燃烧试验在德克萨斯州

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火灾始于起爆室。弗拉托几年后湖/架构师进行了小型工业园区的改造市中心的办公室不远的圣安东尼奥,几个月到实际施工,火花从焊机的火炬了钢板衬砌背后的空间。在他们以前的生活,1920年代建造的砖结构房屋被琐碎的地球物理实验室,和起爆室一端更大的建筑,被用于测试。钢铁是后面一层绝缘软木;火熏烧到深夜,所有的工人都走了之后,然后爆发了火灾,带来了七辆消防车和相机从本地新闻。业主,吉尔吉尔,一个设计师(图形和其他)与泰德·弗拉托合作在这个项目中,是提醒,她看了火肠道和燃烧的屋顶的两栋建筑之一将是她未来的家。“如果不是我的,我一定会说,多漂亮,”她记得,坐在舒适的地狱的中心。“好消息是更好比。”

走进罪魁祸首爆破chamber-now计划,一个引人注目,overscale和完全防弹餐饮alcove-Giles运行她的手沿着墙的钢在火灾中扭曲。墙上的灰泥已经详细的匹配偏心,在钢的边缘波浪线,就像一个偶然的时刻的影响时尚blob架构。118高手论坛吉尔斯称之为“火灾的祝福。”That dreadnought of a dining room is but a small corner of the enormous main living space—an exhilarating sweep of first-floor loft with a grand cook's kitchen, a chapel-like bedroom opening on one side and elbow room galore—and there we find the greatest blessing of the fire: a sawtooth factory roof, alternating between clear glass and dark, almost purple Agathis plywood, reaching up over 20 feet. The original roof was a low, sullen affair, punctuated but not entirely relieved by a few pop-up monitor skylights. The fire cleared the way for headroom. "The ceiling was originally 11 feet," Flato says. "We were going to work with it—it was fine—and then it burned."

原始外墙所填写的外观与牛奶玻璃和mock-armored水泥纤维板panels-reflect孤立的边缘附近的市区的北部。在里面,更比SoHo SoHo;外面,阿拉莫。弗拉托称它为“工业庄园。”A high steel gate opens onto a narrow, partially covered alley that runs between the two buildings and leads into a large courtyard with a raised concrete pool; it's one of those wonderful come-in-and-you're-still-outside entrance sequences that a warm climate makes possible. The building to the right, the wider of the two, its deep wood roof trusses spared by the fire, is used as guest quarters, a studio and a general rumpus room; the far end is a separate unit rented out to a film production company. The main building is to the left, and as you proceed up the walk, several apertures—some with bars dating back to the Petty Labs—give you glimpses into the almost decadently cavernous space.

“我喜欢很多我周围的空气,”吉尔说,意识到并享受轻描淡写:两间卧室的住宅总建筑面积12000平方英尺的一层。最近才结婚,她独自一人所有,空气一段时间(她说她的丈夫,那时生活在海外,提出之前,他第一次看到她独特的挖掘)。“当我第一次搬到这里,我住了两个月只有一个蒲团在地板上”——地板,顺便说一下,这是两层处理的曲轴箱油给它一个组合使用,咖啡色的色彩。吉尔斯说,在这段时间的观察,她学会了如何通过四个面北光了锯齿形屋顶的天窗,这墙离开光的艺术,以及她想提供的地方:“过了一会儿,我说,我需要一个沙发上。”

除了新屋顶,其优雅的黑色钢结构,建筑干预被保持到最低限度。“我们很幸运,有建筑,有很好的形状,伟大的比例和它们之间的空间,”弗拉托说。“一切都是关于编辑。”In the alleyway entrance, the concrete alternates with a particularly Technicolor species of slate pavers. "It looks intentional," Giles says, "but there was a huge flaw in the concrete right there." One wall in the alley was "artfully sandblasted" (per Giles) to reveal, but not remove, the archaeological strata of accumulated paint. A freestanding mechanical room was relieved of its walls and stripped down to its bones to create a kind of postindustrial gazebo for outdoor dining. Another sort of intervention was even more minimal—at least as the architect remembers it. "All you had to do here was change the names," Flato says, smiling and pointing out some features of the outdoor spaces between the two buildings. "I mean, this was that horrible little slot behind the mechanical room'; it became a lovely garden.' That was an alley'; it became a lovely entrance.' This was a parking lot.' With a little work, it became a grand courtyard.' " It may not have been that easy—this is, after all, a fire-punctuated project that took more than six years between purchase and a completed renovation—but both Flato and Giles report a "perfect" collaboration. It helps to start with the perfect buildings. "The bones were great," Flato says. "We just needed to connect the dots."