Project: Modern Medical Office Interior Design: Jeanne Schultz Design Studio Location: Austin, United States Area: 2430 ft2 Completion date 2018 Photographer: Andrea Calo

项目：现代医疗办公室室内设计：Jeanne Schultz设计工作室地点：美国奥斯汀：2430英尺2英尺2完成日期2018年摄影师：Andrea Calo

This historical building constructed in the 1950s was built by the first practicing gynecologist of Austin who was known to be a community leader and provided services to at risk women. Over the decades it was used as a general business office, then in the late ‘90s a second story addition was designed by the dissolved Austin firm QMET. The project scope included a restoration of the interior of the building to its original use as a modern medical office through a series of sensitive architectural and design solutions for our client, a young up-and-coming plastic surgeon who specializes in facial feminization and surgeries for transgender clients.

这座建于20世纪50年代的历史建筑是由奥斯汀的第一位执业妇科医生建造的，他是著名的社区领袖，为处境危险的妇女提供服务。在过去的几十年里，它被用作一个普通的商业办公室，然后在90年代后期，被解散的奥斯汀公司QMET设计了第二层的增建项目。该项目的范围包括通过为我们的客户提供一系列敏感的建筑和设计解决方案，将建筑物内部恢复到最初作为现代医疗办公室的用途。我们的客户是一位年轻的整形外科医生，专门为变性人客户做面部女性化和外科手术。

The lower level, where most of the patient activity was planned to occur, lacked spatial definition and demanded programming of visibility and privacy. The existing open floor plan contained two niches defined by clay-cladded half-walls and a single private room enclosed in the back corner with aluminum storefront. A steel and glass partition designed and built during the 1998 addition, as well as rounded steel columns original to the structure, stood singularly without a physical relationship to other components other than their structural connection.

较低层次，大部分病人活动计划发生，缺乏空间定义，并要求编程的可见度和隐私。现有的开放式平面图包括两个壁龛，由粘土半墙和一个单独的私人房间包围在后面的角落与铝制店面。1998年增建期间设计和建造的钢和玻璃隔板，以及原始结构的圆形钢柱，与结构连接以外的其他部件没有物理关系。

Utilizing one of the original steel columns and the once “floating partition” as a spatial demarcation, Jeanne Schultz created two new spaces on the lower level that softly complimented the midcentury character of the building with modern applications. The first new Patient Room was defined by connecting the clay half-wall that transversely divided the lower level to the axis behind the “floating partition.” To make the existing half-wall completely private, we added a butt-joint glass clerestory with frosted film which was set inside aluminum channels and then glued to the tile-capped top. We drilled into existing mortar joints only and the ceiling to anchor the aluminum channels, so the clay bricks would not be disturbed. A butt-joint glass curtain wall with frosted film set in aluminum channels was glued to protect the original terrazzo flooring, and reinforced in the steel structure of the ceiling. The geometry of the curtain wall was broken down into panel widths which reflected the configuration of the “floating partition” from the 1998 addition.

珍妮·舒尔茨(Jeanne Schultz)利用最初的一根钢柱和一度的“浮动隔墙”作为空间分界，在较低的层次上创造了两个新的空间，以现代应用的方式轻柔地补充了这座建筑世纪中叶的第一个新的病人室的定义是连接粘土半壁横向划分较低的水平后的轴线“浮动隔断”。为了使现有的半墙完全保密，我们增加了一个对接玻璃牧师与结霜膜，这是设置在铝通道内，然后粘在瓷砖盖顶部。我们只钻到现有的砂浆缝和天花板锚定铝通道，这样粘土砖就不会受到干扰。为保护原水磨石地板，在铝制渠道设置有结霜膜的对接玻璃幕墙，并在天花板的钢结构中进行加固。将幕墙的几何形状分解为面板宽度，反映了1998年加法后的“浮动隔墙”的结构。

On the opposite side of the clay and glass wall became the Waiting Room – an intimate corner nook secured by the second original clay half wall which curves at a 90-degree radius. All-original aluminum windows sitting at a high sill punctured the two exterior walls with soft light in a thin strip, leaving a clay interior wall canvas below. We chose prints of abstract paintings by Paul Klee as artwork that would allow the clay walls to stand as sculptural features and complement the geometry of the windows above. Inside the frame, the Klee work could be disruptive while also featuring the saturated color palette of the space. To furnish the uniquely shaped room, we procured a Milo Baughman style loveseat that was configured at a 90-degree curved radius and upholstered in its original crushed velvet blue fabric. A black and white spotted cowhide with a playful rounded pineapple-shaped coffee table from West Elm sat at the center of the space with a tweed taupe Danish sofa on the opposite wall. The seating arrangement was conceived to alleviate the awkwardness that single-chair waiting rooms can create. The scale of the nook, its comfortable furniture and delicate trinkets make the Waiting Room feel more like a lounge at home than a transitional space.

在粘土和玻璃墙的相反一侧成了候车室，第二个原始粘土半墙固定一个紧密的角落，以90度的半径弯曲。坐在高梁上的所有原始铝窗用软光在薄带上刺穿了两个外墙，留下了下面的粘土内墙帆布。我们选择了由保罗·克利作为艺术品的抽象绘画的印刷，它将允许粘土墙作为雕塑特征站立，并补充上面的窗户的几何形状。在帧内部，KLEE的工作可能会中断，同时还提供了空间的饱和调色板。为了提供独特造型的房间，我们采购了一个MiloBahman风格的Loveat，它是在90度弯曲半径下配置的，并在其原始粉碎的丝绒蓝色面料中进行了装饰。一个黑色和白色斑点的牛皮，搭配有趣的圆形菠萝形咖啡桌，来自西榆树，坐落在空间的中心，对面墙上有一个粗花呢。座位安排被构想为缓解单椅子候机室可以产生的尴尬。Nook的规模、舒适的家具和精致的小饰品使得候机室感觉更像一个在家里的休息室，而不是一个过渡空间。

Specialized millwork was custom designed for each of the Patient Rooms on the lower level to accommodate the doctor’s storage needs for procedures, cleaning, and product sales. The cabinetry maintained a simple, rectilinear form and was painted a shade of blue drawn from flecks of aggregate in the original terrazzo flooring and the mosaic tile wall erected during the 1998 addition. Instead of demolishing the original concrete baseboards of the rooms, the cabinets were constructed as floating boxes that were reinforced and rested on conical polished brass furniture legs. Weathered copper knobs with a red-orange hue complemented the block of slick blue cabinetry and reiterated a subtle earthy texture drawing from the original clay walls. The counter tops were specified as MetroQuartz in Titanium White, a durable engineered material that yielded a crisp and functional working surface. A circular stainless steel under mount sink carved into the mass of the cabinetry and, coupled with a curvy faucet and vintage inspired cross handles, provided a contrast in geometry.

专门的磨坊是为每一个较低层次的病人房间设计的，以满足医生对程序、清洁和产品销售的存储需求。橱柜保持了一个简单的，直线的形式，并被涂成蓝色的阴影，从原来的水磨石地板和马赛克瓷砖墙在1998年期间建立的聚集点。不是拆除原来的混凝土基板的房间，橱柜是建造成浮动盒，加强和休息在锥形抛光黄铜家具腿。风化铜旋钮的红色-橙色的色调补充了一块光滑的蓝色橱柜，并重申了一个微妙的泥土纹理，从原来的粘土墙壁。台面被指定为都会石英在钛白色，一种耐久的工程材料，产生了一个脆和功能工作表面。一个圆形不锈钢下座水槽雕刻成质量的橱柜，再加上一个弯曲的水龙头和老式的灵感交叉手柄，提供了一个在几何上的对比。

At the upper level, we configured a large room to become a flexible event and consultation space for the client, updated components of the kitchen and bathrooms, and designed special branded details that paid homage to the period of the building’s construction. The flexible event and consultation space was generous in area and had floor to ceiling storefront glass windows that offered an abundance of natural light from both the exterior and the tangential stair shaft with skylights above. We reconfigured the entry glass partition to receive a pivot door and hardware that matched the patient rooms downstairs, further instilling uniformity in the architectural material palette. Multiple seating groups were established, including a cluster of copper velvet chairs with a vintage wicker table procured locally from Uptown Modern Austin airily resting in-between. An anatomical tulip-style table was situated near the exterior windows surrounded by copper chairs and sheepskin pads with the vintage wooden bust of a female face as the table centerpiece. Other motifs and decorative objects resembling the human body adorned the room in the spirit of the client’s practice and celebration of gender identity, such as a vintage acrylic mold of a nondescript face, a Paul Klee lithograph from the Head of Man series depicting a person’s face with soft curves, and a miniature vintage stone sculpture of an undefined nude body.

在高层，我们为客户配置了一个大房间，使之成为一个灵活的活动和咨询空间，更新了厨房和浴室的组件，并设计了特别的品牌细节，以表达对大楼建造期间的敬意。灵活的活动和咨询空间是慷慨的，有地板到天花板店面玻璃窗户，提供了丰富的自然光，从外部和切向楼梯竖井与天窗上方。我们重新配置进入玻璃隔板，以接收一个枢轴门和硬件匹配的病房楼下，进一步注入均匀的建筑材料调色板。建立了多个座位组，包括一组铜天鹅绒椅子和一张老式柳条桌，这张桌子是当地从现代奥斯汀住宅区买来的，在中间轻松休息。一张解剖郁金香式的桌子坐落在外面的窗户附近，周围是铜椅子和羊皮垫，桌子的中心是一张女性面孔的老式木制半身像。其他与人体相似的图案和装饰物，都是本着客户实践和庆祝性别认同的精神来装饰房间的，比如一张不起眼的面孔的老式丙烯酸模子，一张“男人之头”系列中的保罗·克莱伊(Paul Klee)石刻画，描绘了一个人的脸，曲线柔软，以及一座微型古董石雕，雕刻着一个未被定义的裸体。

The final point of renovation occurred in the kitchen. We replaced the counter tops from their late ‘90s blue laminate material with Titanium White MetroQuartz, left the millwork intact, and installed a backsplash made by Fire Clay Tile ‘Grove’ in warm hues, which incorporated the blue and orange tones found throughout the building. The radiating diamond backsplash pattern created a whimsical midcentury vibe in conjunction with a set of white Daewoo mini-fridges and microwave oven – which harkened back to the kitchens of the ‘50s. The main goals of the renovation and restoration were to demolish and replace only what was necessary, create operational functionality for the client, and shape a safe, comfortable, and enjoyable patient environment. Architectural interventions were carefully considered with both the client and the building owners, who have owned and maintained the building since its birth in the 1950s.

装修的最后一点是在厨房。我们用钛白米石英取代了他们90年代后期的蓝色层压板材料的台面，使磨坊完好无损，并安装了由Fire Clay Tile‘Grove’制作的温暖色调的背溅物，这结合了整个大楼的蓝色和橙色色调。辐射的钻石背溅模式创造了一种异想天开的世纪中叶的气氛，与一套白色大宇微型冰箱和微波炉-这使人们回到了50年代的厨房。翻修和修复的主要目标是只拆除和更换必要的东西，为客户创造操作功能，并创造一个安全、舒适和愉快的病人环境。对建筑干预措施与客户和业主都进行了仔细的考虑，这些业主自20世纪50年代建筑诞生以来就一直拥有和维护这座建筑。