N.B.K. Residence (2) DW5 Bernard Khoury

2014-07-24 01:00

架构师提供的文本描述。位于第九层，也是最后一层的第2251号地块，我们在2008年构思并于2013年完工，这套三层高的公寓是通过一个独立的建筑结构来完成的。从结构上讲，这套公寓只共享建筑物的垂直循环核心，以及它的两堵周边墙所在的周长。在第九层之后，这座住宅的结构变得自治，使得它在形态上脱离了大厦。其结果是，就像一座独立的房子被安置在一栋建筑物的顶部，而不是通常所说的顶层公寓或屋顶公寓。

Text description provided by the architects. Located at the ninth and last level of the Plot # 2251 project which we conceived in 2008  and for which construction ended in 2013, this three-storey apartment is articulated through an independent structure capping the building. Structurally, the apartment only shares the building’s vertical circulation core, as well as the perimeter along which its two peripheral walls lie. Beyond the ninth level, the structure of this residence becomes autonomous, rendering it morphologically detached from the edifice. The result is what resembles an independent house placed atop a building, rather than what is commonly known as a penthouse or roof level apartment.

 Courtesy of DW5 / Bernard Khoury

DW5/Bernard Khoury提供

这一项目的阐明也与其地理位置有关。这套公寓实际上位于贝鲁特东部和西部之间的前分界线上，通向其城市的“地狱”，它既不向东，也不向西，而是介于两者之间。地中海屋顶公寓通常倾向于背弃城市结构，以换取海景，而这套公寓则面向城市，利用周边项目所带来的挫折。这些建筑包括马龙公墓、贝鲁特发射场和各种机构建筑。这些走廊都是相对较低的，它们保证从西南方向延伸到位于贝鲁特南郊的Chouf山，以及向西边和大马士革路确定的前分界线延伸。

The articulation of this project is also related to its geographic location. Virtually situated on the former demarcation line which separated east and west Beirut, this apartment opens up onto “the hell” of its city, placing it neither east nor west but in between. Whereas usual preference for Mediterranean roof apartments is to turn their backs on the urban fabric in exchange for a sea view, this apartment is oriented toward the city, taking advantage of the setbacks imposed due to the surrounding projects defining its entire periphery. These include the Maronite Cemetery, the Beirut Hippodrome and various institutional buildings. All relatively low-rise, these guarantee view corridors extending in the southwestern direction towards the Chouf mountains which subside in the southern suburbs of Beirut, as well as in the western direction and towards the former demarcation line defined by Damascus Road.

 © Ieva Saudargaite

伊瓦·沙特

事实上，这种情况告诉并界定了一个人到达公寓时即时经历的大框架。12米宽，6米高，接待处从着陆延伸是一个几乎夸张，通畅和完全开放的空间。

This situation in fact informed and defined the large frame instantaneously experienced upon one’s arrival to the apartment. 12 meters wide and 6 meters high, the reception which extends from the landing is an almost exaggerated, unobstructed and completely open space.

 Floor Plan

公寓由三层组成，参考层是进行重要规划功能的平台层-接待空间、餐厅、主卧室和厨房。阁楼层可容纳另外两间卧室，以及这一层的地板到天花板图书馆的延续，该图书馆可通过一座横跨整个接待框架的钢格栅桥进入，并似乎在从地板到天花板的玻璃被收回后浮起。最后，最顶层的游泳池露台，以及客座工作室和工作人员宿舍。

The apartment comprises three levels, the reference level being the landing floor throughout which the vital programmatic functions take place – the reception space, the dining room, the master bedroom as well as the kitchen. The mezzanine level accommodates two additional bedrooms, as well the continuation of the floor-to-ceiling library accessible at this level by a steel grating bridge crossing the entire frame of the reception, and seemingly floating once the floor-to-ceiling glazing is retracted. Lastly, the uppermost level houses the pool terrace, as well as a guest studio and staff quarters.

 Courtesy of DW5 / Bernard Khoury

DW5/Bernard Khoury提供

注：住宅2恢复了多年来在各种项目中使用的室内布局、家具和材料的某些试验，包括12年前构思的N.B.K.1号住宅。这些经验使人们得以通过重新创造具体的手工做法，发展与盗用和重新解释传统材料有关的某些知识。多年来与当地工匠结成的联盟因此重新点燃，并在复杂的钢结构和精心制作的木制品中实现，特别是在接待区。

N.B.K. Residence 2 resumes certain experimentations with interior layouts, furnishings and materials used in various projects throughout the years, including N.B.K. Residence 1 which was conceived 12 years earlier. The experience gained by these allowed for the development of a certain knowledge related to the misappropriation and reinterpretation of traditional materials, through the reanimation of specific artisanal practices. Alliances formed with local artisans over the years were thus rekindled, and materialize in the intricate steelwork and elaborate woodwork of the apartment, notably in the reception area.

 Courtesy of DW5 / Bernard Khoury

DW5/Bernard Khoury提供

接待处的木面板包层是由从地板开始，折叠到墙壁和天花板上，并延伸到其他房间的布局来定义的。同样的包层布局定义了钢制结构，它最终构成了房间的焦点，一个连接到所有空调和通风设备的天花板上的部件。现代传统很少起作用的天花板，因此，这一因素使我们回到传统的室内建筑实践。然而，这个装置不是壁画，而是一个非常密集的罩状结构，设计得非常完美，与机械工程师协调，以石膏为首选材料。灰泥一种传统材料，通常与典型古典语言中的装饰性天花和纹饰有关，在这种情况下，灰泥被涂成黑色而不是白色，并被盗用来描绘一种更现代、更机械的表情。其结果是一个像外星人一样的物体似乎在太空上空盘旋，清晰地描绘了一种非传统的形式和审美，这种形式和审美是通过手工贸易以及对传统材料的歪曲而形成的。

The wood panel cladding of the reception space is defined by a layout that starts at the floor, folding onto the walls and ceiling, and extending throughout the rest of the rooms. This same cladding layout defines that of the steelwork, which ultimately frames the focal point of the room, a piece affixed to the ceiling housing all air conditioning and ventilation equipment. The modern tradition has rarely worked the ceiling, and this element thus takes us back to traditional interior architectural practices. However, rather than a fresco, this installation consists of an extremely dense hood-like structure, designed to perfection in coordination with a mechanical engineer, with plaster as the material of choice. A traditional material typically associated with ornamental cornices and mouldings within a typically classical language, the plaster is in this case painted black rather than white, and misappropriated to portray a much more contemporary and machinist expression. The result is an alien-like object seemingly hovering above the space, clearly portraying an unconventional form and aesthetic conceived using an artisanal trade as well as the perversion of a traditional material.

 © Ieva Saudargaite

伊瓦·沙特

最后，屋顶水平的室外游泳池露台由两个天线组成，天线上装有该地区的照明装置。从南方向看，这些像探针一样的旋转投影超过了相邻建筑物的平均高度，使它们从周围的街区可见。

Lastly, the outdoor pool terrace at the roof level is crowned by two antennae containing the area’s light fixtures. Southwardly oriented, these probe-like pivoting projections exceed the height average of their adjacent buildings, making them visible from surrounding neighbourhoods.