这座历史性建筑是由美国奥斯丁第一位执业妇科医生于20世纪50年代建造的，这位医生是社区的领袖，为高危妇女提供医治。在之后的几十年里，这栋建筑一直被用作普通商业办公室。建筑于90年代末加建了第二层，由现在已经解散的奥斯丁事务所QMET设计。现有任务是通过一系列细致入微的建筑设计策略，恢复建筑原有医疗办公室的用途。业主是一位年轻有为的整形外科医生，专门为变性客户进行面部女性化服务和外科手术。

 

▼底层空间概览，view of the lower floor

This historical building constructed in the 1950s was built by the first practicing gynecologist of Austin who was known to be a community leader and provided services to at risk women. Over the decades it was used as a general business office, then in the late ‘90s a second story addition was designed by the dissolved Austin firm QMET. The project scope included a restoration of the interior of the building to its original use as a medical office through a series of sensitive architectural and design solutions for our client, a young up-and-coming plastic surgeon who specializes in facial feminization and surgeries for transgender clients.

 

▼底层空间概览，view of the lower floor

底层空间被规划为病人主要的活动空间，现有室内缺乏隔断，因此设计师需要针对可见性和隐私性进行设计。现存开放式平面内有两个陶土砖半墙围成的小隔间和一个位于后方角落里铝板围合的私人房间。1998年加建工程中设计建造的钢和玻璃隔断、原有的圆形钢柱仅作为独立的结构部件，与空间内的其它部分没有任何联系。

 

The lower level, where most of the patient activity was planned to occur, lacked spatial definition and demanded programming of visibility and privacy. The existing open floor plan contained two niches defined by clay-cladded half-walls and a single private room enclosed in the back corner with aluminum storefront. A steel and glass partition designed and built during the 1998 addition, as well as rounded steel columns original to the structure, stood singularly without a physical relationship to other components other than their structural connection.

 

▼空间内部的楼梯，interior stairs

 

设计师利用空间中原有的钢柱和以前的“浮动隔断”作为空间分隔，在底层建造了两个新的空间，借助现代设施维护了建筑世纪中期的特征。陶土砖半墙与后方位于底层横向轴线上的“浮动隔断”连接，围合出第一间新病房。为了保证现存半墙的私密性，设计师增加了一个磨砂玻璃的铝框窗户，粘结在顶部的瓷砖上。设计师只在空间原有的灰缝和天花板上钻孔来固定铝制窗框，保证陶土砖不会被破坏。铝框磨砂玻璃幕采用胶粘，以保护原有的水磨石地板，并通过天花板上的钢结构进行加固。幕墙在几何上被分隔成面板相同的宽度，呼应了1988年“浮动隔断”构造。

 

▼陶土砖墙、磨砂玻璃、铝制框架围合成的病房，patient room constructed by clay wall, frosted film glass and aluminum frame

 

Utilizing one of the original steel columns and the once “floating partition” as a spatial demarcation, we created two new spaces on the lower level that softly complimented the midcentury character of the building with modern applications. The first new Patient Room was defined by connecting the clay half-wall that transversely divided the lower level to the axis behind the “floating partition.” To make the existing half-wall completely private, we added a butt-joint glass clerestory with frosted film which was set inside aluminum channels and then glued to the tile-capped top. We drilled into existing mortar joints only and the ceiling to anchor the aluminum channels, so the clay bricks would not be disturbed. A butt-joint glass curtain wall with frosted film set in aluminum channels was glued to protect the original terrazzo flooring, and reinforced in the steel structure of the ceiling. The geometry of the curtain wall was broken down into panel widths which reflected the configuration of the “floating partition” from the 1998 addition.

 

▼病房走廊，corridor between the patient rooms

 

陶土砖和玻璃隔墙的对面是候诊室，第二面保留的陶土砖墙呈90度圆弧，将空间围合成一个温馨的角落。所有原有的铝框窗户都位于较高的位置，柔和的阳光在两道外墙上投射出一条条细长的光影，窗下是一面用作画布的陶土砖墙。设计师选择了Paul Klee抽象画，使陶土砖墙具有雕塑感也作为上方窗户几何感的补充。Klee画作可以打破现有色调的同时作为空间饱和色调的补充。为了布置这个造型特殊的房间，设计师采购了Milo Baughman风格的lovesea来匹配90度弯曲的空间并且保留沙发蓝色天鹅绒软垫。候诊室中央有一张有趣的菠萝形底座的圆形West Elm咖啡桌，配有黑白斑点的牛皮地毯。另一面墙边是一张灰褐色粗花呢的丹麦沙发。座位的布局缓和了单人座椅候诊室的尴尬感觉。角落的尺度、舒适的家具、精致的装饰使候诊室更像是家里的休息室而不是一个过渡空间。

 

▼砖墙及Paul Klee抽象画，clay wall and abstract painting by Paul Klee

 

On the opposite side of the clay and glass wall became the Waiting Room – an intimate corner nook secured by the second original clay half wall which curves at a 90-degree radius. All-original aluminum windows sitting at a high sill punctured the two exterior walls with soft light in a thin strip, leaving a clay interior wall canvas below. We chose prints of abstract paintings by Paul Klee as artwork that would allow the clay walls to stand as sculptural features and complement the geometry of the windows above. Inside the frame, the Klee work could be disruptive while also featuring the saturated color palette of the space. To furnish the uniquely shaped room, we procured a Milo Baughman style loveseat that was configured at a 90-degree curved radius and upholstered in its original crushed velvet blue fabric. A black and white spotted cowhide with a playful rounded pineapple-shaped coffee table from West Elm sat at the center of the space with a tweed taupe Danish sofa on the opposite wall. The seating arrangement was conceived to alleviate the awkwardness that single-chair waiting rooms can create. The scale of the nook, its comfortable furniture and delicate trinkets make the Waiting Room feel more like a lounge at home than a transitional space.

 

▼第二道90度圆弧的陶土砖墙围合成候诊室温馨的角落，the second original clay wall which curves at a 90-degree radius encloses an intimate corner nook as waiting room

 

底层的每间病房内都有专门设计的木制家具，用于存储医生手术、清洁和销售所用的物品。简单的直线形的家具被涂刷为蓝色，颜色与原有水磨石地面的斑点和1988年新增马赛克墙面一样。设计师并没有拆除空间内原有的混凝土踢脚板，这些橱柜被设计成漂浮在锥形抛光黄铜家具腿上的盒子。风化后的圆形铜把手带有红橙色调，与光滑的蓝色橱柜相得益彰，呼应了原有陶土砖墙的纹理。橱柜的台面使用了钛白色的MetroQuartz，这是一种耐用的工程材料，具有脆性和功能性的工作面。圆形不锈钢下沉式水槽镶嵌在橱柜内，弯曲的水龙头和复古的十字开关与橱柜形成了几何对比。

 

▼病房内专门设计的蓝色木制家具，custom designed blue wood furniture for each Patient Room

 

Specialized millwork was custom designed for each of the Patient Rooms on the lower level to accommodate the doctor’s storage needs for procedures, cleaning, and product sales. The cabinetry maintained a simple, rectilinear form and was painted a shade of blue drawn from flecks of aggregate in the original terrazzo flooring and the mosaic tile wall erected during the 1998 addition. Instead of demolishing the original concrete baseboards of the rooms, the cabinets were constructed as floating boxes that were reinforced and rested on conical polished brass furniture legs. Weathered copper knobs with a red-orange hue complemented the block of slick blue cabinetry and reiterated a subtle earthy texture drawing from the original clay walls. The counter tops were specified as MetroQuartz in Titanium White, a durable engineered material that yielded a crisp and functional working surface. A circular stainless steel under mount sink carved into the mass of the cabinetry and, coupled with a curvy faucet and vintage inspired cross handles, provided a contrast in geometry.

 

▼弯曲水龙头和十字开关与橱柜形成了几何对比，curvy faucet and cross handles provide a contrast in geometry with the cabinetry

 

设计师在上层设计了一个大空间作为业主进行多种活动和咨询的空间，并且更换了厨房和洗手间的设施。设计师还设计了独特的品牌细节来纪念建筑的建成时期。活动和咨询空间的面积宽敞，内部有从地面到天花板的玻璃窗，室外和楼梯井的天窗为室内提供了充足的光线。设计师重新布置了入口的玻璃隔断以方面安装与楼下病房相匹配的旋转门和配件，进一步增强了建筑材料色调的统一性。空间内设置了许多座位区，包括一组天鹅绒铜制椅子和一张从Uptown Modern Austin采购的复古柳条桌。外窗边是一张搭配有郁金香的桌子和铺有羊皮垫的铜制椅子，桌子上摆放着一个女性木制半身像。房间内部还有其它展现业主实践精神和性别认同的人体图案与装饰物，如一个亚克力材质的面部模型，Paul Klee用柔和的线条描绘一个人面部的Head of Man系列画作，以及一个小型抽象裸体石头雕塑

 

▼二层用于活动和咨询的空间，space for event and consultation at the upper floor

 

At the upper level, we configured a large room to become a flexible event and consultation space for the client, updated components of the kitchen and bathrooms, and designed special branded details that paid homage to the period of the building’s construction. The flexible event and consultation space was generous in area and had floor to ceiling storefront glass windows that offered an abundance of natural light from both the exterior and the tangential stair shaft with skylights above. We reconfigured the entry glass partition to receive a pivot door and hardware that matched the patient rooms downstairs, further instilling uniformity in the architectural material palette. Multiple seating groups were established, including a cluster of copper velvet chairs with a vintage wicker table procured locally from Uptown Modern Austin airily resting in-between. An anatomical tulip-style table was situated near the exterior windows surrounded by copper chairs and sheepskin pads with the vintage wooden bust of a female face as the table centerpiece. Other motifs and decorative objects resembling the human body adorned the room in the spirit of the client’s practice and celebration of gender identity, such as a vintage acrylic mold of a nondescript face, a Paul Klee lithograph from the Head of Man series depicting a person’s face with soft curves, and a miniature vintage stone sculpture of an undefined nude body.

 

▼外窗边配有郁金香的桌子和带羊皮垫的铜制椅子，tulip-style table was situated near the exterior windows surrounded by copper chairs and sheepskin pads

▼天鹅绒和铜构成的椅子，a cluster of copper velvet chairs

 

项目最后对厨房进行翻新。设计师将台面原有的90年代末期蓝色复合板材料更换为钛白色的MetroQuartz，木制家具保持完整并安装了一个耐火陶土砖‘Grove’制成的后挡板，暖色调的后挡板与整个建筑蓝色、橙色调相融合。后挡板放射状的钻石图案与能够追溯到50年代厨房的白色Daewoo迷你冰箱、微波炉一起营造了一种奇异的世纪中期氛围。翻新改造的主要目标是拆除和更换必要的东西，为业主塑造一个安全、舒适、愉悦的医疗环境。自50年代起一直持有和维护这栋建筑的业主和建筑拥有者对建筑改造措施进行了仔细地考量。

 

▼内部配有钛白色的MetroQuartz台面，暖色调陶土瓷砖后挡板的厨房，kitchen with Titanium White MetroQuartz counter tops and backsplash clay tile in warm hues

 

▼放射状钻石的后挡板图案与Daewoo迷你冰箱塑造了中世纪氛围，radiating diamond backsplash pattern and Daewoo mini-fridges create midcentury feature

 

The final point of renovation occurred in the kitchen. We replaced the counter tops from their late ‘90s blue laminate material with Titanium White MetroQuartz, left the millwork intact, and installed a backsplash made by Fire Clay Tile ‘Grove’ in warm hues, which incorporated the blue and orange tones found throughout the building. The radiating diamond backsplash pattern created a whimsical midcentury vibe in conjunction with a set of white Daewoo mini-fridges and microwave oven – which harkened back to the kitchens of the ‘50s. The main goals of the renovation and restoration were to demolish and replace only what was necessary, create operational functionality for the client, and shape a safe, comfortable, and enjoyable patient environment. Architectural interventions were carefully considered with both the client and the building owners, who have owned and maintained the building since its birth in the 1950s.

 

▼洗手间，bathroom

 

▼平面，plan

 

Details

Project size – 2430 ft2

Project Budget – $100000

Completion date – 2018

Building levels- 2

 

来源：本文转载自谷德设计网(gooood)

我们重在分享，尊重原创。如涉及作品内容、版权和其它问题，请与本网联系，我们将在第一时间删除内容!