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When you think you've had a pretty good look at the office of Olson Sundberg Kundig Allen Architects, it shape-shifts. The pivoting walls in the conference room, you realize, are set at completely different angles than they were a few hours earlier. The huge white panel in the stair well has suddenly been etched with a new abstraction of shadows. Dozens of spiky blond architectural models migrate from one plane to another over the course of the day. And that skylight—that wasn't open before, was it? Even the staff itself scatters and shuffles.In fact, every thing about this Seattle office is a work in progress, from the zealous use of raw materials to the firm's unique collaborative philosophy. It's never the same place twice.
The inventive work that's come out of Olson Sundberg Kundig Allen during its 39-year history has almost single-handedly put Seattle on the architecture map, with local landmarks such as the Frye Art Museum expansion and the Pike and Virginia building, and influential residential projects all over the world. By 2003, the firm that Jim Olson founded had grown to include three additionalpartners—Rick Sundberg, Tom Kundig, and Scott Allen--and a burgeoning staff (now about 80 strong) in need of a new office. They settled on the top two floors of a warehouse building in Pioneer Square, a hip neighborhood full of galleries and new restaurants. Since the firm's budget was modest, Kundig was the obvious choice to lead the design: He is renowned for his embrace of inexpensive and reclaimed materials("dirt cheap!" is a term of endearment), which explains the cubicles fashioned from ply wood, the exposed bolts and sheets of dinged steel, and a surprisingly warm and glossy Masonite used for walls and floors. A series of display cases that forms a central design element eventually reveals itself as old modular shelving bolted together--a veteran of no fewer than four prior locations.
Besides the new flooring, Kundig left the interior of the former Washington Shoe warehouse completely untouched. Even where they sliced through the floor to connect the two levels, the layers of century-old building materials are left exposed, the history of the place proudly on display. " You can't buy time," says Kundig, leaning back in his chair 1and waving his hands around him at the exposed brick and thick wood beams. " When you have something that looks like this, you leave it. This is beautiful as is."
It is Kundig's other trademark—an affinity for kinetic architecture—that forms the shop's aesthetic center of gravity. A skylight—a "sky do or," really, a 3-ton, 15-foot-by -25-foot glass- paned steel door--funnels light into the rooms below. Powered by only city water pressure, one valve draws water into a cylinder, forcing its piston up with the help of a 3-ton counter weight on the roof above.A second valve releases the water to lower the skylight. A blackened aluminum apparatus inspired by a 19th-century steam engine controls the entire system. Yet the skylight performs more than simple acrobatics, says Kundig, ticking off additional uses on his fingers. It can be cranked wide open to circulate cool Puget Sound air, or closed shut to soak up solar heat. It animates a focal point of the office, projecting ever-changing shadows against the stair well wall. It's green(so on, the 12 gallons of water that are forced through the hydraulic system will be reclaimed and used to irrigate a roof garden). It serves as a piece of functional sculpture--it's quite literally a work of art. And it defines the office as an architectural testing ground: " We get to experiment here," he grins, "to try things that might not normally fly with clients."
Like the cogs and wheel driving the skylight, the workings of the human machinery here are apparent as well. "This space shows our process of working rather than the finished product," Olson says. "In our last space, we had all the interns in a backroom,butnowwe'vebroughtthemoutandputthem right in the middle of ever y thing. That's because this space itself is more like the back room."
The inside-out nature of the firm's culture is most evident during"the Crit," a Thursday afternoon tradition gathering the entire staff in one of the convertible cork-paneled conference rooms. The Crit allows staff members to explain their current projects, practice their presentation skills, or simply sort through a design problem using the studio's collective brain. The exploratory vibe helps the staff feel comfortable with their own less-than-perfect ideas.
"There's nothing precious about this joint," says partner Rick Sundberg. "It's messy, it's dirty, it's funky. The process of creating is transparent, and it's right out there for everyone to see."
如果你留神观察 Olson Sundberg Kundig Allen Architects 公司的办公室 , 你会惊讶地发现它的形状 正在改变! 会议室的转轴墙当前呈现给你的角度肯定 与几小时前完全不同 , 因此你所看到的景观也大不一样。楼梯边上巨大的白色天窗也随此倏忽给你的双眼送来一幅崭新的镂刻而成的光影画。
公司的员工也是如此, 像投注进来的自然光线一样 , 在公司里面四散走动。事实上 , 这幢西雅图办公室本质是流动性的工作, 无论是从原材料的使用还是特有合作氛围。一切都富于特色。
在39年的发展史上,Olson Sundberg Kundig Allen Architects公司几乎独立承揽了当地不少标志性 的建 筑 , 如 Frye Art Museum expansion 和 the Pike and Virginia building, 从而把西雅图推上建筑地图的一席之地。此外,世界上还有其他建筑名作也是出自它手。尽管用于设计的财务预算不多,设计师Kundig正是处理这类情况的好手:他热衷并不昂贵的可回收的材料,使本来三夹板做成的小隔间在裸露的螺钉和钢板衬托下多了时尚感觉。
除了更换新的地板,Kundig对里边原先的华盛顿鞋子货仓原封不动。这座建筑时间上的沧桑感是他们引以为傲的一部分。
“你无法购买时间。”Kundig对显露着砖头和厚重木头横梁的建筑爱不释手,“如果看到有类似的这些物品,那么,就把它们保存下来吧,这是最天然的美。”
犹如这座办公大楼采用钝齿和车轮来调节自然光的变化的原理一样 , 大楼里人员的工作 也同样明白显见。
“这个空间显示了我们工作的流程而非最 后的结果。这个空间就像是我们公司的后院一 样 , 把我们里边的东西拿出来放在这里。”
这种设计也正是与内部文化外现的公司文化相吻合。在每周四下午的传统聚会“the Crit”上,全体职员会集于某一间装了可调节的软木窗格的会议室讨论。
“the Crit”促使员工自由讨论他们现在手头的方案,练习演示技能,即便只是简单地提出他们现在碰到的设计问题,也可以用到公司里大家的智力方案。每个人带着他们那些几近完美的方案展开讨论,技术有些瑕疵,也会从气氛舒适的讨论中受益不少。
Rick Sundberg说:“这里或许杂乱无章,或许不够洁净,但这就像创意产生的过程,透明、可视,就在触手可及的地方,每个人都可以看得到。”
LANGUAGE TIPS
pivot 旋轴
zealous 热心的
reclaim 收回
cubicle 小隔间
glossy 平滑的
plywood 三夹板
beam 横梁
cog 钝齿
The inventive work that's come out of Olson Sundberg Kundig Allen during its 39-year history has almost single-handedly put Seattle on the architecture map, with local landmarks such as the Frye Art Museum expansion and the Pike and Virginia building, and influential residential projects all over the world. By 2003, the firm that Jim Olson founded had grown to include three additionalpartners—Rick Sundberg, Tom Kundig, and Scott Allen--and a burgeoning staff (now about 80 strong) in need of a new office. They settled on the top two floors of a warehouse building in Pioneer Square, a hip neighborhood full of galleries and new restaurants. Since the firm's budget was modest, Kundig was the obvious choice to lead the design: He is renowned for his embrace of inexpensive and reclaimed materials("dirt cheap!" is a term of endearment), which explains the cubicles fashioned from ply wood, the exposed bolts and sheets of dinged steel, and a surprisingly warm and glossy Masonite used for walls and floors. A series of display cases that forms a central design element eventually reveals itself as old modular shelving bolted together--a veteran of no fewer than four prior locations.
Besides the new flooring, Kundig left the interior of the former Washington Shoe warehouse completely untouched. Even where they sliced through the floor to connect the two levels, the layers of century-old building materials are left exposed, the history of the place proudly on display. " You can't buy time," says Kundig, leaning back in his chair 1and waving his hands around him at the exposed brick and thick wood beams. " When you have something that looks like this, you leave it. This is beautiful as is."
It is Kundig's other trademark—an affinity for kinetic architecture—that forms the shop's aesthetic center of gravity. A skylight—a "sky do or," really, a 3-ton, 15-foot-by -25-foot glass- paned steel door--funnels light into the rooms below. Powered by only city water pressure, one valve draws water into a cylinder, forcing its piston up with the help of a 3-ton counter weight on the roof above.A second valve releases the water to lower the skylight. A blackened aluminum apparatus inspired by a 19th-century steam engine controls the entire system. Yet the skylight performs more than simple acrobatics, says Kundig, ticking off additional uses on his fingers. It can be cranked wide open to circulate cool Puget Sound air, or closed shut to soak up solar heat. It animates a focal point of the office, projecting ever-changing shadows against the stair well wall. It's green(so on, the 12 gallons of water that are forced through the hydraulic system will be reclaimed and used to irrigate a roof garden). It serves as a piece of functional sculpture--it's quite literally a work of art. And it defines the office as an architectural testing ground: " We get to experiment here," he grins, "to try things that might not normally fly with clients."
Like the cogs and wheel driving the skylight, the workings of the human machinery here are apparent as well. "This space shows our process of working rather than the finished product," Olson says. "In our last space, we had all the interns in a backroom,butnowwe'vebroughtthemoutandputthem right in the middle of ever y thing. That's because this space itself is more like the back room."
The inside-out nature of the firm's culture is most evident during"the Crit," a Thursday afternoon tradition gathering the entire staff in one of the convertible cork-paneled conference rooms. The Crit allows staff members to explain their current projects, practice their presentation skills, or simply sort through a design problem using the studio's collective brain. The exploratory vibe helps the staff feel comfortable with their own less-than-perfect ideas.
"There's nothing precious about this joint," says partner Rick Sundberg. "It's messy, it's dirty, it's funky. The process of creating is transparent, and it's right out there for everyone to see."
如果你留神观察 Olson Sundberg Kundig Allen Architects 公司的办公室 , 你会惊讶地发现它的形状 正在改变! 会议室的转轴墙当前呈现给你的角度肯定 与几小时前完全不同 , 因此你所看到的景观也大不一样。楼梯边上巨大的白色天窗也随此倏忽给你的双眼送来一幅崭新的镂刻而成的光影画。
公司的员工也是如此, 像投注进来的自然光线一样 , 在公司里面四散走动。事实上 , 这幢西雅图办公室本质是流动性的工作, 无论是从原材料的使用还是特有合作氛围。一切都富于特色。
在39年的发展史上,Olson Sundberg Kundig Allen Architects公司几乎独立承揽了当地不少标志性 的建 筑 , 如 Frye Art Museum expansion 和 the Pike and Virginia building, 从而把西雅图推上建筑地图的一席之地。此外,世界上还有其他建筑名作也是出自它手。尽管用于设计的财务预算不多,设计师Kundig正是处理这类情况的好手:他热衷并不昂贵的可回收的材料,使本来三夹板做成的小隔间在裸露的螺钉和钢板衬托下多了时尚感觉。
除了更换新的地板,Kundig对里边原先的华盛顿鞋子货仓原封不动。这座建筑时间上的沧桑感是他们引以为傲的一部分。
“你无法购买时间。”Kundig对显露着砖头和厚重木头横梁的建筑爱不释手,“如果看到有类似的这些物品,那么,就把它们保存下来吧,这是最天然的美。”
犹如这座办公大楼采用钝齿和车轮来调节自然光的变化的原理一样 , 大楼里人员的工作 也同样明白显见。
“这个空间显示了我们工作的流程而非最 后的结果。这个空间就像是我们公司的后院一 样 , 把我们里边的东西拿出来放在这里。”
这种设计也正是与内部文化外现的公司文化相吻合。在每周四下午的传统聚会“the Crit”上,全体职员会集于某一间装了可调节的软木窗格的会议室讨论。
“the Crit”促使员工自由讨论他们现在手头的方案,练习演示技能,即便只是简单地提出他们现在碰到的设计问题,也可以用到公司里大家的智力方案。每个人带着他们那些几近完美的方案展开讨论,技术有些瑕疵,也会从气氛舒适的讨论中受益不少。
Rick Sundberg说:“这里或许杂乱无章,或许不够洁净,但这就像创意产生的过程,透明、可视,就在触手可及的地方,每个人都可以看得到。”
LANGUAGE TIPS
pivot 旋轴
zealous 热心的
reclaim 收回
cubicle 小隔间
glossy 平滑的
plywood 三夹板
beam 横梁
cog 钝齿