架构师提供的文本描述。艾伦街120号位于曼哈顿的下东区，由16间家具齐全的工作室和4套家具齐全的公寓组成，其中有一间有品位的商业空间。Grzywinski Pons设计了建筑、内部和大部分家具。该物业位于一栋古典的硬质公寓大楼内的一片填充地上，虽然非常狭窄，但却是贯穿其中的，因此在艾伦街和果园街都有正面。为了在如此狭窄的足迹上容纳允许的楼面面积，我们将南北轴线上的质量分叉，在艾伦街一侧(一条更宽的大道，可以看到明显的天际线景观)形成一座纤细的十层高楼，而在狭小的果园街上则有一个五层高的体积，在规划上是毗连的。虽然西面的塔楼并不是严格意义上的不相关的(街区上还有其他一些更大的“手指建筑”)，但我们确实看到了我们大楼的上部是异质的，因此我们决定相应地设计这座建筑。通过将前五层从概念上看作是对邻里历史类型的垂直增强，我们选择了为它创建一个不同的皮肤。

Text description provided by the architects. 120 Allen Street located on the Lower East Side of Manhattan and is comprised of sixteen furnished studios and four furnished apartments with a commercial space at grade. Grzywinski + Pons designed the building, the interiors, and much of the furniture. Located on an infill lot in a classically gritty LES tenement block, the property — while very narrow — is block-through and as such has frontage on both Allen and Orchard Streets. In order to accommodate the allowable floor area on such a narrow footprint, we bifurcated the mass on the north-south axis creating a slender ten-storey tower on the Allen Street side (a far wider thoroughfare with arresting skyline views) and a five-story volume on narrow Orchard Street which are contiguous in plan. While the west facing tower isn’t strictly non-contextual (there are a few other far bulkier “finger buildings” on the block) we did see the upper portion of our tower as heterogeneous and decided to design the building accordingly. By treating the top five floors conceptually as a vertical augmentation to the neighborhood’s historical typology we elected to create a different skin for it.

虽然我们不想假装“基地建筑”并不是全新的，但我们希望前五层楼向现有的砖石和砖房邻居致敬。我们用手工烧制的砖块包住了前五层楼，并设计了我们自己对乡村砖石细节的看法。深框的玻璃增加了外观的纹理，同时减少了太阳热量的增加，皮肤在一天中以一种柔和的图形方式对太阳的路径做出反应。我们选择的砖，微妙地改变色调，因为建筑物上升，直到他们密切匹配的包层以上的体积。塔的上部-毗邻建筑物屋顶之外的体积-被锌板覆盖，然后被一层百叶窗包围。虽然它们的主要目的是-就像下面的窗户箱一样-以降低太阳的热量，但百叶窗也用作阳台的栏杆，在立面上创造额外的深度，产生运动的影子和模糊化的外部机械部件。这两个信封的颜色、比例和质地相互参照，比陌生人更像兄弟姐妹。

While we didn’t want to pretend the “base building” wasn’t brand new, we wanted the first five floors to pay homage to the existing masonry and stucco tenement neighbors. We clad the first five floors in handmade coal-fired brick and designed our own take on rusticated masonry details. Deeply framed glazing adds to the facade’s texture while mitigating solar heat gain and the skin reacts to the sun’s path throughout the day in a softly graphic way. We chose bricks that subtly change hue as the building rises until they closely match the cladding of the volume above. The upper part of the tower — the volume beyond the rooftops of the adjacent buildings — is clad in zinc panels which are then surrounded by a veil of louvers. While their primary purpose is — like the window boxes below — to mitigate solar heat gain, the louvers also serve as balustrades to the balconies, create extra depth in the facade, yield kinetic shadow play and obfuscate externalized mechanical components. The colors, proportions and textures of the two envelopes reference one another and are more like siblings than strangers.

 © Nicholas Worley

C.尼古拉斯·沃利

在内部，我们决定庆祝钢结构，尽可能暴露它，这有助于产生更多的宽度，在受约束的地段。这些梁，柱，螺栓和接缝板与砌块和砖石是平衡的温暖，软和豪华的完成，织物和家具。我们意识到空间的深度和光线在内部延伸时所具有的特殊特性：放牧墙、室内装潢、床上用品和瓷砖。我们把它们都设计成这样一种方式来颂扬长光的优点。舒适，亲密的房间，但有戏剧性的感觉和真实的反映背景。这些都是位于下东区中心的房间，尽管有人在里面，但我们不想让你以为你在其他地方。

On the interior we decided to celebrate the steel structure by exposing it wherever possible which helpfully yielded more width within the constrained lot. Those girders, columns, bolts and junction plates coupled with block and masonry are balanced with a collection of warm, soft and luxurious finishes, fabrics and furnishings. We were conscious of the depth of the spaces and the special character the light has when it stretches through the interiors; grazing walls, upholstery, bedding and tile. We designed them all in such a way to extol the virtues of that long light. Cozy, comfortable, intimate rooms but with a sense of drama and a real reflection of context. These are rooms in the heart of the Lower East Side and, as pampered as one might be within them, we wouldn’t want you to think you were anywhere else.

 © Nicholas Worley

C.尼古拉斯·沃利

 © Nicholas Worley

C.尼古拉斯·沃利