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發(fā)布時間：2011-07-11

紐約中央公園第五大道，最昂貴和最黃金的地段。這里有一個堪稱藝術(shù)品的室內(nèi)設(shè)計作品。
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building vanishes. In its place is the apartment’s luminous entry foyer, a space both

minimal and expansive, precise yet gently pulling open at the edges. A plane of mirror-

polished stainless steel floats in a halo of light above the vestibule, not touching any of

the white walls. As if levitated, the reflective metal sheet gives the entry unfathomable

height and lucidity. Just ahead, a freestanding wall pulls away from the corners, letting

space flow around it, while underfoot, hand-troweled, pewter-gray concrete continues

seamlessly into the main room.

Once a dim warren of spaces, severed long ago from a larger unit, the apartment now breathes,

open to light and views. Its 1,500 square feet, distilled to an essence, propose a quiet

dialogue with the owners’ Minimalist art and early 20th century Modernist furniture—

including work by Donald Judd and Le Corbusier—and the Metropolitan Museum of Art (MMA),

across the street.

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Deep window surrounds—large-scale frames rendered in mirror-polished stainless steel with

whimsically elongated, mitered corners—now amplify views out. These shining borders recall

the gilded frames of old-master paintings. Seemingly dematerializing solid wall, these

reflective-steel margins are also like periscopes, bringing inside glimmers of sky, pavement

and long vistas up and down the avenue. From some angles, the faceted mirrors produce an

almost kaleidoscopic multiplicity; from others, they recall the visual complexity of Cubist

collages, deconstructing their subjects. But most of all, these edges magnify and open the

space, balancing the luminous ambiguity between transparency and reflection.

While the window frames transform views over MMA’s rooftop into virtual works of art, the

otherwise spare and loft-like interior serenely sets forth the owners’ exceptional

Minimalist collections. The apartment now consists of two main rooms—a combined kitchen-

dining-living area and a bedroom—each with a single low, freestanding cabinet: a sleek

rectangular object concealing functional elements, while delineating separate areas within

the larger space. Just as the smooth floors are honed from neutral, almost utilitarian

materials, these cabinets are finely crafted from exposed apple plywood. In the main living

area, the credenza—its top plane floating above a wide reveal—houses kitchen functions

within a single, long volume. Free from such distractions as visible hardware, it is as

understated and self-confident as a purist sculpture. Even the bathrooms, partially enclosed

in translucent glass, read as discrete, ethereal forms.

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Once a fragment of a larger apartment, this interior gracefully transcends the mundane,

achieving wholeness and spaciousness across seemingly weightless borders. Here, the vivid

yellow painting by Ludio Fontana, the thirty Agnes Martin prints (remarkably hand-framed by

Donald Judd), the tri-tone desk by Jean Prouvé and the entire collection not only breathe,

but also sing—in a quietly resounding, unmistakably Minimalist voice.

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這個公寓位于一個1929年修建的建筑中。與那個時代的穩(wěn)重感相比，新的裝潢明亮，簡潔，精致。鏡面拋光不銹鋼的窗框，仿佛懸浮的白色圍墻，反射金屬天花板，整體混凝土地面，都讓這個公寓與眾不同。
一改昏暗的空間，新公寓裝修引入更多的光線。1500平方英尺的空間中，布置了20世紀(jì)的極簡和現(xiàn)代主義家具，比如柯布西耶，唐納德嘉德的作品。

窗口被奇異的拉長，傾斜拼接，附上鏡面拋光不銹鋼，這些發(fā)亮邊界的材料從舊的畫框上回收。堅實(shí)的墻上被嵌入了這些不銹鋼，就像安裝上了潛望鏡，可以看到天空的反射，路面的反射，周圍的反射。房間有了更多的變化性，更多的立體派視覺解構(gòu)復(fù)雜性。但更重要的是，這些邊緣使得空間放大，開放，并平衡模糊掉透明性和反射性。

獨(dú)特的窗框和反光天花板使得一切更像是藝術(shù)品。公寓主要是兩個房間，一個包含廚房餐廳的大客廳和一個臥室。家具都是低矮的矩形，在有著功能作用的時候也幫忙劃分空間。家具是由蘋果木膠合板制成。每一個家具都像雕塑一樣美麗。即便是浴室，在半透明的玻璃劃分下，也呈現(xiàn)出無形的氣質(zhì)。

這個大公寓的內(nèi)裝設(shè)計，超越了世俗裝修，非常優(yōu)雅，整體，還帶點(diǎn)失重感?？臻g中生動的Ludio Fontana所畫的黃色油畫，Thirty Agnes Martin畫的版畫（框子是Donald Judd手工做的），還有Jean Prouvé的桌子，與整體混合形成一幅生動的景象，就像是一曲洪亮，明晰，極簡派的旋律。

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