The immense attic of art duo Michael Elmgreen and Ingar Dragset’s apartment features Scandinavian furniture, pieces from their shows and ‘the largest domestic window in Germany’. Photography: Thorsten Klapsch

Scandinavian art duo Michael Elmgreen and Ingar Dragset have become masters of the architectural installation over the past 13 years, picking up critical acclaim and international gallery shows as they go. Their work is characterised by presenting a familiar space in a different context. This has ranged from Prada Marfa, a fully stocked but sealed Prada store, left to decay in the deserts of Texas in 2005, to this October’s conversion of London’s Victoria Miro Gallery into a low-rent nightclub after closing time. So it’s no surprise their own 1,000 sq m studio-cum-apartment is a carefully considered space.

斯堪的纳维亚艺术二重奏迈克尔·埃尔姆格林和印加·德雷格塞特在过去13年里成为了建筑设施的大师，赢得了批评和国际画廊展览的好评。他们的作品的特点是在不同的背景下呈现一个熟悉的空间。这包括普拉达马法(PradaMarfa)，这是一家库存充足但封闭式的普拉达(Prada)商店，2005年留在得克萨斯州沙漠中腐烂，到今年10月伦敦维多利亚·米罗画廊(Victoria Miro Gallery)关闭后改建成一家租金低廉的夜总会。因此，毫不奇怪，他们自己的1000平方米的工作室和公寓是一个经过仔细考虑的空间。

An imposing former pump house, it has a red-brick exterior, landing-strip windows and ramshackle grounds, and a somewhat abandoned feel to it when viewed from the quiet tree-lined street. It’s an unusual landmark in the slightly run-down Berlin suburb of Neukölln. Yet the shabby exterior belies a slick minimal interior. Largely designed by the artists, with practical input from the German practice Wenk und Wiese, the space combines a working studio with private rooms on the upper level. On first entering the building, the vastness of the 13m-high atrium, flooded with natural light from original windows, is breathtaking. Only two mezzanines – lined with Mac-laden workstations – break up the vertical giddiness; on wheels, they can move horizontally, via the old crane infrastructure of the water pump.

它是一座壮观的前泵房，它有红砖外墙、落地窗和摇摇欲坠的地面，从安静的林荫街道上看，它有一种被遗弃的感觉。这是柏林郊区Neuk lln的一个不寻常的地标。然而，破旧的外表掩盖了一个光滑的最低限度的内部。这一空间主要由艺术家设计，并有德国文克和Wiese实践的实际投入，该空间结合了一个工作室和上层的私人房间。第一次进入这座建筑，13米高的中庭的浩瀚，充满了来自原始窗户的自然光，令人叹为观止。只有两台装有mac的工作站，它们能打破垂直的眩晕；在轮子上，它们可以水平移动，通过水泵的旧起重机基础设施。

In one corner of the attic, an angular matt-black chimney hangs over artfully stacked logs on a minimalist white platform. Photography: Thorsten Klapsch

在阁楼的一个角落，一个棱角分明的黑色烟囱挂在极简的白色平台上，巧妙地堆放着原木。摄影：托尔斯滕·克拉普施

So vast is the space that the artists have been able to chalk an outline of the stage of London’s Old Vic theatre on the floor, to rehearse their show, Drama Queens, for which they’re choreographing performances by motorised replicas of iconic sculptures. They use much of the building as a ‘semi-public space’, where their assistants work and where they plan to hold exhibitions by other artists.

这片空间如此广阔，以至于艺术家们得以在地板上勾勒出伦敦老维克剧院舞台的轮廓，排练他们的表演“皇后区”(Drama Queens)，他们正在为该剧编舞，由摩托复制的标志性雕塑进行表演。他们把大楼的大部分用作“半公共空间”，他们的助手在那里工作，他们计划举办其他艺术家的展览。

Upstairs, the kitchen doubles as a meeting room and communal eating space, with a long, heavy board table by Jean Nouvel. ‘This room is the centre point,’ says Elmgreen. ‘We share it with everyone.’ The duo keeps returning to the notions of public and private space. This harks back to the Powerles Structures tag attached to a series of works in which they investigated how institutional buildings control human action through architecture. Dragset jokes, ‘Talking of power, all the door handles are the same as those in the German chancellor’s offices. We chose them for their classical German look.’

楼上，厨房兼有会议室和公共用餐空间，还有一张由吉恩·努维尔(JeanNouvel)设计的又长又重的桌椅。“这个房间是中心，”埃尔姆格林说。“我们和每个人都分享。”二人不断回归到公共空间和私人空间的概念。这让人回想起附加在一系列作品中的Powerles结构标签，在这些作品中，他们研究了机构建筑如何通过建筑来控制人类的行为。Dragset开玩笑说，说到权力，所有的门把手都和德国总理办公室的一样。我们选择它们是因为它们看起来像德国的古典风格。“

Above the kitchen are the individual bedrooms for the two – both with en suites, as well as a still-in-progress guest bedroom. The two artists, who were boyfriends for ten years after meeting in 1994, also have apartments in the Mitte district of Berlin. Elmgreen lives in the studio pretty much full-time though, with Dragset staying over occasionally. In Elmgreen’s room is a glass cabinet full of collectible trainers, and by the bed a Hans Wegner ‘Ox’ chair takes pride of place next to a photo of the same chair, with a young man reading naked in it. ‘I wanted the chair and I wanted the boy. I asked for them to be in the exhibition, “Home Is the Place You Left” in Norway earlier this year, and the museum paid for it and his flights. This photo is a document of that. It’s great when art can provide!’

厨房上方有两间卧室，有两个套房，还有一个在建的客房。这两位艺术家在1994年开会十年后，也有在柏林米特区的公寓。ElmGreen住在工作室里相当全职，而且偶尔还会住在这里。在埃尔姆格林的房间里，一个玻璃橱柜里装满了可收藏的运动鞋，在床上，汉斯·韦格纳(HansWeegner)的椅子在一张椅子的照片旁感到自豪，一个年轻人在上面裸体看书。“我想要椅子，我想要那个男孩。我要求他们参加展览会，在挪威的“家是你离开的地方”今年早些时候，博物馆为它和他的航班付了钱。这张照片是一个文件。这是艺术能提供的伟大之处！”

The verticality of the building is emphasised by the rows of skinny floor-to-ceiling windows. Photography: Thorsten Klapsch

建筑的垂直度是由紧身的地板到天花板的窗户所强调的。摄影：ThorstenKlapsch

At the top of the building is a converted vaulted attic with a window so big it has to slide up in sections. ‘We had the idea of using all the window budget on just one big one. We had it especially commissioned and it’s supposed to be the largest domestic window in Germany,’ Dragset explains. Wegner makes a reappearance in this space too, in the form of a long leather couch once housed in Copenhagen airport’s business lounge. ‘He was a really dry designer, a no bullshit designer,’ Elmgreen says, adding, ‘we wanted to make upstairs a very non-professional environment to work in.’ Irreverent objects dot the space: a stuffed flamingo takes pride of place next to the fireplace; while a similarly stuffed otter sits upon an opposing platform.

在建筑物的顶部是一个经过改装的拱形阁楼，窗户太大了，必须分部分向上滑动。我们的想法是把所有的窗口预算都用在一个大的预算上。德雷格塞特解释说：“我们特别委托了它，它应该是德国最大的国内窗口。”韦格纳也在这个空间里重新露面，形式是一张长皮革沙发，曾经住在哥本哈根机场的商务休息室里。埃尔姆格林说：“他是个非常干练的设计师，不是胡说八道的设计师，我们想在楼上营造一个非常不专业的工作环境。”空间中点缀着不敬的物体：火烈鸟在壁炉旁边占据了重要的位置；而类似的水獭则坐在相反的平台上。

‘The flamingo was a present from Michael to me after we split. It was a substitute,’ Dragset explains. After breaking up, having moved to Berlin together in 1997, they found the space and couldn’t be happier with it. ‘It addresses our personal needs, our needs for sharing, for work, for trying things out.’ §

“火烈鸟是迈克尔在我们分手后送给我的礼物。“它是一个替代品，”Dragset解释道。1997年，他们一起搬到柏林，分手后，他们找到了这个空间，对此再高兴不过了。它解决了我们个人的需求，我们分享的需求，工作的需求，尝试的需求。

As originally featured in the November 2008 issue of Wallpaper* (W*116)

2008年11月壁纸问题*(W*116)

二人对传统的办公室设置的看法：在可移动的阁楼上摆一排圆滑的桌子；二人对传统的办公室设置采取的态度：在可移动的阁楼上摆一排圆滑的桌子。

客人浴室也提供不同的视角，其凹陷的浴缸和外露的电线参考建筑物的工业遗产客人浴室也提供不同的视角，它的凹陷浴和暴露的电线参考建筑物的工业遗产

厨房内建的黑色储藏室是由建筑师温克和威斯制作的，厨房内置的黑色储藏室由建筑师温克和威斯制作，构成了一个坚固的背景。

在主厅，“舞台”设有电动雕塑，包括（左）索尔莱维（Lewitt）四个立方体、AlbertoGiacetti的步行者和让arp的云Shepherd在主大厅的副本，“舞台”设置有电动雕塑，包括（左）SolLewitt的四个立方体、AlbertoGiacetti的行走人和Jeanarp的云Shepherd的副本。