架构师提供的文本描述。梅尔尼科夫住宅由建筑师康斯坦丁梅尔尼科夫是一个经典的住宅，代表了20世纪20年代的俄罗斯先锋派。位于当时流行的莫斯科阿尔巴特区的克里沃尔巴茨基巷，位于一片空地上，它的美学与传统的苏联住宅建筑有很大的不同。休息后的更多细节。

Text description provided by the architects. The Melnikov House by architect Konstantin Melnikov is a classic residence that represents the forefront of the 1920’s Russian avant-garde. Located on Krivoarbatsky Lane in the then trendy district of Arbat, Moscow on an open lot, its aesthetics differ dramatically from traditional Soviet residential architecture. More details after the break.

 © Denis Esakov

c Denis Esakov

他在莫斯科绘画、雕塑和建筑学院接受训练，在他短暂的建筑师生涯中，他的表现主义设计方法获得了很大的赞誉。他的大部分作品建于1923年至1933年之间，他的私人住所可以说是他最好和最具创新性的作品。梅尔尼科夫是列宁新经济政策垮台后少数几个能够保留土地的人之一。更令人惊讶的是，他的设计得到了城市规划师的认可，因为在一个统一是事实上的解决方案的时代，这是完全非常规的。

Trained at the Moscow School of Painting, Sculpture, and Architecture, his expressionistic approach to design was the source of much acclaim in his short-lived career as an architect. The majority of his work was constructed between 1923 and 1933, of which his personal residence is arguably his best and most innovative work. Melnikov was one of only a few people who had been able to retain their land following the fall of Lenin’s New Economic Policy. Even more surprising is the approval of his design by city planners, as it was completely unconventional in an era when uniformity was the de facto solution.

这一概念是从他为Zuev工人俱乐部起草的示意图中演变而来的。它的特色是两卷圆柱形互锁卷，三层楼高，有足够的空间容纳他的家人，以及他的绘画和建筑工作室空间。

The concept evolved from his schematic draft for the Zuev Workers Club. It features two interlocking cylindrical volumes standing three stories high with enough space to house his family, and his painting and architectural studio spaces.

 Floor Plans

平面图

在建设时期，国家对物资的大量配给是司空见惯的事。因此，梅尔尼科夫采用了一种高效的类型学，以有限的资源构建这一结构，同时也使他有机会实现自己的创造性愿景。圆柱形的推理是建立在他的信念之上的，即他们提供了一种物质经济。第一个圆柱形体积，其高度略低于后圆柱，面向街道，并具有包含主入口的玻璃幕墙。位于后方的是房子的标志性部分，有无数的六角形窗户穿透正面。用白色灰泥完成的外墙是用当地砖制成的蜂窝格子，类似于1896年弗拉基米尔·舒霍夫(Vladimir Shukhov)使用金属的方法。该方法在保证结构高效、刚性的同时，使用了最少的材料。窗户的形状是蜂窝结构的直接结果，其角度由标准局部砖的四分之一长决定。

During the time of construction, significant rationing of materials by the state was commonplace. Thus, Melnikov incorporated an efficient typology for constructing the structure with limited resources, whilst simultaneously allowing him the opportunity to carry out his creative vision. Reasoning for the cylindrical shape was founded in his belief that they provided for an economy of material. The first cylindrical volume sitting slightly lower in height than the rear cylinder faces the street and features a glazed curtain wall incorporating the main entry. Located in the rear is the iconic portion of the house with numerous hexagonal windows perforating the façade. Exterior walls finished with white plaster are constructed in a honeycomb latticework using local brick, similar to the method pioneered by Vladimir Shukhov in 1896 using metal. This method employed minimal material while ensuring an efficient and rigid structure. The shapes of the windows are a direct result of the honeycomb structure, with the angles determined by quarter lengths of the standard local bricks. 

 Building Section

近60个六角窗采用九种框架，建立了后气缸的美学质量，喷淋内部与光。采用的结构和玻璃系统的方式也消除了对结构衬垫或窗台的需要。蜂窝结构中没有釉的空隙被黏土和碎屑填满，增加了墙壁系统的质量，这有助于减轻夏季和冬季的极端温差。内部空间允许运行的全直径不间断，因为外墙功能作为承载成员。梅尔尼科夫还采用了一种创新的技术，用于自增强正交异性木地板系统，没有任何内部柱支撑。

Nearly 60 hexagonal windows employing nine types of frames establish the aesthetic quality of the rear cylinder, showering the interior with light. The manner of structure and glazing system employed also eliminated the need for structural lintels or sills. Voids that were not glazed in the honeycomb structure were filled with clay and scraps, adding mass to a wall system that helps to mitigate the extreme temperature differentials of summer and winter. Interior spaces are allowed to run the full diameter uninterrupted, as the exterior walls function as the load bearing members. Melnikov also employed an innovative technique for a self-reinforcing orthotropic wooden plank flooring system, absentee of any internal column support.

室内布局高效，大部分居住空间，如厨房和浴室位于主楼层。一个向上的螺旋运动暴露出空间的多样性，从低高度地面平面，到一个双高工作室空间和屋顶露台。一条蜿蜒的楼梯通向二楼，卧室和客厅就在那里。有趣的是，位于后部的卧室并不是完全分开的。相反，梅尔尼科夫通过部分墙勾勒出空间，用来定义特定的区域，同时保持一个准开放的计划，允许阳光淹没室内。

Interior layout functions efficiently, with the majority of living spaces such as kitchen and bathroom located on the main floor. An upward spiral of movement exposes the diversity of spaces from low height ground plane, to a double height studio space and rooftop terrace. A winding staircase leads to the second floor where the bedrooms and living room are located. Interestingly, the bedrooms located in the rear portion are not entirely separated from each other. Rather, Melnikov delineates space through partial walls that serve to define specific areas, while maintaining a quasi-open plan that allows sunlight to flood the interior. 

在三楼，他的工作室空间，在一个双高度的房间，在后面的汽缸。在视觉上与其他空间不同，这个双高度空间被光线透过无数的六角形窗户所包围。这个空间定义并赋予他创造体验空间的能力，在总体设计中使用非物质-光和阴影-的能力。

The third floor houses his studio space in a double height room in the rear cylinder. Visually distinct from the others, this double height space is embraced by light penetrating through the numerous hexagonal windows. This space defines and lends credence to his ability to create experiential spaces that employ non-materials – light and shadow – in the overall design.

对康斯坦丁来说，不幸的是，他在1937年的第一次苏联建筑师大会上被剥夺了他练习建筑的权利。然而，他的住宅仍然是俄罗斯先锋派的标志性象征，有着原始的平面图和创新的建筑技术。

Unfortunately for Konstantin, his right to practice architecture was denied in 1937 at the First All-Union Congress of Soviet Architects. However, his residence remains an iconic symbol of the Russian avant-garde with its original floor plan and innovative construction techniques.

 © Denis Esakov

c Denis Esakov