Mondrian's Window House, San Francisco

Designed for two artists—one also the architect—this rear addition to a one-bedroom house symbolizes architecture of linearity and sequence, where all of the rooms across the three stories have a sightline, progressively more expansive as one moves higher, overlooking a downward sloping garden and panoramas of the Bay to the North. 

        这是一个为只有一个卧室的住宅做补充设计的项目，目的在于突出建筑本身的线条优美和连续不断，房子的主人是两位艺术家—其中一位还是建筑师。贯穿房子三层的各个房间都可以享受到日照，并且随着楼层的增加，视线也会越来越宽广，可以往下观赏到一个斜坡式的花园，以及北边海湾的全景。

At the ground level, the existing garage opens onto a new studio that opens onto the garden beyond. Connected by a spiral staircase in the studio, the second level comprises an existing street-facing parlor and previously windowless bedroom, which now opens onto a multi-use space for painting and yoga. The existing kitchen and dining room on the third floor open onto a live/work space that also doubles as an area in which to entertain. The view of the Bay increases as one ascends. 

        位于地面层的已有车库朝着一个新建的画室开放，而这个新建的画室对着之上的花园开放。二层通过位于画室的旋转楼梯相连，由原来为一个朝街的客厅和一间无窗的卧室组成，现在打通成为一间可以作画和练瑜伽的多功能空间。位于三楼的厨房和餐厅朝着一个可以活动和工作的空间，打通之后空间变为原来的两倍，作为一个大的空间，可以在这里玩乐。

Built on a lot narrower than the typical San Francisco 25-foot parcel, this three-story infill project is not visible from the street. Instead, the existing 1,900-square-foot residence forms the primary façade of the new 1,400-square-foot addition. 

        这个新建的三层房子位于一个非常狭窄的缝隙里，并非是典型的三藩市“25英尺”土地划分机制，在街道上很难观察到建筑物本身。而在另一方面，已有的拥有1900平方英尺的住宅组成了这个1400平方英尺补充建筑的最主要的建筑立面。

The addition to the house opens up the space to provide room for creative work and an abundance of natural light. The original spaces gain more breathing room while continuing to cater to everyday functions. These areas were kept in the Edwardian/Arts and Crafts style in deference to two generations of artists who lived in the house prior to the current owners. The rear elevation, now the primary façade of the house, is rich in explicit formal references. They range from the Dutch cabinet maker/architect Gerrit Rietveld for volumetric composition, to Dutch painter Piet Mondrian for the subdivision of the glazing and its coloring, and contemporary New York architect Richard Meier for the expression of frames containing the individual windows in and out of the primary building envelope. 

住宅的补充部分为创意工作和引入丰富的自然光线提供了良好的条件。在继续可以满足日常生活功能需求的同时，原有的空间增加了更大的“呼吸”空间。在现在的主人入住之前，为了表示对当时住在这里的两代艺术家的尊崇，室内一致保持着爱德华七世时期的艺术和工艺风格。位于后面的建筑立面—现在是住宅最重要的外墙面—精确地参考了设计师和艺术家的元素，从荷兰风格派的代表作人物Gerrit Rietveld（代表作：红蓝椅）的体块构成（volumetric composition）到荷兰风格派画家彼埃·蒙德里安（Piet Mondrian）的色彩构成（the subdivision of the glazing and its coloring ），纽约现代建筑师理查德·迈耶（Richard Meier）的设计思想。

Through a language of planes, a much larger scale is hinted at than what the current footprint really affords. In breaking down the smaller elements, blatant symmetry is avoided, while simultaneously remaining elusive. As a result, there is some symmetry in the middle floor, wherein the sectional ins and outs activate the default flatness of the elevation. Selective use of dichroic glass suggests further scale as a pursuit of optical vibrancy. These bold primary colors are repeated in the two main worktables’ bright colored-glass tabletops. The wall surface is broken up into planes in the color palette of the California morning. 

▲规划图／site plan

▲平面布局图／floor plans

▲花园立面图／garden elevation

▲剖面图／sections

▲花园里面材料分析／garden elevation materials

设计公司：Form4 Architecture

设计师：John Marx

项目地：美国三藩市

项目完工：2016年

摄影师：Bruce R. Damonte

Edit by Designwire