© Joe Fletcher Photography

乔·弗莱彻摄影

架构师提供的文本描述。在旧金山诺伊山谷的一片山坡上，坐落着一座四层高的建筑-一座四层楼高的建筑，由埃德蒙兹·李建筑师为一个三口之家设计，它包含着垂直的堆叠和清脆的物质性。

Text description provided by the architects. On a down-sloping hillside parcel of land in San Francisco’s Noe Valley sits the Remember House, a four-story project that embraces vertical stacking and crisp materiality and was designed by Edmonds + Lee Architects for a tightly-knit family unit of three.

 © Joe Fletcher Photography

乔·弗莱彻摄影

四层楼的聚集通常会导致空间紧张或重复，所以建筑师们努力使垂直循环既令人联想又有价值，放弃了煎饼式的旧金山房子，那里的一切都以面积最大化，取而代之的是在部分打开房子，最大限度地增加一种宽敞感和建筑冒险感。这意味着在物理可用空间方面做出了很小的牺牲，但在令人愉快的建筑方面却获得了巨大的收获。双高空间和一个楼梯中心在中央脊柱的房子鼓励客户和他们的游客参与每一层。

Four-story massing usually leads to a space that feels tight or repetitive, so the architects worked to make the vertical circulation both evocative and valuable, forgoing the pancake-style San Francisco house where everything is maximized in terms of square footage, and instead opening the house in section, maximizing a feeling of spaciousness and a sense of architectural adventure. That meant a small sacrifice in terms of physically usable space, but a huge gain in terms of enjoyable architecture. Double-height spaces and a staircase centered within the central spine of the house encourage the clients and their visitors to engage with each level.

 © Joe Fletcher Photography

乔·弗莱彻摄影

在内部，建筑师首先从物质性开始，在项目的继承几何学范围内工作，从第一个设计选择开始的全白色调色板，迪内森的白色道格拉斯冷杉地板，建筑师们知道他们将围绕这座房子建造房子。

On the interior, the architects started with the materiality first, working within the inherited geometry of the project, and from an all-white palette that began with the very first design choice, white Douglas fir floors from Dinesen, something the architects knew they were going to build the house around.

 © Joe Fletcher Photography

乔·弗莱彻摄影

他们以白色对白色开始，因为客户普遍关注白色、备用、极简主义，以及他们对室内设计的热情，就像埃德蒙兹·李(Edmonds Lee)那样：比如画廊或博物馆，那里的主要视觉兴趣来自装饰、艺术和家具。建筑师罗伯特·埃德蒙兹(RobertEdmonds)说：“我们正在设计一个中立的画布，他们在上面投射自己的艺术品。这种中性的画布变得无缝，空间从一端流向另一端，材料的连续性有利于流体的过渡，而不是现代主义项目中经常出现的急剧断开。

They started with white-on-white because of the clients’ general aesthetic focus—on white, spare, minimalism—and their enthusiasm for treating interiors the same way Edmonds + Lee do: like galleries or museums where the main visual interest pops from the decor, the art, and the furniture. “We were designing a neutral canvas onto which they project their own artifacts,” says architect Robert Edmonds. That neutral canvas became seamless, with spaces that flow from end to end, and with a continuity of materials that favor fluid transitions over the sharp disconnects so often found in modernist projects.

 © Joe Fletcher Photography

乔·弗莱彻摄影

最尖锐的时刻是在外部调色板的选择。由于该项目是一项需要在现有骨骼和现有地块内工作的翻新工程，因此街道边的聚集需要保持一致；建筑师们对此无能为力。对于室内白度的扩展，以及相邻的两栋房子，都是白色的，建筑师们选择了用一个深色的包层把房子包裹起来，把房子和邻居以及它包含的东西区分开来。

The sharpest moment is in the choice of exterior palette. Because the project was a renovation that required working within existing bones and an existing ground parcel, the street-side massing needed to remain consistent; there wasn’t much the architects could do with it. Offering a counterpoint to the interior’s spreading whiteness, and to the two neighboring houses, both of which are white, the architects chose to wrap the front in a dark cladding, differentiating the house from its neighbors and also from what it contains.

 © Joe Fletcher Photography

乔·弗莱彻摄影

埃德蒙兹·李还设计了室内家具，在整个项目中始终坚持无缝的理念。建筑师们在原理图的层面上思考了物质和空间(资本-A建筑的伟大理念)，同时也考虑了家具和室内设计。他们的审美焦点探索了一切，从最大的质量到最小的细节-它允许精确而充满活力的空间、材料和建筑编排，比如滑动门，建筑师们为此引入了一个大窗框，以带来一种坚固、历史和沉重的感觉，或那些道格拉斯冷杉地板，两英寸厚的木头，创造了埃德蒙兹认为是一种难以置信的触觉体验。

Edmonds + Lee also designed the interior furnishings, working with an ongoing notion of seamlessness all the way though the project. Working on a schematic level, the architects thought about materiality and space, (the big ideas of capital-A Architecture), but also furniture and interior design. Their aesthetic focus explored everything from the greatest mass to the smallest detail - which allowed for a precise and vibrant spatial, material, and architectural choreography, like the sliding doors, for which the architects introduced a large window frame to bring a sense of solidity, history, and heft, or those Douglas fir floorboards, two-inch thick pieces of wood that create what Edmonds sees as an incredibly haptic experience.

 © Joe Fletcher Photography

乔·弗莱彻摄影

记住的房子是由客户命名的，以帮助他们记住他们从哪里来，以及他们为到达这里做了什么。永远不要忘记，建筑，空间和设计创造了最终的基础，以此为基础，建立一个引人注目和难忘的生活。

The Remember house was named by the clients to help them remember where they’d come from, and what they’d done to get here. To never forget that architecture, space, and design create the ultimate foundation from which to build a compelling and memorable life.

 © Joe Fletcher Photography

乔·弗莱彻摄影

Architects Edmonds + Lee Architects

Location San Francisco, United States

Lead Architects Robert Edmondsd, Vivian Lee

Area 4000.0 ft2

Project Year 2016

Photographs Joe Fletcher Photography

Category Houses

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