纽约日式居所诠释静谧中的奢华

摘要：许多室内装饰细节均源自日本，例如回收利用的千年古木、数百年历史的再生石板、手工陶瓷地砖以及原生壁泥（Shikkui）抹灰。这些传统日式材料与现代简洁的建筑线条相结合，共同打造出无疑具有当代特色的整体风格。在纽约这套公寓的内装设计中，杉本博司与新材料研究实验室（

室内设计

杉本博司

Susan Yun

许多室内装饰细节均源自日本，例如回收利用的千年古木、数百年历史的再生石板、手工陶瓷地砖以及原生壁泥（Shikkui）抹灰。这些传统日式材料与现代简洁的建筑线条相结合，共同打造出无疑具有当代特色的整体风格。在纽约这套公寓的内装设计中，杉本博司与新材料研究实验室（NMRL）负责了公寓内的几乎所有元素——从配件与装饰细节到螺旋形餐椅及其他家具的设计——包括精心布置于公寓各处的杉本博司摄影作品与雕塑。总体而言，这套量身定制的室内空间及其几乎所有组件都有力地证明了杉本博司对批量生产的物品的厌恶。

Many of the interior finishes come from Japan, such as salvaged 1000-year-old wood, centuries-old recycled stone slabs, hand-made ceramic tiles and original Shikkui plaster. These traditional Japanese materials, combined with clean and modern architectural lines, form an unmistakably contemporary ensemble.In the case of this New York interior, Sugimoto and NMRL were responsible for almost every element in the apartment—from the fittings and finishes to the design of the helicoidal dining chairs and other furnishings—including strategically placing Sugimoto’s photographs and sculptures throughout. True, certain items, such as the kitchen’s French gas oven, are not from his hand, but, overall, the custom-crafted interior and almost all its components are a quietly forceful testament to Sugimoto’s distaste for mass-produced objects.

业主是一对收藏当代艺术的夫妇，他们最初希望杉本博司仅在8,000平方英尺的公寓内打造一个日式茶室。他们曾参观过杉本博司为自己位于曼哈顿的工作室所设计的茶室，以及他于2013年完成的东京餐厅“Sahsya Kanetanaka”。随着工作的推进，他们请杉本博司接手整个项目。在寻找本土建筑师时，杉本博司通过建筑师Annabelle Selldorf找到了Susan Yun及其副主管Felix Ade，Yun曾为Selldorf工作。这一复杂耗时四年的设计与建造过程由纽约承包商Xhema执行，并于2018年完成。公寓位于这座混凝土结构高层建筑的一整层，由两个作为毛坯房出售的公寓改造而成。该塔楼采用方形平面布局，周边梁与柱构成建筑外围的结构“筒体”，使得无柱房间可沿建筑四墙布置，并围绕结构电梯核心区域排列。

The owners, a married couple who collect contemporary art, originally wanted Sugimoto to create just a Japanese tearoom within the 8,000-square-foot apartment. They had seen one he conceived for his own studio in Manhattan, and they visited a Tokyo restaurant, Sahsya Kanetanaka, that he completed in 2013. As work progressed, they asked him to take over the entire project. In searching for a local architect, Sugimoto found Susan Yun and her associate principal Felix Ade through architect Annabelle Selldorf, for whom Yun had worked. The elaborate four-year design and construction process—executed by New York contractor Xhema—wrapped up in 2018.The apartment, which occupies an entire floor high in the concrete-frame structure, was formed from two apartments that were sold as raw space (Yun did have to change certain plumbing and mechanical components). The tower’s square floor plan, where perimeter beams and columns form the exterior structural “tube,” permitted column-free rooms to be arranged along the four walls of the building and arrayed around the structural elevator core.

从公共空间过渡到私密空间，处处皆有意想不到的惊喜。穿过狭窄的客厅入口进入公寓，首先映入眼帘的是那间纯净无瑕的茶室。茶室之外，是一间面向西与南的大型餐厅沙龙，长长的寿司吧台与餐桌之间，由一块形似矮墙的小松石隔板与两棵盆栽榕树相隔。（无需寻觅附近的寿司店——杉本博司已为客户聘请了一位寿司大厨。）厨房与家庭活动室沿南墙布置；在家庭活动室内，一处光亮、深邃的穹形天花板与其他房间上方悬浮的平面形成鲜明对比，尽管这些房间的高度也达到了约12英尺。私密区域位于东侧与北侧：包括一间办公室、客房与卫生间，以及最终的主卧套房，内设男女分开的浴室。

As rooms unfold from the more public to private spaces, surprises await. Entering the apartment through the narrow guest hall, you first encounter the pristine tearoom. Beyond is a large dining salon, facing west and south, where a long sushi bar is separated from the dining table by a parapet-like slab of komatsu stone and two bonsai ficus trees. (There is no need to search for a neighborhood sushi place—Sugimoto located a chef for his clients.) Along the south wall are the kitchen and family room; in the latter space, a luminous, deeply coved ceiling contrasts with the flat planes hovering above other rooms, which nevertheless reach heights of about 12 feet. Private areas are located on the east and north: an office, guest bedrooms and bathrooms, and ultimately a master suite with his-and-hers baths.

尽管该方案以直线形或方形房间为特色，杉本博司却运用稀有材料，使简约的质感与色调变得丰富多样。京都街道上的风化石铺成了客用大厅的地面。其他走廊则铺以奈良传统黏土烧制的无釉灰色定制瓷砖。茶室内铺设的传统榻榻米似乎在意料之中，但餐厅沙龙地面所用的粗糙古雅赤松木（现已不再可得）则令人出乎意料。同样，主卧室内铺设的宽阔手工凿制的栗木板，以及浴室所用的十和田凝灰岩，都彰显了异域材料的独特魅力。

While the plan is characterized by rectilinear or square rooms, Sugimoto varied the austere texture and tones with rare materials. Weathered stone from the streets of Kyoto pave the guest lobby. Unglazed gray custom tiles, made with traditional clay from Nara, surface other corridors. The traditional tatami mats in the tearoom may seem expected, but not the grainy ancient Yakasugi cedar (no longer available) for the dining salon floor. Similarly, the wide, hand-chiseled chestnut boards in the master bedroom—and, for that matter, the Towada tuff stone for the bathrooms—demonstrate the dramatic power of exotic materials.

墙面泛着石膏墙泥（Shikkui）柔和的光泽——日本工匠耗时两个月，在户川制作石灰基混合物，并为其涂抹三层。这一艰辛的过程带来了环境效益：石膏能够吸收二氧化碳，并且据称具有抗菌、抗真菌和抗霉变的效果。Yun还指出，某些小型构件有助于防止摩天大楼烟囱效应引起的墙体横向移动裂缝。

The walls glow with the soft sheen of Shikkui plaster finish—it took Japanese artisans two months to apply the three coats of the lime-based mix made in Tagawa. This arduous exercise comes with environmental benefits: the plaster absorbs carbon dioxide, and purportedly resists bacteria, fungi, and mold. Yun also notes that certain small features will help prevent cracking from lateral movement in the chimney-like skyscraper.

除了精致的细节与选材之外，还有一个不容忽视的重点：视野。城市景观如地毯般向四面八方铺展开来，通过每面墙六个、每个尺寸为10英尺乘10英尺的窗户呈现。然而，尽管能够一览帝国大厦或中央公园的全景，杉本博司却设计了独特的窗饰，仅留天空可见。借鉴传统障子（Shoji）屏风的设计理念，杉本博司与NMRL创造出可操作的木质与半透明亚克力面板，可根据需要调整位置，以仅展示脚下的城市或头顶的天空。

A side from the exquisite details and materials, there is still the elephant in the room: the view. The city spreads out like a carpet in all directions, framed in 10-foot-by-10-foot windows, six on each elevation. Yet, despite the potential for full views of the Empire State Building or Central Park, Sugimoto designed window treatments that can eliminate everything but the sky. With traditional Shoji screens in mind, Sugimoto and NMRL have created operable wood and translucent acrylic panels that can be positioned to show only the city beneath or the heavens above.