间和光的旅程，显然是受到现代主义运动的启发。从海绵状的入口大厅几乎是海岛的处理，游客被引导到更高的生活水平的慷慨的灯光。同样地，空间体验也被考虑在内；房子感觉就像一种坚固、无缝的形式，其功能是通过相交的平面、天花板和地板处理来定义的。这一概念的使用方式是，从玻璃棒的宏观尺度，它的釉面形式戏剧性地从屋外滑出，用玻璃地板漂浮在游泳池上，再到主休息室上方粗糙的混凝土和下面水平上的木材天花板的材料尺度-这符合这座房子的真正精神-是由同样有瑕疵的木板制成的，这些木板遮住了上面的混凝土。

The entrance façade responds to Le Corbusier’s definition of architecture as a “magnificent play of masses brought together in light” – and the journey through space and light that follows is clearly inspired by the Modernist movement. From the almost chiaroscuro treatment of the cavernous entrance hall the visitor is led upwards towards the generous light of the upper living levels. The spatial experience is similarly considered; the house feels like a robust, seamless form whose functions are defined by intersecting planes, ceilings and floor treatments. This concept is used from the macro scale of the bar whose glazed form slides dramatically out of the house, floating over the pool with a glass floor, to material scale of the rough concrete over the main lounge and the timber ceiling on the level below – which, in the true spirit of this house - is made from the very same blemished boards which shuttered the concrete above.

The entrance façade responds to Le Corbusier’s definition of architecture as a “magnificent play of masses brought together in light” – and the journey through space and light that follows is clearly inspired by the Modernist movement. From the almost chiaroscuro treatment of the cavernous entrance hall the visitor is led upwards towards the generous light of the upper living levels. The spatial experience is similarly considered; the house feels like a robust, seamless form whose functions are defined by intersecting planes, ceilings and floor treatments. This concept is used from the macro scale of the bar whose glazed form slides dramatically out of the house, floating over the pool with a glass floor, to material scale of the rough concrete over the main lounge and the timber ceiling on the level below – which, in the true spirit of this house - is made from the very same blemished boards which shuttered the concrete above.

 © Adam Letch & Stefan Antoni

(亚当·莱奇)

住宅中的光、空间和原材料的巧妙的相互作用对它的另一个家庭来说是慷慨的主人--这是当代南非艺术的一个集合。家庭和画廊之间的线条总是模糊的；从保罗·布姆·布伦·织锦和保罗·埃德蒙克斯（PaulEdmunds）雕塑为神秘的入口大厅提供了动画，在双体积娱乐区域内漂浮的波尔基Heifer的嬉戏（和居住）“河豚鱼”，到非洲面具在厨房里工作到黑暗的墙壁上，收集总是小心翼翼地与建筑一起工作。内部由ArRCC和Okha共同创建。

The masterful interplay of light, space and raw materiality in the house plays generous host to its other family – a considered collection of contemporary South African art. The lines between home and gallery are always blurred; and from the Paul Blomkamp tapestry and Paul Edmunds sculpture which animate the mystical entrance hall, to Porky Hefer’s playful (and inhabitable) “Blowfish” which floats within the double volume entertainment area, to the African masks worked into the dark walls over the kitchen, the collection is always carefully curated to work with the architecture. The interiors were created by ARRCC together with OKHA.

The masterful interplay of light, space and raw materiality in the house plays generous host to its other family – a considered collection of contemporary South African art. The lines between home and gallery are always blurred; and from the Paul Blomkamp tapestry and Paul Edmunds sculpture which animate the mystical entrance hall, to Porky Hefer’s playful (and inhabitable) “Blowfish” which floats within the double volume entertainment area, to the African masks worked into the dark walls over the kitchen, the collection is always carefully curated to work with the architecture. The interiors were created by ARRCC together with OKHA.