Hillside Residence Alterstudio Architecture

2016-02-26 09:00
 © Casey Dunn
凯西·邓恩
架构师提供的文本描述。Hillside住宅是1927年德克萨斯州奥斯汀特拉维斯高地(Travis Heights)附近一座平房的大规模翻新和扩建。现有的1,000平方英尺的建筑被从破旧中拯救出来;它被抽象地描绘成一片白茫茫的白色,并与一座新的、1100平方英尺的雕塑体积成对,用黑色的柏树包着,并通过一座玻璃入口桥连接起来。类似于MarcelBreuer 1943年提出的双核住宅,住宅分为两个区域-一个用于生活和社交,另一个用于集中精力、工作和睡觉。由于进入中间,双方似乎在相互对话。在内部,这两个区域的定义是明显不同的物质和空间特征,两者的结合是亲切和挑衅性的。
Text description provided by the architects. The Hillside Residence is a substantial renovation and expansion of a 1927 bungalow in the Travis Heights neighborhood of Austin, Texas. The existing, 1,000-square foot building was rescued from dilapidation; it was delineated abstractly in stark white and paired with a new, 1,100-square foot sculptural volume clad in black-stained cypress and connected via a glass entry bridge. Akin to Marcel Breuer’s 1943 proposition for a Bi-Nuclear House, the home is split into two zones—one for living and socializing, and the other for concentration, work and sleeping. By virtue of entering in the middle, both sides appear to be in dialogue with each other. Inside, the two zones are defined in distinctly different material and spatial characters; the combination is both gracious and provocative.
 © Casey Dunn
凯西·邓恩
 Floor Plan

                            
 © Casey Dunn
凯西·邓恩
翻修尊重现有建筑物的配置,保持其独立的房间集合;同时,通过调整组织结构,从根本上改变了房间的性质。也就是说,现在一系列的私人房间取代了原来的公共房间,前廊也被拆除了,使得现有的平房整体完整,但令人感兴趣的陌生,因为它似乎没有任何明显的方式从街道进入。这个私人核是通过一条新的走廊进入的,这条走廊通向一个出乎意料的高大的中央空间,从中可以看到房子的私人房间。与传统的家庭组织不同,这种扩展向后院开放公共空间,相反,其特点是开放性、动态空间连续性和抽象性。精心安排的窗户和天窗进一步打开了房子的天空和阳光,并提供了一个持续扩大的感觉,这个朴素的家。面向太阳能和交叉通风,山腰住宅还配备了雨水收集系统,太阳能光伏阵列,太阳能池热管,蜂窝泡沫绝缘,无水箱热水器等。此外,客户对可持续生活方式的渴望也反映在他们决定集中生活和在家工作上。
The renovation respects the existing building's disposition and maintains its collection of discrete rooms; at the same time, the renovation radically alters the rooms' character through an adjustment in organization. That is, a series of private rooms now take the place of what was public, and the front porch is removed, leaving the existing bungalow’s massing intact but intriguingly unfamiliar as it appears without any obvious way to enter from the street. This private nucleus is accessed through a new corridor that leads to an unexpectedly tall central space, off of which are arrayed the private rooms of the house. Unlike the traditional organization of the home, the expansion opens the public spaces to the backyard and, by contrast, is characterized by openness, dynamic spatial continuity, and abstraction. Carefully orchestrated windows and skylights further open the house to the sky and sun, and provide a continued sense of expansiveness to this modest home. Oriented for solar orientation and cross ventilation, the Hillside residence also is outfitted for a rainwater collection system, a solar photo-voltaic array, solar pool heating tubes, cellular foam insulation, tankless water heaters, etc. Moreover, the clients’ desire for a sustainable lifestyle is also reflected in their decision to live centrally and work from home.
 © Casey Dunn
凯西·邓恩
加法中的一种最终的现代感觉提供了一种平衡的感觉,所包含的空间,在原来的房子。在新旧建筑之间,两个不同的建筑特征的交汇,引发了建筑如何既挑战又强化文化的问题。实际上,这个集合是与城市发展的客观规律相反的:迅速向富裕和偏好住宅建筑尺寸过渡,以最大限度地利用允许的楼面面积比率。相比之下,在这里,一个新的字符取代了“历史上未得到充分利用”的建筑库存。虽然有了新的气质,但仍保持着现有的街道处置方式。
An ultimately modern sensibility in the addition provides a balance to the sense of contained space in the original house. As one passes between the old and new construction, the confluence of two distinct architectural characters gives rise to questions about the ways in which architecture both challenges and reinforces the culture of which it is a part. In effect, the ensemble is a counter-proposal to the immodesties of urban evolution: rapid transition toward affluence and preference for residential building dimensions to maximize allowable floor area ratios. Here, in contrast, a new character replaces a ‘historically underutilized’ building stock. The existing disposition of the street is maintained, albeit with a new temperament.
 © Casey Dunn
凯西·邓恩
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Architects Alterstudio Architecture
Location Austin, United States
Category Extension
Design Team Kevin Alter; Ernesto Cragnolino, FAIA; Tim Whitehill
Project Year 2012
Photographs Casey Dunn

                    

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