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Renzo Piano
伦
佐·皮亚诺(Renzo Piano)
Torn between his love for Genoa and Paris, Mr. Piano, 75, describes his modern hillside greenhouse and a spacious 17th-century top-floor apartment.
今年75岁的皮亚诺在热那亚(Genoa)和巴黎均有房产，位于热那亚的是一所位处山腰的现代风格绿色住宅，在巴黎的则是一套建于17世纪的宽敞的顶层公寓。他对这两所房子均十分喜爱，程度难分高低。接下来他在下文介绍了这两处房产。
I live and work in Paris, but each month I spend one week at my seaside home in Genoa, Italy. I think of my two homes as extensions of each other─like different rooms of the same house that are separated by a one-hour flight and a drive. Do you know the Josephine Baker song 'J'ai Deux Amours' ['I Have Two Loves']? My wife and I love both homes equally─but for different aesthetic and emotional reasons.
我在巴黎生活和工作，但是每个月我都要在意大利热那亚的海滨寓所呆上一周时间。我觉得这两所房子就是各自的延伸部分，就像同一所房子中的不同房间，只是它们之间隔着一个小时的航程和一段车程。你知道约瑟芬·贝克(Josephine Baker)的《我的两个最爱》(J'ai Deux Amours)那首歌吗？我和妻子对我们这两所房子都同样喜爱，但其中的审美和情感原因都有所不同。
Our 3,000-square-foot home in Genoa is a one-story house that I designed and built in 1991 based on the greenhouses typically found in our hilly coastline region. It sits about 300 feet above the Ligurian Sea on land my father owned.
我们在热那亚的那座3,000平方英尺（约合279平米）的单层住宅是我在1991年设计和建造的，它的前身是一个温室，这样的温室在我们那个多山的海岸地区非常常见。它座落在利古里亚海(Ligurian Sea)上方约300英尺（约合91米）的一块地上，这块地是我父亲的。
The property rises abruptly from the sea and sets back several times to form terraces that were originally used for farming. I built my house on the top terrace, and a multistory office on the one just below. Both structures share an airy design and the same diagonal roof.
这块地突兀地矗立在海平面上方，有几个地方向后缩进，形成了好几处平台，它们最初都被用作耕地。我把房子建在了最高的那处平台上，并在它下面一层的平台建了一个多层的办公室。这两座建筑均采用了那种通透开阔的设计，屋顶也都是斜的。
The high elevation provides seclusion and privacy. For example, you can't drive to the house. I must park below at our nonprofit foundation and ride up to the office level in a small funicular that we had installed. Or for exercise, I follow my wife's advice and climb the 400 steps that we had built into the hill. The effort to reach the house makes me forget where I've been and makes arriving feel more exciting.
高地势带来了清净和隐私。比如说，你无法把车开到房前。我得把车停在下面的我们的非盈利基金会那儿，然后乘坐我们安装的小缆车到办公室那层。或者我也会采纳妻子的建议，爬400级我们在山上开凿的台阶上去以便锻炼身体。到达房子花的那些精力让我忘了之前自己身处何方，让到家的感觉更让人兴奋。
Inside my house, the space feels like a transparent loft, and the view is spectacular, since it is exposed to the sea without obstruction. A laminated wood frame supports the glass panes, and for the supporting wall in the back I used local medium-gray stone. There is no central air conditioning─we just open the doors and walls for ventilation and adjust specially designed blinds.
在房子内，整个空间感觉上就像一个通透的loft，景致非常壮观，因为它面朝大海，中间无阻挡物。一个叠层的木框结构支撑着玻璃屋顶，后面的承重 我则采用了当地的中灰色石头。房子没有中央空调，我们只是打开门、敞开 来通风以及调节特别设计的百叶窗。
To add an organic feel to the house, I planted five palm and ficus trees indoors. We have to water them constantly and prune when they grow too close to the 25-foot ceiling. The rest of our space is devoted to works by artist-friends, including Mark di Suvero, Bob Rauschenberg and Roberto Sebastián Matta.
为了给房子增添一种生机焕发的气息，我在室内栽了五棵棕榈树和榕树。我们得不断给它们浇水，当它们长到过于接近25英尺（约合7.6米）层高的高度时，我们还要对它们进行修剪。房子的其他空间都用于摆放我们的艺术家朋友的作品，其中包括马克·迪·苏维洛(Mark di Suvero)、罗伯特·劳森伯格(Bobert Rauschenberg)以及罗伯托·塞巴斯蒂安·马塔(Roberto Sebastian Matta)的作品。
This is my ideal of a home. I love when space is flexible, spare and luminous. When I'm there, I sit in my Eames lounge chair and look at the sea and think. The sea is a vast, silent place, and it forces me to suspend thoughts of rushing around, using technology and other day-to-day activities. I grew up in Genoa, so the house has become a metaphor for tranquillity and stillness.
这就是我理想中的房子。我喜欢空间灵活、宽敞和明亮的房子。当我呆在那儿时，我就坐在我的伊姆斯(Eames)躺椅上，看着海，想想事情。那儿的海辽阔而宁静，迫使我暂时中断对四处奔走、利用科技和其他日常事务的思考。我在热那亚长大，因此这座房子成为了安宁与静止的象征。
My apartment in Paris is the opposite─but there are similarities. In Paris we own the top floor of a 17th-century residence in the Place des Vosges─the city's oldest planned residential square, in the Marais district. All of the three-story buildings that ring the park have the same design and were built with red brick, stone quoins and vaulted arches at their base. The blue-slate roofs are like top hats and provide enormous interior living space.
不过，我在巴黎的公寓则与之截然不同，但是也有相似之处。我们在巴黎的房子位于玛莱区(Marais)孚日广场(Place des Vosges)──巴黎最古老的住宅规划区──一座17世纪公寓楼的顶层。环绕孚日广场的所有三层楼房都采用同样的设计，均以红砖建造，采用石头材质的隅石，底层建有圆形拱顶。蓝色的石板瓦屋顶形似大礼帽，提供了宽敞的室内居住空间。
When we bought one of these 2,500-square-foot spaces in 1989, it was subdivided into two flats on two floors. We combined them by demolishing about 100 tons of material to create the kind of open loft space we love. During the work, we discovered there were six layers of flooring. Previous residents over four centuries had created new floors by adding them without removing the old ones. It was fascinating to see the layers peel away.
我们在1989年买下其中一个2,500平方英尺（约合232平米）的空间，它被分割成位于两层楼的两套公寓。我们把它们打通连在了一起，拆除了约100吨重的建材，打造了我们所喜爱的那种开阔的loft式房子。在施工期间，我们发现地板有六层。过往四个世纪以来的住户没有拆掉旧地板，只是往上面铺上新地板，看着那一层层地板被拆走有种奇妙的感觉。
When we were finished, the living room and dining area were in a single open space, making up two-thirds of the apartment. The rest was for three bedrooms. The living-room walls have elaborately crafted original oak paneling─like you'd see in a castle─and there are only four, 7-foot-tall windows on each side of the space. I can see the Eiffel Tower in the distance, and the Centre Georges Pompidou that I designed with Richard Rogers and Gianfranco Franchini in 1977. I love looking at it because it reminds me to take creative risks.
在我们完工时，起居室和就餐区位于同一个开放空间中，占到了整套公寓的三分之二，其余的空间则留给了三间卧室。起居室的 壁铺有原先留下的雕工精美的橡木板，它们与你在某座城堡中看到的一样，房子的四面只有四扇七英尺（约合二米）高的窗户。从房中可以看到远处的埃菲尔铁塔(Eiffel Tower)以及我与理查德·罗杰斯(Richard Rogers)和吉安弗朗哥·弗兰西尼(Gianfranco Franchini)在1977年共同设计的蓬皮杜中心(Centre Georges Pompidou)。我非常喜欢看着它，因为它会提醒我去冒险尝试创新。
In Genoa, I'm fully exposed to nature, but in Paris I retreat to a cocoon from the 1600s. In both cases, they are spacious sanctuaries─detached and high above the noise. But in Paris, there is a feeling of belonging. When I look out at the other buildings ringing the square, they all have the exact same design and give me a feeling of community and anonymity.
在热那亚，我完全敞露在自然环境之中，但在巴黎我却退避在一个建于1600年代的封闭的住宅中。这两处房子都算得上宽敞的避世之所，独立且远离喧嚣。但是在巴黎，我有一种归属感，当我向窗外眺望环绕广场的其他楼房时，看到它们都具有同样的设计，带给我一种共同感和隐匿感。
The furnishings we have in our Paris apartment are the same as in Genoa─the same table, chairs, light fixtures and an Eames lounge chair. This isn't because I'm lacking in fantasy. I just enjoy a home's space and how it makes me feel. Everything else is functional and matters less.
我们为巴黎公寓配备的家具与热那亚的相同，同样的桌子、椅子、灯具以及一张伊姆斯躺椅。这并不是因为我缺乏想象力，我只是享受房子的空间以及它带给我的感觉，其余的东西都是功能性的，并不那么重要。
So you see, my houses are quite different. But the living spaces in both share the same logic: to be open and tolerant. At home, your things shouldn't be formal or precise. They should fill the house with color and evolve organically the longer you live there, defining who you are, like the lines on a face. Things should never replace how space makes you feel.
所以，你能看到我的两处房子是迥异不同的。不过，其中的生活空间都体现了同样的思想──开放与包容。在家的话，你的东西就不应该那么正式或刻板，它们应当让房子充满了色彩，你在那儿住的时间越长，它就会越有机地发展，就像脸上的线条一样定义你这个人。物品绝不应该取代空间给你带来的感觉。
─As told to Marc Myers
-- Marc Myers根据伦佐·皮亚诺的口述整理成文。
Daniel Libeskind
丹尼尔·里伯斯金(Daniel Libeskind)
Shortly after he won the competition to redesign the Ground Zero site in 2003, Daniel Libeskind's wife called the architect while he was lecturing in Toronto. She'd found an apartment for sale in a 1907 building in TriBeCa. 'Absolutely,' he recalls telling her, as soon as he'd interrogated her about the natural light and learned that the apartment, which occupies the entire seventh floor, offered panoramic views of Manhattan. Here, the 66-year-old architect talks about the one-year renovation─the first time he had the chance to design his own residence.
在丹尼尔·里伯斯金于2003年赢得世贸大厦遗址(Ground Zero)重建项目的竞争后不久，妻子给正在多伦多举办讲座的他打了一通电话──她在纽约翠贝卡区(TriBeCa)找到了一套1907年的待售公寓。他回忆称，在向妻子询问了公寓的自然采光情况并了解到这套占据了整个第七层的公寓可将曼哈顿风光尽收眼底时，他马上拍板道“当然可以。下文中，这位66岁的建筑师谈论了公寓为期一年的翻修，这还是他第一次有机会设计自己的住宅。
The building is triangular, like the Flatiron Building. It comes to a point and makes it into a very interesting space. It's guided by light. I thought light was the key. It's a loft-like space, high ceilings, exposed pipes, a raw quality. It has stone floors, panoramic light, a spectacular view of Ground Zero.
与熨斗大厦(Flatiron Building)一样，这栋大楼也是三角形。它形成了一个角，使之成了一个非常有特色的空间。它采光充足，我认为光线是关键因素。它是一套类似loft的房子，层高很高，管道暴露在外，具有一种粗口的味道。它铺的是石材地板，整所房子都充溢着阳光，还可一览震撼的世贸大厦遗址。
It's not too high, not too low. If you live higher, you're more in a dream world. You really see New York, tall buildings to the east, Ground Zero downtown. I feel the vibrations of the subway, literally. There's a window through which I can see three converging streets as I look down, and converging people. It's a very meditative view. The sauna has a slot window exactly aligned with the Chrysler Building.
房子的高度不是太高，也不算过低。如果你住在更高的地方，会更像生活在一个梦幻世界中。在这个高度，你可以真真切切地看到纽约，东边的高楼和市中心的世贸大厦遗址等等。我确确实实能感觉到地铁的震动。从房子的一扇窗户往下看，可以看到三条交汇在一起的街道以及汇聚一处的人群。这是一个非常容易让人陷入沉思的景象。桑拿房有一扇窄缝窗，它恰好与克莱斯勒大厦(Chrysler Building)齐平。
I was able to replan it completely. I was able to put in modern windows, gut the space and make it a space I love to live in. I had a local architect who did the day-to-day work because I was busy at Ground Zero.
我能够彻底地对它重新进行规划，给它安上现代的窗户，打通空间，把它打造成一所我喜欢住在里面的房子。我请了当地一名设计师替我处理日常事务，因为当时我忙于世贸大厦遗址大楼的设计工作。
Designing your own space is nirvana. It's unimaginably fantastic. You adapt to different apartments, but there's nothing to replace making the space yourself. I realized how important the home is. It's the heart of your imagination. I never considered a house a home. Prior to that I always lived in ready-made spaces.
设计自己的房子就感觉像天堂一般，其中的奇妙令人无法想象。你适应了住在不同的公寓，但是没有什么东西可以取代自己建房的经历。我认识到了家是多么重要，它是你想象的中心，我从来不认为房子就是家。在那之前，我一直住的是现成打造好了的房子里。
I was a client, my daughter was a client, my wife was a client. I had to reconcile various agendas, just like any project. Had it been up to me, I would have just ripped out all the walls. You have to navigate between different constituencies and build consensus. It taught me how much one had to think of designing a home not just as a formal exercise in space and light, but also satisfying people the desires of the people living there. I learned very viscerally. You need to listen to who is living there. You have to understand the minute details.
我是客户，我的女儿是客户，我的妻子也是客户。与其他任何一个项目一样，我必须调和各种各样的事项。假如让我做主的话，我就会把所有的 都拆掉。然而，你得在不同的客户之间周旋、建立共识。它让我了解到我们是多么需要不仅把设计房子看成是一种在空间与光线中的正式演练，而且也要让住在其中的人的欲求得到满足。我极其用心地去学习。你需要聆听住在那儿的人的意见，你得理解微妙的细节。
The apartment is very contemporary. It's very functional. I was shocked because the neighbors have subdivided their apartments into many bedrooms. The best value of an apartment in New York is how many bedrooms it has. But with fewer rooms, the more contact with the city you have─and freedom. Our bedroom has a rotating door, a large piece of wall made of zinc that rotates on a vertical axis. It's a beautiful piece of connectivity. Most of the time it's open, especially as our daughter is not there often.
这套公寓非常现代，也非常实用。我的邻居们将公寓隔成了很多间卧室，这让我感到非常惊讶。在纽约，公寓的最大价值在于它有多少间卧室。但是，房间更少的话，你能与城市有更多接触──而且拥有更多自由。我们卧室的门是旋转式的，它是一面由锌打造的高大 壁，以垂直轴为中心旋转。这件美丽的东西起到了连接空间的作用，它在大多数时候都是敞开的，特别是当我们的女儿不在这儿住时，她是经常不在这边的。
My daughter wanted a lot of privacy, very closed. She wanted a beautiful bathing area, colorful tiles, a nice room, not big. She furnished it on her own, which brings identity to her part. Every tenant has to be able to make it their own.
女儿想要拥有很多隐私，非常封闭的空间。她还想要一个漂亮的沐浴区，色彩缤纷的瓷砖，一个好看的不用很大的房间。她自己布置了房间，这使她的身份获得了认同。每名居住者都要能够使房间成为自己的。
We've always had the same furniture. We bought it 30 years ago: cube chairs and a sofa by Le Corbusier and an iconic 20th-century lounge chair by [Ludwig Mies] van der Rohe. They're beautiful. I don't have much art on the walls. It's sparse, not minimalistic, but it's meditative.
我们一直都使用同样的家具。它们是在30年前购买的，立方体造型的椅子、勒·柯布西耶(Le Corbusier)的沙发以及由路德维希·密斯·凡德罗(Ludwig Mies Van der Rohe)设计的20世纪标志性的躺椅。它们都很精美。我没有在 上摆设很多艺术品，它比较空白，不是极简主义的那种，但是能引人遐想。
