AD Classics: Kings Road House
由专筑网朱王倩，刘庆新编译
位于洛杉矶好莱坞西部，隐蔽在高高的竹林后的国王路的屋子也许会是有史以来体现现代主义风格的第一件建筑作品。该建筑由建筑师Rudolf Schindler1921年设计，他采用倾斜板混凝土建造（极富创新的时代）以及非正式的工作室布局，使它从同时代脱颖而出；事实上，该设计为未来几十年的其他现代主义住宅设计定下了基调。
Rudolf Schindler 在他的家乡奥地利维也纳的建筑研究后，已打算前往美国与弗兰克劳埃德赖特一起工作。在第一次世界大战爆发前五个月时，他坐船到了纽约，在1918年底战争结束，他实现了自己的目标，并加入莱特的事务所。1919年Schindler与Sophie Pauline Gibling结婚，来自明尼阿波利斯的音乐教师和政治活动家分享了他对传统机制的厌恶——包括婚姻本身。
1920年7月赖特邀请新婚夫妇到他在威斯康星州的塔利辛工作室工作。这次经历使鲁道夫和索菲留下深刻的印象——房子的形式和乡村环境和谐共处震撼了他们，他们开始梦想着为自己建立一个新的工作室。
Secluded behind a screen of tall bamboo shoots in West Hollywood, Los Angeles, the Kings Road House may be considered the first home ever built in the Modernist style.[1] Designed by Rudolf Schindler in 1921, the architect’s use of tilt-slab concrete construction (highly innovative at the time) and an informal studio layout, set it apart from its contemporaries; indeed, the design would set the tone for other Modernist residential design for decades.
During his architectural studies in his hometown of Vienna, Austria, Rudolf Schindler became intent on traveling to the United States to work with Frank Lloyd Wright. He sailed to New York only five months before the outbreak of the First World War; by the war’s end in 1918, he had achieved his goal and joined Wright’s practice. In 1919, Schindler married Sophie Pauline Gibling, a music teacher and political activist from Minneapolis who shared his distaste for traditional institutions – including marriage itself.
Wright invited the newlyweds to his Taliesin studio in Wisconsin in July 1920. The experience had a significant impact on both Rudolf and Sophie–the manner in which the house and its rural surroundings coexisted in harmony appealed to them, and they began to dream of building a new studio home for themselves.
Courtesy of The United States Library of Congress
Courtesy of Flickr user John Zacherle
当他和妻子搬到洛杉矶后的一年，Schindler建造自己梦想中的房子的想法开始出现。在这里Schindler与建筑师Irving Gill结识，在Schindler看来，他是唯一一位试图摆脱在上世纪二十年代洛杉矶流行的西班牙殖民复兴主义的本土设计师。Schindle对Gill的倾斜板施工工作特别着迷，这种工作是混凝土墙被倒入模具并现场固化后倾斜到位。赖特的塔利辛的田园宁静和Gill的倾斜板混凝土工业效率最终在设计中融合在一起，Schindler在1921年十一月开始起草方案。
The opportunity for Schindler to build his dream house arose when he and his wife moved to Los Angeles later that year. It was there that Schindler developed an acquaintanceship with the architect Irving Gill, who, in Schindler’s opinion, was the only local designer attempting to break away from the Spanish Colonial revival popular in Los Angeles in the early 1920s. Schindler was particularly fascinated by Gill’s work in tilt-slab construction, in which concrete walls were poured into molds and tilted into place on site after curing. The pastoral serenity of Wright’s Taliesin and the industrial efficiency of Gill’s tilt-slab concrete would ultimately come together in the designs Schindler began drawing up in November 1921.
Courtesy of The United States Library of Congress
该建筑的设计出发点不是作为一个单独的家庭住宅，而是一个是与Marian和Clyde Chace共享空间。Schindler 将作为该项目的主负责人，而Chace担任建筑师。伙伴关系也因此在劳动和工程材料成本上节省了两夫妇的资金。项目进一步的节约是将房子选址在贝弗利山和好莱坞之间的200平方英尺（18.6平方米）的非法土地上。规划期仅持续了2个月，从1921年的十一月到十二月。在设计推敲后最终方案产生了，其中最后更新是由于Chace的第一个孩子即将出生。
The house was conceived not as a single-family residence, but as one to be shared with Marian and Clyde Chace. Schindler would serve as the architect for the project, while Chace acted as the builder. The partnership would therefore save the two couples money on both the labor and material costs of the project.[5] Further economy would be achieved by siting the house on a 200 square foot (18.6 square meter) lot on Kings Road in what was then unincorporated land between Beverly Hills and Hollywood. The planning phase lasted only two months, from November to December of 1921. The final scheme emerged after four design iterations, the last of which was updated to account for the impending birth of the Chace’s first child.
Courtesy of The United States Library of Congress
Schindler设计的国王路住宅的方案是个人工作室和公共生活空间结合。他描述其特点是“两对年轻夫妇的合作式住宅：”为每个成年人设计的私人工作室，一个入口大厅，一个封闭的天井以及为每对夫妻设置的浴室，屋顶上带两个开放露台卧室，一间单独的公共厨房，和包括房子内其他空间的客人公寓。三个叶片的风车式的平面的建设，也创造了许多不同花园空间的两端，承载着由内部私人氛围过渡到花园空间。
Schindler’s scheme for the Kings Road House was a mixture of individual studios and communal living spaces. He characterized the design as a “cooperative dwelling for two young couples:” a private studio for each adult inhabitant, an entrance hall, an enclosed patio and a bathroom for each couple, two open terraces on the roof for sleeping, a single communal kitchen, and a guest apartment comprised the spaces within the house. The three-bladed pinwheel plan of the building also created several distinct garden spaces at both ends of the lot, carrying the private atmosphere of the interior into the gardens.
© Joshua White
Schindlers和Chaces 于1922年2月15日破土动工，建造他们的新家。四个将定居这里的居民参加了施工过程，集中于Schindler改进Gill的倾斜板系统。而Gill预制了整个墙壁，Schindler用四英尺长（1.2米）的单位系统，理论上由两人没有起重机的情况下完成倾斜的位置确定。每个板之间的接缝处用玻璃接合，打破了未完成的混凝土的单调，让光线进入房子。
The Schindlers and Chaces broke ground on their new home on February 15, 1922.[8] All four future residents took part in the construction process, which centered on Schindler’s improvements on Gill’s tilt-slab system. Whereas Gill had prefabricated entire walls, Schindler used a system of four-foot long (1.2 meter) units, theoretically allowing them to be tilted into position by two men without the use of a crane. The seam between each slab was expressed in glass, breaking the monotony of the unfinished concrete and admitting light into the house.
Courtesy of Flickr user collectmoments
建筑屋顶由相对传统的后梁系统支撑。在工作室，每个红木梁一端由混凝土墙板支撑；另一端是由两个木柱支撑。非结构木材，玻璃和帆布，也被用于创建内部分区和庭院入口。由此产生的影响是，每一个工作室有相对两侧的重影以及显著的开放性，从屋子里的每间房间几乎都可以看到花园的树叶。
The roof was supported by a comparatively traditional post-and-beam system. In the studios, one end of each redwood beam was supported by the concrete wall slabs; the other end was supported by two wooden posts. Nonstructural lumber, along with glass and canvas, was also used to create interior partitions and patio doorways. The resulting effect was that of heavy opacity and remarkable openness on opposite sides of each studio, with the garden foliage visible from almost every room in the house.
Courtesy of The United States Library of Congress
该项目工程建设进展迅速，在1922年6月基本完成。两年来，Schindlers和Chaces 继续为新家安装新设备和采购家具，两人在房子经过初期建设后都没有进行过预算。不幸的是，经济压力继续压迫着夫妻，在有了第二个孩子后， Chaces 不得不在1924年7月离开佛罗里达州。不到一年后，Richard Neutra和妻儿搬进房子。在与Chaces分开后，Schindler的婚姻已经结束了，而他新的专业合作伙伴Neutra激励了他新兴的建筑生涯，他与妻子的关系在持续下降。1927年Pauline和她的丈夫分手搬出去了；1930年Neutras搬出，虽然Schindler 继续与Neutra一起进行演讲，但他们的关系明显变得冷淡。
Construction proceeded quickly, with the house essentially completed by June 1922.[11] For two years, the Schindlers and the Chaces continued to develop their new home by installing new fixtures and purchasing furniture, neither of which they had a budget for after the initial construction of the house. Unfortunately, financial pressures continued to put strain on both couples, and after having a second child, the Chaces had to leave for Florida in July 1924. Less than a year later, Richard Neutra moved into the house along with his wife and son. Schindler’s marriage had already begun to erode before the departure of the Chaces, and while his new professional partnership with Neutra stimulated his burgeoning architectural career, his relationship with his wife only continued to decline. By 1927, Pauline split with her husband and moved out; the Neutras moved out in 1930, and though Schindler continued to lecture alongside Neutra, their relationship grew noticeably colder.
© Luke Fiederer
20世纪30年代末，由于Pauline和前夫复合回到家里。Schindler住在原本为两人建造的工作室，而 Pauline 居住在以前居住着Chaces和Neutra的公寓里。直到1953年Schindler去世，作为离婚夫妇的两人共享一个家。1974年，Pauline创建了一个非营利组织，Schindler房子的朋友，帮助房屋的保护。该组织在1980年获得了这所房子，并在1922年开始了一个在其原有的基础上修复房子的计划。1994年合伙与应用艺术奥地利博物馆将国王路的房子变为洛杉矶Mak的艺术与建筑中心（现在被认为是好莱坞西部的公共展览馆）。
Toward the end of the 1930s, Pauline returned to the house that she and her ex-husband had built. Schindler lived in the studios originally built for the two of them, while Pauline took up residence in the apartments formerly inhabited by the Chaces and the Neutras. The two shared the home as a divorced couple until Schindler’s death in 1953. In 1974, Pauline created a nonprofit organization, the Friends of the Schindler House, to help ensure the house’s preservation. The organization acquired the house in 1980 and began a program to restore the house based on its original completion in 1922. In 1994, a partnership with the MAK/Austrian Museum of Applied Arts turned the Kings Road House into the MAK Center for Art and Architecture, Los Angeles – a public exhibition gallery in what is now considered West Hollywood.
Courtesy of The United States Library of Congress
国王路房子周围的世界已经改变了。以前开放的土地已完全被填满建筑；事实上，现在房子矮的一侧是多层公寓楼。尽管如此，1920年由Schindler和他妻子分享的模式仍然流行：房子隐藏在后面的邻居和青翠的幕墙，它继续融合一个完美的室内和室外平静、和谐的空间。
The world has changed around the Kings Road House. What was formerly open flat land has been completely infilled; indeed, the house is now dwarfed to either side by multi-level apartment buildings. Despite this, the vision shared by Schindler and his wife in 1920 still prevails: hidden behind its neighbors and its verdant curtain wall, the house continues to seamlessly merge indoors and outdoors into one calm, harmonious space.
项目地址：国王路833 N。
总建筑师：Rudolf Schindler
营造商：Clyde Chase
面积：3500.0平方英尺
项目时间：1922年
建筑摄影：Joshua White, Luke Fiederer, Courtesy of Flickr user John Zacherle, Courtesy of Flickr user collectmoments, Courtesy of The United States Library of Congress
Location：833 N. Kings Road
Architectin Charge：Rudolf Schindler
Builder：Clyde Chase
Area:3500.0 ft2
Project Year:1922
Photographs:Joshua White, Luke Fiederer, Courtesy of Flickr user John Zacherle, Courtesy of Flickr user collectmoments, Courtesy of The United States Library of Congress
出处：本文译自www.archdaily.com/，转载请注明出处。
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