Architect: Olson Kundig Architects Project: Berkshire Retreat Design Principal: Tom Kundig Project Manager: Elizabeth Bianchi Conklin Project Architect: Gus Lynch Gizmologist: Phil Turner Staff: Derek Santo Megan Quinn Location: Berkshires, Massachusetts, United States Photography: Benjamin Benschneider

建筑师：奥尔森·昆迪格建筑师项目：伯克希尔退职设计首席：汤姆·昆迪奇项目经理：伊丽莎白·比安奇·康克林项目建筑师：格斯·林奇·吉茨曼：菲尔·特纳工作人员：德里克·桑托·梅根·奎因地点：美国马萨诸塞州伯克希尔摄影公司：Benjamin Benschneide

Set on three hundred acres of rolling Berkshire landscape, the first challenge of the project was to find the perfect building site from which to experience the surroundings. The choice was the ecotone; the border between two adjacent ecological systems. The Berkshire Retreat stretches along the line where the forest meets the meadow. The forest provides protection (refuge)—it’s intimate, quiet, and introspective—while its meadow counterpart provides views of the valley and the low-lying mountains beyond (prospect). The building is thin enough that each room, as you move through the house, balances the two.

该项目的第一个挑战是找到一个完美的建筑工地，从那里体验周围的环境，该项目占地300英亩，占地300英亩。选择是生态区，是相邻两个生态系统之间的边界。伯克希尔退场沿着森林与草地交汇的路线延伸。森林提供保护(避难)-它的亲密，安静，和内省-而它的草地对应提供山谷和低洼山脉的看法(前景)。这幢楼很薄，当你穿过房子时，每个房间都能平衡这两个房间。

The main level of the Berkshire Retreat was raised about ten feet above the ground, partly to maximize the views, but also to get up above the humidity and insects in the summertime, and the snow in the winter.

伯克希尔退场的主要位置在离地面10英尺的地方，部分原因是为了最大限度地提高视野，但也是为了在夏季的湿度和昆虫以及冬天的积雪上站起来。

The interior is finished with warm materials: wood, plaster, waxed steel, leather. The living room is lined with hand-cranked operable windows walls. When completely open, you feel like you’re in an elegant and comfortable tree fort, hovering above the landscape. There is no sensation quite like standing in that wide-open corner, taking in the 270-degree view.

内部用温暖的材料完成：木材，石膏，蜡钢，皮革。起居室内衬着手动可操作的窗户墙.当你完全打开的时候，你感觉就像在一个优雅而舒适的树堡里，盘旋在风景之上。没有什么比站在那个开阔的角落里感受到更多的感觉了，那是270度的视角.

The rooms of the Berkshire Retreat are all on one side of a 150-foot-long hallway that runs its entire length and then extends 12 feet farther out at each end. It’s intended to feel like a ship’s prow, so that when you’re standing in it, you have a Titanic moment.

伯克希尔隐蔽处的房间都在150英尺长的走廊的一边，这条走廊全长12英尺，每条走廊的两端都延伸出12英尺。它的目的是让人感觉像一艘船的船头，所以当你站在船上的时候，你就会有一个泰坦尼克号的时刻。

Phil Turner designed several gizmos in the house, including the dumbwaiter adjacent to the entry and the mechanisms for opening the windows in the living room and bedroom. To operate the windows, you pull the wheel away from the wall to engage a set of chains that controls one window. Then you pull the wheel a bit farther out to engage a second set of chains for the other window. It’s like switching gears on a bicycle, and it serves as a deliberate moment of physical interaction with the house. Actually touching the building, making it work, connects the occupants to their environment in a solid, palpable way, resulting in a sense of shared existence.

菲尔·特纳设计了房子里的几个小玩意，包括靠近入口的哑巴，以及打开客厅和卧室窗户的装置。要操作窗户，你可以把轮子从墙上拉开，接上一组控制一扇窗户的链子。然后你把轮子拉得更远一点，为另一扇窗户接上第二组链子。这就像在自行车上换档一样，它充当了与房子进行身体互动的一个深思熟虑的时刻。实际上，触摸建筑物，使其工作，使居住者与他们的环境以一种坚实的，明显的方式连接，从而产生了一种共同存在的感觉。