架构师提供的文本描述。2女孩大厦是一个混合用途的建筑，融合了艺术，摄影和建筑。该项目探讨了三个学科之间的关系，并模糊了它们各自的界限，导致一种新的媒介形式与其他学科的特点重叠和占有。因此，摄影占据了建筑的物质性，摄影进入了第三维度的建筑空间。建筑变成了摄影，摄影变成了建筑，建筑变成了建筑环境中的混合城市艺术品。

Text description provided by the architects. The 2 Girls Building is a mixed use building that fuses art, photography and architecture. The project explores the relationship between the three disciplines and blurs their respective boundaries resulting in one craft overlapping and appropriating with the characteristics of the others in the form of a new medium. As a result photography appropriates architectural materiality and photography shifts into the architectural space of the third dimension. Architecture becomes photography, photography becomes architecture and the building becomes a hybrid urban artefact within the built environment.

 © Peter Clarke

彼得·克拉克

库德与墨尔本艺术家萨曼莎埃弗顿在设计过程中合作，以确保整个项目的艺术形式的合作集成。来自埃弗顿的“古董娃娃”系列的“化妆舞会”是在建筑外墙上特写的，因为它的主题是熟悉的方言，它的主题是内城传统住宅空间的同义词，更重要的是它为公众领域提供的戏剧和戏剧。主要流通空间是一个事实上的艺术画廊，展出艺术作品，将办公室、仓库空间和住宅公寓隔开。

KUD collaborated with Melbourne Artist Samantha Everton during the design process to ensure a collaborative integration of art forms throughout the project. The “Masquerade”, from Everton’s ‘Vintage Dolls’ series, that features on the building façade, was specifically selected for its familiar vernacular in its subject matter which is synonymous with inner city traditional domestic spaces and more importantly, for the drama and theatre it provides to the public realm. The primary circulation space doubles as a de facto art gallery with art works on display, dividing the offices, warehouse spaces and residential apartments.

 © Peter Clarke

彼得·克拉克

协作注入了另一层复杂性；无意中将架构师的名册交换给艺术家，艺术家交换为架构师。联盟的界限变得模糊，把“艺术家”和“建筑师”重新定义为一个表达。这种协同作用催生了一种混合的类型学，并确保了摄影艺术的盛行。

The collaboration injected another layer of complexity; unintentionally exchanging and swapping the roll of the architect to artist and the artist to architect. The boundaries of the alliance were blurred, redefining ‘the artist’ and ‘the architect’ as one expression. This synergy spawned a hybrid typology and ensured that the photo‐archi‐art prevailed.

 © Peter Clarke

彼得·克拉克