Architects: Ryntovt Design Project: Waterline House Location: Kharkiv, Ukraine Total area: 167 m2 Implementation: July 2017 Photography: Courtesy of Ryntovt Design

建筑师：Ryntovt设计项目：水线楼位置：乌克兰哈尔科夫总面积：167平方米实施：2017年7月摄影：Ryntovt设计提供

Brief The task of the project was to organize a comfortable space for the life of a creative family with two children. Work was to be done with two apartments, which occupy the second floor of a two-story house of the 30s of last century. The Waterline House project required maximum inclusion, because it was not about minor adjustments, but about the reconstruction of internal and external volumes, including the entrance group and the main building, connecting the building with the building-architectural monument. It was important to enter a renovated house in every way into the existing architectural context of the old city.

该项目的任务是为一个有两个孩子的创造性家庭的生活安排一个舒适的空间。这两套公寓将在上世纪30年代的一栋两层楼高的房子的第二层进行。“水路屋”项目需要最大限度的包容，因为它不是关于微小的调整，而是关于内部和外部体积的重建，包括入口组和主建筑，将建筑物与建筑-建筑纪念碑连接起来。重要的是，进入一个翻新的房子在每一种方式，以现有的老城市的建筑环境。

Concept The concept of the project Waterline House, located in the old center of Kharkov, is built on the desire of its authors to preserve the authenticity of the building and creating close contact with the inhabitants of the house, both with the surrounding nature and active urban life beyond the river. The idea was dictated by the location of the house in the historic part of the city by the river with a view of the Assumption Cathedral and the adjoining to the monument of architecture. Species history required a separate dialogue: the terrace of the house is open to the embankment and city square with its life and activities. Due to the necessity and the main TOR of the architectural and landscape part of the project, it was to dissolve in the existing environment and the embankment lines, to organize the microclimate of the “forest” in a closed yard space, taking into account the historical background-a and create a garden of spruce and juniper from the western facade.

概念位于哈尔科夫老中心的“水系房屋”项目的概念是建立在作者的愿望之上的，他们希望保持建筑物的真实性，并与房子的居民建立密切的联系，包括周围的自然和河外活跃的城市生活。这一想法是由这座城市历史悠久的部分的房子位置决定的，它位于河边，可以俯瞰大教堂和毗邻的建筑纪念碑。物种的历史需要一个单独的对话：房子的露台是开放的堤坝和城市广场，它的生活和活动。由于该项目的建筑和景观部分的必要性和主要任务，它是在现有环境和堤防线中溶解，在封闭的庭院空间中组织“森林”的小气候，同时考虑到历史背景-a和从西部立面创建一个云杉和松树花园。

Planning The shape of the house, the total area and the configuration of the window openings remained almost unchanged. Even the view of the river, which required replacing old windows with panoramic windows, did not outweigh the energy-saving factor and the desire to preserve the authenticity of the building. For the same reason, galvanized iron was chosen for the roof – the most common roofing material in this part of the city. The facade is a dense gray color, which made it possible to “drown” the construction into the shadow of the environment.

规划房屋的形状、总面积和窗口开口的配置几乎没有变化。即使是需要用全景窗取代旧窗户的河流景观，也没有超过节能因素和维护建筑物真实性的愿望。出于同样的原因，人们选择了镀锌铁板作为屋顶-这是这部分城市最常见的屋顶材料。正面是一种浓密的灰色，这使得它有可能“淹没”建设到阴影的环境。

In the process of dismantling, the authors of the project discovered the problem of the structural integrity of the building, which was solved with the help of a new rigid frame inside the old building, which keeps the walls, floors and roof. The closed courtyard has its atmosphere of intimacy, democracy and openness at the same time, which immediately sets up and includes … The entrance group at home and front emphasizes the delicacy of the approach in designing. Light, almost airy, the staircase adjoins the old beam and uncovered brickwork of the early twentieth century. The parade was given special attention, given that this is a public space.

在拆除过程中，作者发现了建筑物的结构完整性问题，通过在旧建筑内部设置新的刚性框架来解决这一问题，从而保持了墙体、地板和屋顶。封闭的庭院既有亲密、民主和开放的气氛，又有立竿见影的…。在国内和前线的入口小组强调设计方法的微妙性。灯光，几乎是通风，楼梯邻接旧光束和无盖砖的20世纪初。游行受到特别关注，因为这是一个公共空间。

The interior navigation is built on horizontal and vertical links: connecting volumes and visual beacons already at the entrance reveal the main axis of space. Accents place pylons from an ash-tree array with a print of the forest printed on them, as well as a bearing wall connecting the bedroom of the owners of the house, a bathroom, a wardrobe for outer clothing and a central hall. The long hall connects all the spaces and reveals the ascent to the attic floor, which is zoned with forest graphic pylons, the same print of the forest met us on the curtains textile in the front. To avoid the feeling of tonality, one of the rooms was screened by a system of partitions made of solid wood, glass and dry grass with a swinging door block, the same partition system performs the function of zoning between the living-dining room and the kitchen, but with a sliding door block. This zoning also contributes to the natural insolation of all spaces, including a long hall, since there are no window openings and direct natural sunlight in the central space, however, it is enough for a day now.

内部导航构建在水平和垂直链接上：连接已在入口的体积和视觉信标显示空间的主轴。重点是将塔架放置在灰树阵列上，上面印着森林的印花，以及连接房屋业主卧室的承重墙、浴室、外层服装衣柜和中央大厅。长廊连接了所有的空间，并揭示了上升到阁楼地板，它被森林图形塔架分区，同样的森林印花在我们前面的窗帘织物。为了避免色调的感觉，其中一个房间是由实木、玻璃和干草地制成的隔墙系统和一个摆动的门块，同一隔断系统具有活动餐厅和厨房之间的分区功能，但带有滑动门块。这种分区也有助于所有空间（包括长廊）的自然照射，因为中心空间中没有窗户开口和直接的自然阳光，但现在就足够一天。

In total, the Project contains 4 living rooms: a master bedroom with its SU-coat and wardrobe, two children’s rooms, one of which has its own SU and a wardrobe, plus a guest room that also serves as a cabinet.

该项目共有4间起居室：一间主卧室，内有苏衣和衣柜，两间儿童房，其中一间有自己的宿舍和一间衣柜，另一间客房亦用作橱柜。

The successful orientation of the house allowed the private rooms of the house (bedroom, guest room and children’s) to orient to the east and west. On the south side, a living-dining room combined with the kitchen was organized (if desired, it can easily be excluded from the total volume with a sliding partition) and exit on the large terrace. The northern part was occupied by a hall, a wardrobe for outer clothing, an economic block and a guest bathroom.

房子的成功定位使房子的私人房间(卧室、客房和儿童)向东和西方向发展。在南侧，一个与厨房相结合的起居餐厅被组织起来(如果愿意的话，它可以很容易地被排除在有滑动隔板的总体积之外)，并在大露台上退出。北部是一个大厅，一个衣柜外的衣服，一个经济街区和一个客人浴室。

Color and materials Monochromatic palette of the interior emphasizes the democracy of space, gives it a meditative character. Minimalism and functionality of the design solution are supported by a neutral white-and-gray colorist and enriched with rich walnut textures. Almost paper snow-white curtains in the living room, a combination of dry grass, glass and ash massif in the screening of the cabinet and kitchen spaces create an atmosphere of asceticism of Scandinavian and Japanese interiors.

室内的色彩和材料单色调色板强调空间的民主性，使其具有沉思性。极简主义和功能的设计解决方案是支持中立的白色和灰色的着色剂和丰富的胡桃纹理。客厅里几乎是白纸的窗帘，橱柜和厨房空间中的干草、玻璃和灰烬混合在一起，营造了斯堪的纳维亚和日本室内禁欲主义的氛围。

The internal white and gray surfaces are painted with chiaroscuros created from screened hay dividers and light apertures in massive door blocks with decorative doors on wooden hinges, they are also an important navigation and visual focus in the volume.

内部的白色和灰色表面涂上了由屏蔽干草隔板和光孔在巨大的门砖与装饰门木制铰链，它们也是一个重要的导航和视觉焦点。

The entire interior of the Waterline House is filled with local codes. For example, traditional local ornaments can be seen on carpets made of cotton and Carpathian wool, made in Scandinavian technique by Ukrainian craftsmen. There are almost no serial items in the project. All furniture is designed and produced by the workshop ryntovt design, which once again emphasizes the importance of a delicate individual approach to any project.

整个水路大厦的内部都充满了当地的法规。例如，乌克兰工匠用斯堪的纳维亚工艺制作的棉花和喀尔巴阡羊毛地毯上可以看到传统的当地装饰品。项目中几乎没有连续项目。所有的家具都是由车间的常规设计来设计和生产的，它再次强调了对任何项目采取一种微妙的个体方法的重要性。