当一个投资银行家和她的丈夫决定是时候解放自己的国家监狱的房子之前的装修,他们呼吁建筑师已经1600平方英尺的曼哈顿公寓的棱镜无限的views-Peter谢尔顿和李民德冰期。“我们为他们代表着一种挑战,”妻子说,“因为他们所做的一切都是大的,我们所做的一切都是小的。”
大约在1860年新英格兰农舍确实是在小方面,总计只有2400平方英尺,和多年来它已经失去了它的一些历史的纯度,但一面亩英亩的风景沼泽地后从事历史老莱姆,康涅狄格。“它所需要的是视觉,民德冰期说。“这是一个nice-scale木制结构房屋,没有充分连接到其伟大的网站。感觉幽闭。和choppy-too许多小房间。彼得和我是要找到一种方法来打开它不破坏它的感觉intimacy-a看起来自然和不可避免的。”
问题仍然存在:如何给的一个开放的计划,同时保留传统离散空间,否则恢复角色和架构感性。答案,这将需要加强一些房子的老梁的钢铁,是创建一个接一个的机会,或者相反,因为他们不排队enfilade-like,分层的进展。这样,能够体验完整的周边建筑物的光线和空气了,不管哪个房间人能,,看到整个房子。然而与此同时,谢尔顿和民德冰期计划组织空间,在妻子的话说,“开放,你永远不会觉得你在阁楼的。”
开始,他们几乎推翻原来的内部。“重组”,谢尔顿所指出的那样,“我们指导下构建的意图。”The living room told them it wanted to have water on three sides and to feel like an enclosed porch. The master bedroom, with its terrace, placed itself on the second floor. The studio, where the husband, a retired banker, would paint, dictated that it, too, be on the second floor and also have full north light, whereas the library, downstairs, conceived as a snug, inward-feeling room, would be content without primary views. And the dining room naturally would be in the convivial thick of things, in the middle of the house, and have a window on each end looking out on water (one of them takes in the marshes and the tidal river beyond; the other, the pool the couple put in several years ago that measures a mere 13 feet square—"It's so them," Mindel says admiringly).
字面上唯一留存的东西是前门楼梯栏杆,桃花心木。消失——“梦幻,”民德冰期认为——门和楼梯井木制品(后来楼上的橡木地板)被漆成“玄关灰色,所以你进入一个浮动的云”。Then, white having struck them as a shade too aggressive for such a small-scale space, they coated the entire "interior skin" of the building the color of unpainted plaster. "We did use a semigloss off-white for the bead board and coffered ceilings," Shelton adds, " to reflect the light from the windows and make those rooms look taller."
