纽约第五大道公寓，堪称艺术品的室内设计

纽约中央公园第五大道，最昂贵和最黄金的地段。这里有一个堪称艺术品的室内设计作品。

非常感谢设计方 Thomas phifer and partners 将英文介绍和项目图片授权JoyLink 竣麟发行。

Over the threshold of the Fifth Avenue Apartment, the staid decor of this 1929 residential 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.

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.

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.

这个公寓位于一个1929年修建的建筑中。与那个时代的稳重感相比，新的装潢明亮，简洁，精致。镜面抛光不锈钢的窗框，仿佛悬浮的白色围墙，反射金属天花板，整体混凝土地面，都让这个公寓与众不同。一改昏暗的空间，新公寓装修引入更多的光线。1500平方英尺的空间中，布置了20世纪的极简和现代主义家具，比如柯布西耶，唐纳德嘉德的作品。

窗口被奇异的拉长，倾斜拼接，附上镜面抛光不锈钢，这些发亮边界的材料从旧的画框上回收。坚实的墙上被嵌入了这些不锈钢，就像安装上了潜望镜，可以看到天空的反射，路面的反射，周围的反射。房间有了更多的变化性，更多的立体派视觉解构复杂性。但更重要的是，这些边缘使得空间放大，开放，并平衡模糊掉透明性和反射性。

独特的窗框和反光天花板使得一切更像是艺术品。公寓主要是两个房间，一个包含厨房餐厅的大客厅和一个卧室。家具都是低矮的矩形，在有着功能作用的时候也帮忙划分空间。家具是由苹果木胶合板制成。每一个家具都像雕塑一样美丽。即便是浴室，在半透明的玻璃划分下，也呈现出无形的气质。

这个大公寓的内装设计，超越了世俗装修，非常优雅，整体，还带点失重感。空间中生动的Ludio Fontana所画的黄色油画，Thirty Agnes Martin画的版画(框子是Donald Judd手工做的)，还有Jean Prouvé的桌子，与整体混合形成一幅生动的景象，就像是一曲洪亮，明晰，极简派的旋律。