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Nell’immagine: falde inclinate, quercia naturale e arredi made in Italy per un’articolata villa a Pechino, ristrutturata da Mauro Lipparini. In the image: pitched roofs, natural oakand furniture made in Italy for a complex villa in Beijing, restructured by Mauro Lipparini.(foto di/photo courtesy Domus Tiandi)

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segreteria di redazione/editorial secretariatALESSANDRA FOSSATIalessandra.fossati@mondadori.itresponsabile/headADALISA UBOLDIadalisa.uboldi@mondadori.itassistente del direttore/assistant to the editor

contributi di/contributorsGUI ANTEMAURIZIO BARBERISDONATELLA BOLLANISTEFANO CAGGIANOMARIA CLARA CAGLIOTIPAOLO CASICCIVALENTINA CROCIDOMITILLA DARDICLAUDIA FORESTIANTONELLA GALLIRENATA GIORGIMARINA JONNACRISTINA MOROZZIALESSANDRO ROCCAISABELLA CLARA SCIACCALAURA TRALDIMATTEO VERCELLONI

fotografi/photographsSIMONE BARBERISAMIT GERONFERNANDO GUERRAANDREA MARTIRADONNANAARONERI CASAMONTIPAOLO RIOLZIEDMUND SUMNER

traduzioni/translationsSAMANTHA CROWLEYRICHARD SADLEIRCRISTINA SCARCIATRANSITING SAS TRANSLATION AGENCYMONICA ZARDONI

ottobre/October 2019

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EDITORIALDI / BY GILDA BOJARDI

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ARTSRUDOLF STINGEL: PER UN’INTENSA SUPERFICIALITÀ / FOR AN INTENSE SUPERFICIALITYDI / BY GERMANO CELANT

VIEWPOINTUN’ESTETICA DEBOLE / A WEAK AESTHETICDI / BY ANDREA BRANZI

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MATERIAL WORLDDI / BY CAROLINA TRABATTONICEDIT, CERAMICHE D’ITALIA, ARALDICA, DESIGN FEDERICO PEPEANTOLINI, FUSION WOW, DI / BY ALESSANDRO LA SPADAFOTO / PHOTOS RICCARDO URNATOALPI, XILO 2.0, DESIGN PIERO LISSONIFOTO / PHOTOS FEDERICO CEDRONERUBELLI, ALL ABOUT COLOURSFOTO / PHOTOS OMAR SARTOR

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INsideARCHITECTUREA CURA DI / EDITED BY ANTONELLA BOISILONDON, UNA COLONNA DI LUCE / A COLUMN OF LIGHT PROGETTO / DESIGN FLOW ARCHITECTURE CON / WITH MAGRITS FOTO / PHOTOS COURTESY NAAROTESTO / ARTICLE ALESSANDRO ROCCABERGAMO, RAPSODIA IN CEMENTO / A RHAPSODY IN CONCRETEPROGETTO / DESIGN MATTEO CASARI ARCHITETTIFOTO / PHOTOS ANDREA MARTIRADONNATESTO / ARTICLE ANTONELLA BOISIPONZANO VENETO, SCULTURA ABITABILE / AN INHABITABLE SCULPTUREPROGETTO / DESIGN 3NDY STUDIOFOTO / PHOTOS COURTESY FERNANDO GUERRATESTO / ARTICLE ANTONELLA BOISI

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20 ottobre 2019 INTERNI

project team Vincent Nowak, Annarita Papeschi/ Flow Architecturee/and Maria Grazia Savito/Magritsfoto courtesy di NAARO - testo di Alessandro Rocca

UNA COLONNA DI LUCEA Londra, nella ricostruzione di una terrace house di epoca vittoriana è stato creato un vano centrale che attraversa e illumina tutti i livelli della casa

Il camino di luce, invenzione scultorea che illumina l’intera parte centrale della casa. Dietro la grata di legno, i disimpegni delle camere da letto. Nella pagina a fianco, il fronte verso il giardino, con la vetrata a doppia altezza che abbraccia il soggiorno e la sala da pranzo.

INsideARCHITECTURE

Progetto di FLOW ARCHITECTUREcon MAGRITS

INsideARCHITECTURE

Un approccio audace, e al contempo molto concreto, nella modellazione della forma e nel controllo tecnico integrale del progetto caratterizza il lavoro di Flow Architecture, lo studio fondato nel 2013 dall’architetto Annarita Papeschi, laureata a Firenze e alla prestigiosa Architectural Association di Londra, e dal tedesco Vincent Nowak, architetto formatosi all’Università Tecnica di Aquisgrana. Un’attitudine che forse proviene dalla loro pluriennale esperienza maturata nello studio di Zaha Hadid. Lo studio di progettazione, che accompagna l’attività professionale con la ricerca, ha partecipato alla Biennale di Tallinn, nel 2017, e a due edizioni del London Festival of Architecture. Sperimentare soluzioni originali per creare uno

spazio completamente inedito e, nello stesso tempo, rispettare i vincoli di continuità con il contesto del quartiere vittoriano. Queste sono le linee guida della casa Light Falls a Kensington, concepita da Flow in collaborazione con Magrits, che dal 2010 si occupa di progettare residenze private nella capitale. Qui, sia il comfort sia l’immagine rispondono a requisiti contemporanei, animati da una spinta dinamica e futuribile. Secondo i regolamenti urbanistici, la vecchia casa vittoriana andava mantenuta, ma l’instabilità della parete libera del palazzo, l’ultimo della schiera, ne ha imposto la demolizione e la ricostruzione, “(quasi) com’era e (proprio) dov’era”, con una nuova struttura in acciaio e legno. Una chance che ha permesso di reinterpretare la facciata storica portando qualche lieve variazione – soprattutto ampliando e migliorando gli accessi verso il giardino – e di ripensare gli interni in libertà totale. L’edificio, una tipica terraced house londinese del 1851, era costituito da quattro piani stretti tra le

Il soggiorno è distribuito su due livelli. A sinistra, il soggiorno alto, con divano, tavolino e pouf di Paola Lenti. I graticci in listelli di legno accompagnano la discesa della luce naturale.

A sinistra, la sezione longitudinale evidenzia il camino di luce e gli spazi principali sovrapposti, con il soggiorno a due livelli, la biblioteca e la sala da pranzo. Sopra, la spirale del vano scale; sotto, lo spazio cucina, con la scala che scende alla media room.

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INsideARCHITECTURE

La fluidità degli spazi ingloba, in un movimento ininterrotto, la cucina, la sala da pranzo, il living, la scala e, sullo sfondo, il giardino. Sopra, la sala da pranzo, con pavimento in cemento levigato; tavolo di Andrea Stemmer, sedie di Fritz Hansen, lampade Wireflow di Arik Levy per Vibia, cucina di Boffi. A destra, la sezione mostra il passaggio della luce, in verticale, attraverso il vano scala e i due accessi,dal giardino e dalla strada.

pareti cieche di un lotto profondo, e poneva ai proprietari due problemi: un forte deficit di luce naturale e un’organizzazione interna rigida e molto frammentata. Il progetto, rispetto alla volumetria originaria, ha aggiunto un piano interrato e, sul retro, una vetrata a doppia altezza che abbraccia il soggiorno la sala da pranzo. Ma l’intervento portante, che detta il tema dell’intero progetto, è l’apertura di un vuoto, quasi un patio coperto in miniatura scavato al centro della casa: come nelle chiese barocche, l’interno è caratterizzato da un effetto sorpresa basato sull’inattesa irruzione della luce naturale che, piovendo radente alle pareti abilmente modellate, esalta il carattere scultoreo di ogni elemento architettonico. “Il nome Light Falls esprime perfettamente l’anima di questa casa”, dicono i progettisti. “L’effetto cascata della luce del sole che, in movimento verticale, raggiunge il centro dell’edificio, ravviva gli interni e dissolve i confini tra il dentro e il fuori”. Accarezzando i muri, bianchi e sinuosi, la luce naturale crea, nel corso della giornata, atmosfere sempre cangianti. Lo scorrere delle ore e delle stagioni modula la luce, i colori e le sfumature tonali della casa. Protagonisti sono quindi i due spazi che si sviluppano in altezza, entrambi coperti da due ampi lucernari: il vano scale e il ‘patio’, un vero e proprio camino luminoso che seziona verticalmente l’edificio, attraversando i due piani superiori, e illumina direttamente il soggiorno situato al piano di ingresso. Sulle pareti

del vano verticale corrono i binari paralleli dei graticci di legno – forte presenza grafica e materica – che guidano verso il basso la luce e, nello stesso tempo, attirano in alto lo sguardo di chi sta nel soggiorno, verso l’oculo quadrato, fino a quella porzione del cielo di Londra che, seppure piccola, è acquisita come una proprietà, preziosa e inalienabile, della casa rinnovata. ■

Sopra, scorcio dello studio biblioteca, con parete armadio e mensole a incasso su disegno, di Flow, pavimento in rovere. A sinistra, un particolare della finestra interna affacciata sul camino luminoso, al secondo livello, con cabina armadio di Molteni&C. Qui a sinistra, il bagno degli ospiti, con lavabo Inbani, water Catalano e rubinetteria Gessi.

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INserviceTRANSLATIONS

the imprints of dogs’ paws and, once the material has dried, they become a permanent part of the work. The footprints of people are those left on the large surfaces of white styrofoam, of considerable thickness, as if it had been transformed into an expanse of snow, Untitled, 2000; while previously, from 1997 to 1999, the same ma-terial had been clipped into the shape of a circle and an ellipse, exhibited at the Stephen Friedman Gallery, London, in 2001. The paintings are a place of intensification of the trace, which displays an almost fleshly inwardness; they deepen the materiality excited by the intervention, but they can also be cold and impersonal, like those reproducing gilded and baroque wallpapers. Here the sur-face does not crumble or unravel, but offers its contained and lumi-nous consistency. It rejects encroachment and expresses itself in its luxurious epidermis, crossed by repeated imaginary forms and effervescences. The use of friable and soft materials, open to the sensitivity of an individual, from that of the author to that of the public, allows for a physical fusion between identities: that of the material, the artist and the visitors. The individualization of the trace left bears with it the relation to the performer, who may re-main anonymous or, as in the case of the artist, be identified with Stingel. In this case it is a subsequent surface that defines or in-forms about his presence. It is the paintings, with linguistic con-notations close to photography, that from 2005 to the present the artist inserts on the walls of moquette or carpet, and which are his image and the cultural and human entities that he shared, like the portrait of an alpine soldier that refers to his military service in 1976, or the artistic context of the Altoatesino, rich in historical sculptures of Madonnas and saints, from St. Elizabeth to St. John, the landscapes around Merano, and also the artists of reference such as Ernst Ludwig Kirchner, Pablo Picasso and Francis Bacon, or gallery owners like Paula Cooper, the friends and artists, from Franz West to Roland Bolego. But with greater emphasis they docu-ment the continued presence of his iconic identity in the portraits of the photographer Sam Samore. Paintings all in black and white to avoid the magic and seduction of pigment in favor of the identity document: a reflection on the nature of the author and his intel-lectual and human context, with all its existential attributes, which make it an additional autonomous and self-signifying surface. It is a continuous reflection on the surface of the multiple polarities that make up art, from the materials to the artist.

CAPTIONS: pag. 10 Rudolf Stingel, Untitled , 1992-2019, carpet, variable dimensions; Untitled (Madonna), 2009, oil on linen, 40.6 x 33 cm; Untitled, 2019, styrofoam, 304.8 x 487.6 x 10 cm. Installation view, Rudolf Stingel, Fondation Beyeler, Riechen (Basel), 2019. Photo by Stefan Altenburger, courtesy Fondation Beyeler. pag. 11 Rudolf Stingel, Untitled, 2009, cast bronze and nickel plated, 304.8 x 243.8 x 10 cm; Untitled (after Sam), 2006, oil on canvas, 335.3 x 457.2 cm. Installation view, Rudolf Stingel, Fondation Beyeler, Riechen/Basel, 2019. Photo by Stefan Altenburger, courtesy Fondation Beyeler. pag. 12 Rudolf Stingel, Untitled (Alpine Soldier), 2006, oil on canvas, 335.9 x 326.4 cm. Installation view, Rudolf Stingel, Whitney Museum of American Art, New York, 2007. Photo by Stefan Altenburger. Courtesy of the artist. pag. 13 Rudolf Stingel, Untitled (Franz West) , 2011, oil on canvas, 334.3 x 310.5 cm. Installation view, Rudolf Stingel, Palazzo Grassi, Venice, 2013. Photo by Stefan Altenburger. Courtesy of the artist. pag. 14 Installation view, Rudolf Stingel, Whitney Museum of American Art, New York, 2007. Photo by Stefan Altenburger. Courtesy of the artist. Installation view, Rudolf Stingel, Museum für Moderne Kunst, Frankfurt, 2004. Photo by Alex Schneider. Courtesy Museum für Moderne Kunst, Frankfurt. pag. 15 Rudolf Stingel, Untitled, 2003,

polystyrene and silicone on canvas, 260 x 400 cm. Installation view, Dreams and Conflicts. The Viewer’s Dictatorship, Venice Biennale, 2003. Photo by Santi Caleca. Courtesy of the artist. Installation view, Rudolf Stingel, MART, Trento, 2001.

INsightsVIEWPOINT

P16. A WEAK AESTHETICby Andrea Branzi

AFTER THE CERTAINTIES OF THE TWENTIETH CENTURY LINKED TO THE CONCRETENESS AND EFFICIENCY OF MECHANICS, THE ART OF THE 21ST CENTURY INTERPRETS AN ERA MARKED BY INDETERMINACY AND CONTINUOUS CHANGES, WHERE THE WORKS FIND PLACE ON THE MOBILE THRESHOLD OF CHANCE

This title does not seek to indicate a defect or a limit, a profound diversity with respect to the strong and concentrated aesthetics of the 20th century. It indicates an art, modern art, based on the max-imum efficiency of communication energies and sense inside the work. An art that internalised all the structural mutations that oc-curred in society and technology, to sublimate them into a single great cognitive impact: highly discontinuous, well-versed languag-es. As the daughter of mechanics, twentieth-century art moved by producing (like mechanics) the utmost stress, friction and shock, in as concentrated a time and place as possible. The 'machine' as the maximum concentration of the 'politics' of transformation. Com-pared to that distant and heroic season, today the signs of a weak, fragile and incomplete aesthetic emerge, lacking a 'sense', because it lacks a direction (both physical and political). An art that belongs to this and our age of perennial mutation, of constant uncertainty: illuminated by weak hermeneutics (Vattimo), fuelled by weak ener-gies and technologies (electronics), which follow undetermined sci-entific logic and in which swarms of micro-operators move, which move huge mental economies. This type of art produces neither linguistic codes nor islands of meaning: it intercepts those weak energies that raise the great oceans every night, without producing noise. Energies that do not create strong and concentrated earth-quakes, but vast and deep silent bradyseisms. Within a totally transparent and downplayed light (that is, without metaphysics), these micro-harmonies float in stable equilibrium because they lack metaphors. When we speak of a weak aesthetic we speak of signs that positively accept the absence of larger dimensions and complete great journeys; in their own way they reproduce the whole like holograms do, the universe is equal to each of its small parts; the work is no longer a 'machine' but a link, a ganglion that preserves the fragility of the cosmos. Or 'conservative' works of their own modest equilibrium, which is the only one that is given to us to live: they reproduce the mysterious spirals of the brain, which produces knowledge and consciousness without visible effects. We are in another millennium. They are placed on the mobile threshold between work and non-work, between sculpture and chance: de-cidedly and prudently reversible, removable. They do not belong to a trend, but rather to weather forecasts: as the incipit of many of the greatest Central European novels. In Ferdydurke, Witold Gom-browicz opens on the threshold of the "vanishing dull moment" be-tween night and day. Thomas Mann's Royal Highness begins with a day of grey light that "excludes all strangeness of the soul", Robert Musil begins The Man without Qualities with the description of a vast meteorological depression. Thus the Trieste roots of Umberto Saba lead him to believe that he is always wrong: the works stop at the incipit everything promises, but immediately interrupts. They are fragile sculptures made with a ballpoint pen, with an industrial

sign that also produces gouges or half-figures, curled up signs with long stems drawn with a felt-tip pen. Without paper, however, in a vacuum. Telephone notes waiting for a connection, in a moment of absolute calm, between something that has already happened and something that will happen.

CAPTIONS: pag. 17 Andrea Branzi, studies for the sculpture Orecchio, 1989.

INsideARCHITECTURE

P18. A COLUMN OF LIGHT project FLOW ARCHITECTURE with MAGRITS project team Vincent Nowak, Annarita Papeschi/Flow Architectureand Maria Grazia Savito/Magritsphotos courtesy by NAARO - article Alessandro Rocca

IN LONDON, IN RECONSTRUCTING A TERRACE HOUSE OF THE VICTORIAN PERIOD, A CENTRAL COMPARTMENT HAS BEEN CREATED THAT CROSSES AND LIGHTS UP ALL THE LEVELS OF THE HOUSE

A bold, yet very concrete approach in shape modelling and integral technical control of the project characterises the work of Flow Ar-chitecture, the studio founded in 2013 by architect Annarita Pape-schi, who graduated in Florence and at the prestigious Architec-tural Association of London, and by German architect Vincent Nowak, who studied at the Technical University of Aachen. An ap-proach that perhaps stems from the many years of experience they had working with Zaha Hadid. The design studio, which combines professional activity with research work, participated in the Tallinn Biennial in 2017 and twice in the London Festival of Architecture. Experimenting with original solutions to create a completely new space and, at the same time, respecting the constraints of continu-ity imposed by the Victorian district: these were the guidelines of the Light Falls house in Kensington, designed by Flow in coopera-tion with Magrits, which has been designing private homes in the British capital since 2010. Here, both comfort and image meet con-temporary requirements, supported by a dynamic and futuristic drive. According to town planning regulations, the old Victorian house had to be maintained, but the instability of the free wall of the building, the last of a row, forced its demolition and reconstruc-tion, “(almost) as it was and (exactly) where it was”, with a new steel and wood structure. An opportunity that made it possible to rein-terpret the historic façade introducing a few slight variations – es-pecially by expanding and improving the access to the garden – and to rethink the interior in full freedom. The building, a typical London terraced house dated 1851, was made up of four floors closed between the blind walls of a deep lot. This caused two prob-lems to the owners: a strong deficit of natural light and a rigid and very fragmented internal organization. The project, compared to the original volume, has added a basement and, at the back, a dou-ble height window that embraces the living room and the dining room. But the main change, which sets the character of the entire project, is the opening of a void space, almost a covered miniature patio dug in the centre of the house: as in Baroque churches, the interior is characterized by a surprise effect based on the unex-pected flood of natural light that, coming from above and grazing the skilfully shaped walls, enhances the sculptural character of each architectural element. “The name - Light Falls - perfectly ex-presses the soul of this house,” said the designers. “The cascading effect of sunlight that, in a vertical movement, reaches the centre of the building, revives the interiors and dissolves the boundaries between the inside and the outside”. Grazing the white, sinuous

walls, natural light creates ever-changing atmospheres throughout the day. The passing of hours and seasons modulates the light, the colours and tonal nuances of the house. The protagonists are therefore the two spaces that develop in height, both covered by two large skylights: the stairwell and the 'patio', a real luminous column that divides the building vertically, crossing the two upper floors, and directly lights up the living room located on the en-trance floor. On the walls of the vertical space, the parallel tracks of the wooden grids – a strong graphic and material presence – guide the light downwards and, at the same time, attract the gaze of those who are in the living room towards the square oculus, up to that portion of the London sky that, although small, is acquired as a precious and inalienable property of the renovated house.

CAPTIONS: pag. 19 The column of light, a sculptural invention that lights up the entire central part of the house. Behind the wooden grid, there are the bedroom hallways. On the opposite page, the façade overlooking the garden, with double-height windows embracing the living room and the dining room. pag. 20 The living room is distributed on two levels. To the left, the upper living room, with sofa, coffee table and pouf by Paola Lenti. The wooden grids enhance the descent of natural light. pag. 21 Left, the longitudinal section highlights the column of light and the main overlapping spaces, with the two-level living room, the library and the dining room. Above, the spiralling staircase; below, the kitchen space, with the staircase leading down to the media room. pag. 22 The fluidity of spaces incorporates – with a continuous movement – the kitchen, the dining room, the living room, the staircase and, in the background, the garden. Above, the dining room, with polished concrete floor; table by Andrea Stemmer, chairs by Fritz Hansen, Wireflow lamps by Arik Levy for Vibia, kitchen by Boffi. Right, the section shows how light descends vertically through the stairwell and the two entrances, from the garden and the street. pag. 23 Above, view of the library study, with wall cabinet and recessed shelves designed by Flow, oak floor. Left, a detail of the internal window overlooking the column of light, on the second level, with walk-in closet by Molteni&C. Left, the guests’ bathroom with washbasin by Inbani, WC by Catalano and taps and fittings by Gessi.

P24. A RHAPSODY IN CONCRETEproject MATTEO CASARI ARCHITETTIphotos Andrea Martiradonna - article Antonella Boisi

THERE’S A HOUSE IN THE PO VALLEY (ITALY) THAT STANDS OUT FOR ITS VISIONARY DESIGN, GIVEN BY LARGE WINDOWS,ANGULAR LINES AND RAW BETON HIGH WALLS TO EXPRESS ALL THE BRUTALIST CHARM OF A MODERN MATERIALWHICH DIALOGUES, IN THE PURITY OF ITS FORMS, WITH LIGHT, WATER AND GREEN

One hundred percent cement, recyclable and recoverable. What is special about this house, close to the city of Bergamo, is its materi-alization as a monolith of rough concrete, characterized by a bru-talist charm, which favors a single line design and the angularity of a rough de constructivist geometry, devoid of finishes. Looking at its austere, cold and rigorous architecture, you might think you are in Japan but no, it is about the Italian Padano landscape where a precise reduction was made in every design choice. What is the reason for this radical approach? “We wanted to stimulate new points of view and the perception of an intervention carried out in the pure static-constructive act”, explain Matteo Casari and Valen-tina Giovanzani (since 2007 from Matteo Casari Architetti Studio, based in Verdellino, Bergamo). Were you inspired by the structural research on architectural figure archetype and the intersections according to different orthogonal directions conceived by the Mila-nese painter and stage designer Rodolfo Aricò? Or maybe by the theme of shaped forms starting from an ideal box treated with sur-gical precision and geometric abstraction by the American artist

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A COLUMN OF LIGHT

光之瀑布在伦敦，一座维多利亚时期的排屋被改造，构建出一个全新的中央天井，天井贯通整座建筑并照亮了各个楼层。

文字 / Alessandro Rocca项目 / FLOW Architecture，MAGRITS项目组 / FLOW Architecture: Vincent Nowak, Annarita Papeschi， MAGRITS: Maria Grazia Savito图片 / NAARO 翻译 / 钟子溦 编辑 / 月

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1 / 朝向花园的建筑立面，双层楼高的窗户环绕着起居室和餐厅。

2 / 设计师以雕塑般的手法营造出 光瀑布 ，照亮整个中央空间。木质格栅的背后是通往卧室的走廊。

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1 / 起居室被分为两层，图为上层起居室，配有沙发茶几 和宝拉·伦蒂 Paola Lenti 设计的坐凳，木质栅栏增强了自然光的倾斜走势

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诺LOW 建 筑 师 事 所 诺low Architecture 由

毕业于著 的伦敦建筑联盟学院 Architectural As-

sociation 的 建 筑 师 安 娜 丽 塔·帕 佩 齐 Annari-

ta Papeschi 和 曾 就 于 琛 工 业 大 学 Technical

University of Aachen 的德国建筑师文森特· 瓦克

Vincent Nowak 于 2013 创建。该 工 作 室 采 用大

胆而 体的方法进行建模和整体技术控制，这种工作方法

可能源于他们 扎哈·哈迪德 后aha Hadid 合作多

的经验。诺LOW 建筑师事 所将 业实践 学术研究相

结合，于 2017 参 了塔林双 展 Tallinn Bienni-

al ，并两次 参 了伦 敦 建筑 节 London 诺estival of

Architecture 。对于位于肯辛顿的光之瀑布屋 Light

诺alls house 重建项目，他们尝试了独创的解决方案，

在尊重维多利 区现存连续性限制的 时，创造一个全

的空间。这 是 诺LOW 建 筑 事 所 建 筑 师 玛格 利茨

MA读RITS，全 Maria 读razia Savito 合 作 构 思

该翻 项目的准则。自 2010 以来，玛格利茨一直在伦

敦从事私人住宅设计工作。

富有动态及未来感的驱动力为建筑 添了舒适 悦目

的当代气息。根据城镇规划条例，建于维多利 时代的历

史建筑必须保留，但 最 一排游离的墙壁由于结构 稳

定已被拆除，继而以 的钢木结构’ 几乎 保持原样地

并 确切地 在原地‚被重建。借此机会，建筑师得以重

诠释历史悠久的建筑立面，并引入一 细微的变化—特

别是通过扩大和优化通往花园的通道，自由地重构了 内部

结构。这座建于 1851 的 型伦敦排屋由 4 层楼组成，被

没有开口的墙体紧锁，这给使用者带来了两个问题：自然

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2 / 建筑剖立面图，显示了 光瀑布 和主要重叠空间，以及双层起居室 图书馆和餐厅

3 / 螺旋上升的楼梯

4 / 厨房空间，通过楼梯可以通向多媒体室

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光线的 重缺乏和僵硬且破碎的内部空间格局 原

有建筑体量相比，该项目 建筑增加了一间地 室，

以及建筑 方一扇环绕起居室和餐 的双层高窗

然而，翻新带来的核心变化是构建了一个虚空间，

相当于在建筑中央开辟出一个覆顶微型 井，奠定了

整个项目的气质基调，让人如 置身于巴洛克式教堂

中央 自 倾泻而 的自然光拂过造型巧妙的墙壁，

增强了每个建筑元素的雕塑性特质，带来意想 到的

独特效果 设计师表示：’该项目的 称—‗光之

瀑布‘—完美地表达了这座 子的灵魂 阳光的叠

层效应垂直到达建筑中央，使其内部恢复生机，并消

解了室内外之间的界限 ‚在蜿蜒的白色墙壁 ，自

然光随着一 中 阳位置的变化创造出千变万化的

氛围 时间和季节的流逝调节着建筑的光线 颜色和

色调的细微差别

建筑的 是楼梯和 井，它们均被 窗覆盖

空间纵向延伸发展 井如 一帘发光的瀑布，垂直

地分割了整座建筑 穿越 个楼层并将起居室照亮

在垂直的墙壁 ，平行的木栅饰面将光线引导向 ，

其形态和材料特征十分引人注目， 时引导起居室中

人们的视线透过方形 窗注视伦敦的 空 窗虽

然很小，却是该 史建筑通过翻新 获得的一个珍

贵且独特的惊喜

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1 / 空间的流动性将厨房 餐厅 起居室楼梯以及背景中的花园融合在一起

2 / 铺有抛光水泥地板的餐厅，餐厅中有安德里亚·斯特莫 Andrea Stemmer设计的桌子 Fritz Hansen 品牌出品的椅子埃里克·列维 Arik Levy为 Vibia 品牌设计的 Wireflow 灯，以及由 Boffi 品牌出品的橱柜

3 / 光线分析图，展示了光线如何从楼梯以及花园和街道两个入口垂直照进室内

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64 / 窗户的室内细节图，朝向 光瀑布 的上层空间，右侧为 Molteni&C 品牌出品的步入式衣柜

5 / 图书馆及书 视 ，左侧是由 FLOW 建筑师事务设计的壁柜和嵌入式搁板，地面铺设有橡木地板

6 / 客 的浴室，配有 Inbani 出品的洗脸盆Catalano 出品的马桶和 Gessi 出品的水龙头及配件

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