The Los Padres National Forest 图源网络

在风景如画的蒙特西托市，加利福尼亚州的一隅，一座崎岖山丘之巅，与洛斯帕德雷斯国家森林公园为邻，矗立着一栋彰显自给自足精神的住宅。然而，这栋住宅的演变并非一蹴而就。它的主人是一对经验丰富的夫妇，他们曾是艺术收藏的爱好者，对西班牙-地中海风格的住宅情有独钟。但2017年，托马斯大火的肆虐无情地吞噬了他们的家园，迫使这对夫妇踏上重建之路。

On a ruggedly picturesque hilltop abutting the Los Padres National Forest in Montecito, California, stands a home that’s a monument to self-sufficiency. But it wasn’t always that way. The owners, a worldly husband and wife with a passion for collecting art, had made peace with their middling Spanish Mediterranean–style house when the devastating Thomas Fire of 2017 tore through the property and forced a new beginning.

Yasuhide Kobashi / 西屋大厦纪念性模型方案 / 266.7×132.1×94 厘米 / 用铆钉、铰链和螺栓切割铝板 / 1969 年

原本计划一比一复原旧居的这对夫妇，在设计师兼建筑师杰米·布什的启发下，决定采取全新方向。布什为满足最新的建筑规范，提议建造一栋面积相同却更为简约、内部功能卓越的住宅。在舒宾·唐纳森建筑公司的协作下，这栋住宅采用了耐磨材料，特别是引人注目的外部耐火集成Rheinzink面板。女主人感慨道：“我们从自然中汲取教训，创造了一个与周边环境和谐共生的家。”

The couple had intended to rebuild their previous home as it was when designer and architect Jamie Bush came on board, pushing them to consider a different direction entirely. To accommodate building laws, Bush suggested a house with the exact same footprint but pared back, with hyperfunctional interior architecture. It would be constructed, with the help of architecture firm Shubin Donaldson, from hard-wearing materials, most notably fire-resistant standing seam metal cladding on the exterior. “We wanted to heed the lessons of nature by collaborating with the environment and our immediate surroundings,” the wife says.

入口处的蓝色雕塑来自艺术家Kristina Riska。

“建造耐火住宅的灵感源自《花园中的机器》这一理念，”布什解释道，该书于1964年出版，深入探讨了工业化对自然界的影响，深受建筑学课程师生的推崇。在设计中，他参考了附属建筑和棚屋的元素，并说道：“我们反思了田园环境中人为因素的浪漫化美学，并探索如何将工业化、质朴的材料巧妙融入自然景观之中。”外立面生动地展现了这一理念，而内部设计同样经过了深思熟虑的考量。

“The idea for a fire-resistant home came out of the concept of The Machine in the Garden,” Bush says, referring to Leo Marx’s 1964 book about industrialization’s mark on the natural world—a favorite in architecture programs. “We thought about the romanticized aesthetic of the man-made within a bucolic setting.” The designer looked at out-buildings and sheds as references, structures that often go unnoticed but prove to be most useful. “I love the idea of industrial, modest materials that recede into the landscape,” he says. The cladding speaks to this idea perfectly, though the interiors are just as thoroughly considered.

中国艺术家王光乐的画作与定制的黄色涂料色彩形成了鲜明对比。

（Jorge Zalszupin）

In the living room, a sofa by Polish-Brazilian mid-century designer Jorge Zalszupin The color palette for the home was decided on equally rational-yet-inventive terms. Separates the space from the dining area, with works by Louise Nevelson nestled around it. A painting by Wang Guangle welcomes guests into the foyer, while a work by Nathalie Du Pasquier draws the eye down the ground floor hallway leading from the kitchen to the children’s rooms.

会客厅中引人驻足的画作来自中国艺术家张洹。沙发来自Espasso品牌的豪尔赫·扎尔苏平（Jorge Zalszupin）。

餐厅区域通过优雅的落地式推拉门与露台相连。餐桌选用来自巴厘岛的硬木打造，配以复古风格的餐椅，上方悬挂着英戈·毛雷尔设计的独特吊灯，营造出温馨而别致的用餐环境。露台上，户外桌由 Bkon Millwork 提供，椅子由罗比娜·本森 (Robina Benson) 设计，雕塑由安秀英德·小林 (Yasuhide Kobashi) 创作。景观设计由弗朗兹设计工作室 (Franz Design Studio) 完成。

The dining area opens onto the terrace through floor-to-ceiling sliding doors. The bleached hardwood table is Balinese; the swivel chairs are vintage, and the pendant is by Ingo Maurer. On the pool terrace, the dining table is by Bkon Millwork, the chairs are by Robina Benson, and the sculpture is by Yasuhide Kobashi. Landscape architecture by Franz Design Studio.

灯具品牌Leucos的玻璃吊灯与爱马仕 (Hermès) 的皮质扶手椅为不锈钢厨房中岛增添了活力。

（Bauhaus）

（Alexander Calder）

（Charlotte Perriand）

“The couple are educated aesthetes, with an extensive art collection,” Bush says. “When we talked about infusing color into the house, we looked at the early modernism of the Bauhaus. That led us to primary colors.” An Alexander Calder piece (now the focal point of a blue powder room) served as a springboard for color testing. “We were inspired by how Charlotte Perriand embraced the transformative potential of primary colors and found expression in their abstraction,” the wife adds. Large swaths of yellow, red, and blue appear on walls and in furnishings on every floor of the house. Tangerine explodes in tiny doses throughout, while a faded peach stone was chosen for the primary bathroom to match the white oak.

黄色调的楼梯空间作为背景，过道摆放着林璎的玻璃雕塑。

这对夫妇的藏品中，并非仅有考尔德（Calder）这一位标志性艺术家。荷兰包豪斯建筑师格里特·里特费尔德（Gerrit Rietveld）设计的一款白色躺椅置于主卧套房内，紧邻德国灯具设计师英戈·毛雷尔（Ingo Maurer）的皱纸灯（Lampampe）。墨西哥设计师佩德罗·弗里德伯格（Pedro Friedeberg）的手形椅在房间的另一端向他们招手；而日本艺术家杉本博司（Hiroshi Sugimoto）的摄影作品则悬挂在床头板上方。

Calder isn’t the only iconic artist represented in the couple’s collection. A white lounge chair by Dutch Bauhaus architect Gerrit Rietveld sits in the primary suite beside German lighting designer Ingo Maurer’s scrunched paper Lampampe. Mexican designer Pedro Friedeberg’s hand chair waves at them from across the room; Japanese artist Hiroshi Sugimoto’s photographs hang above the headboard.

佩德罗·弗里德伯格（Pedro Friedeberg）标志性的手掌椅在宁静的卧室里等待。

在主卧套房中，布什被宽幅橡木地板的诱人质感所吸引，决定打破常规，将这一材质不仅用于地面，还以地板的尺寸延伸至墙面。这一设计巧思营造出一种步入其中仿佛置身于无形空间的独特内饰效果，令人印象深刻。

In the primary suite, the wide-plank white American oak used on the floors proved too delicious to stay underfoot; Bush specified it for the walls in the same dimensions as the flooring planks, creating an interior that disappears once you’re in it.

在主浴室中，有一个Wood   Water品牌的橡木桶浴缸，以及一块来自爱马仕（Hermès）的Cordelie Tremplin地毯，奢华至极。

这座住宅的精髓在于一条贯穿三层楼的金属楼梯，其表面涂覆着醒目的黄色涂料，成为视觉焦点。当面对顶层楼梯平台因低矮天花板而无法安装天窗的挑战时，布什从艺术家奥拉弗·埃利亚松 (Olafur Eliasson) 2003年在泰特现代美术馆 (Tate Modern) 展出的《天气计划》 (The Weather Project)装置作品中汲取灵感，特别定制了一件半圆形穹顶灯具。该灯具投射出的光线照耀在镜面天花板上，营造出仿佛太阳照耀般的明亮与温暖，巧妙地解决了采光问题，增添了空间的层次与美感。

The centerpiece of the home is the perforated metal staircase that punctuates all three floors, powder-coated in a bright raincoat yellow. When the low ceiling at the top-floor landing proved structurally unsound for a skylight, Bush looked to artist Olafur Eliasson’s 2003 installation at the Tate Modern, The Weather Project, for inspiration, commissioning a half-dome light fixture that looks like the sun when reflected off the mirrored ceiling.

在楼梯上方，一个定制的玻璃纤维穹顶全天候散发着金色的光芒。

影音室里，朗·丘奇（Ron Church）的摄影作品挂在B-B Italia沙发上方。扶手椅出自盖塔诺·佩谢（Gaetano Pesce）之手。

尽管火元素在家居设计中得到了巧妙的融入与体现，但它绝非这座住宅的唯一特征。住宅内外，马桑树、本土荞麦、鼠尾草等当地植物与加州紫丁香和谐共生，生动诠释了马克思“园林中的机器”这一理念。整栋住宅实现了空气的自由流通，当窗户开启，不仅加州的和煦微风轻拂而入，更伴随着青蛙与鸟儿的悠扬叫声，营造出一种与自然紧密相连的居住体验。“无论何时，自然的声音都环绕着你，”布什说道，强调了住宅与自然环境的和谐共生。

And while fire may be well represented in the design of the home, it doesn’t define the property. Earth is ever-present in local plantings like manzanita, native buckwheat, and sage, grown alongside California lilac to emphasize Marx’s machine-in-the-garden concept. Air circulates easily throughout the house, and with the windows open, more than just the California breeze comes in. “You hear croaking frogs and birds at all times of the day,” says Bush.

项目名称 |

Montecito Residence

建筑设计 |

Jamie Bush

室内设计 |

Jamie Bush

景观设计 |

Franz Design Studio

施工单位 |

Shubin Donaldson

项目摄影 |

Yoshihiro Makino

创始人 / Jamie Bush

Jamie Bush在纽约长岛的一个奇特家庭中长大，这个家庭既是奶牛养殖户，也是曼哈顿一个由知名设计师、摄影师和艺术家组成的小团体的成员，这为杰米日后形成关注自然的设计兴趣奠定了基础。

在新奥尔良和意大利学习建筑之后，杰米移居洛杉矶，将他的设计实践聚焦于20世纪中叶那些默默无闻的现代住宅建筑杰作。

正是在这里，他于2002年创立了杰米布什建筑事务所（Jamie Bush   Co.），并自此致力于翻新美国一些最重要的历史现代主义住宅。

Jamie Bush

因能够打破建筑与室内设计之间的界限而广受认可，他始终坚持将空间设计视为一个整体愿景。

凭借其对建筑和设计深刻且独到的理解，设计作品在全球100多家出版物上亮相，包括《建筑文摘》（Architectural Digest）、《室内设计》（Interior Design）、《时尚》（Vogue）、《ELLE DECORATION》、《华尔街日报》（Wall Street Journal）、《Wallpaper》、《洛杉矶时报》（Los Angeles Times）以及多部茶几书籍。