建筑师如何打造自己的家

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。

I have a table, which is my first object of design. In the 1980s, I designed a table for us and our three kids─we were moving to Italy─with a granite top and wooden substructure. We've used it in every city. At some point I wanted to get rid of it and replace it with a nicer table. The kids said, 'No, that table is part of the house.' I created a special place for the table. Sometimes old things have a mythology of family built into it. The mythology will always win out.

其中，有一张桌子是我设计的第一件物品。上世纪80年代，我为我们夫妻二人和三个孩子设计了一张花岗岩台面和木材底座的桌子，那时我们即将要搬到意大利去。我们在每个城市都用它。有一段时间我想把它扔了，换一张更好的桌子。孩子们却说：“不要，那张桌子是房子的一部分。我专门设计了一个地方来摆放这张桌子。有时候老物件本身蕴含一个有关家庭的故事，这个故事总是能够占得上风。

I put in this fantastic Italian stone floor, a blue-gray stone used in the Duomo in Florence. The floor looks great after hundreds of years. There are little things you realize later. It sounds banal, but I wish there were more electrical outlets and switches.

我安装了这种很棒的意大利石材地板，一种用于佛罗伦萨大教堂的蓝灰色石头。这种地板在历经几百年历史后看起来非常不错。关于翻修，我在事后省悟的事情很少，这话听上去老生常谈，但我确实希望房子中多些电源插座和开关。

I work a lot at home; I write, I draw. The intimacy of the home is not something you can replace. Leonardo da Vinci thought an artist should not seek a large space to live in but a smaller space to be creative. This is modest by the standards of how people live in Manhattan. It's beautiful because it forces one to be creative in how you use the space. Big spaces make you lazy. Small spaces can be creatively approached. A modest space can be a cabinet of wonders.

我在家工作的时间很长，比如在家写作、画画。家的亲密感不是你能用其他东西来替代的。列奥纳多·达·芬奇(Leonardo da Vinci)认为，艺术家不应找大房子住，而应找个小房子来激发创意。这套房子按曼哈顿居民的居住方式标准来说不大。它很精美，因为它让人不得不在空间利用上发挥创意。大空间会让你变得懒惰，小空间可以有创意地来进行处理，而一个大小适中的空间则能成为一个满是奇迹的宝库。

─As told to Jacob Hale Russell

-- Jacob Hale Russell根据丹尼尔·里伯斯金的口述整理成文。

Billie Tsien and Tod Williams

钱以佳/托德·威廉姆斯(Tod Williams)

Bouncing from penthouse to duplex, married architects Billie Tsien, 63, and Tod Williams, 69, find balance in a pair of New York apartments. Below, Ms. Tsien explains the role of each residence.

63岁的钱以佳与她的丈夫、69岁的托德·威廉姆斯都是建筑师，他们在纽约拥有两套公寓。在穿梭往来于他们那套顶层公寓和那套复式公寓的过程中，他们找到了平衡。钱以佳在下文道出了每套公寓在他们生活中所扮演的角色。

In 2001, Tod and I lived above Carnegie Hall. Most New Yorkers at the time didn't know there were residential studios in a tower on top of the building. Our rent was too good to be true, and soon we heard rumors that the hall was going to evict tenants to convert the studios into rehearsal space. The buzz motivated us to buy a safety apartment─just in case.

2001年，我和托德住在卡内基音乐厅(Carnegie Hall)的楼上。那时候大多数纽约人还不知道那栋楼顶上的塔楼还有供居住的一室公寓。我们的房租非常划算，简直让人难以置信，很快我们就听到传言说卡内基音乐厅要把住户都赶出去，把那些公寓改造为排练厅。这些传闻促使我们产生了买一套备用公寓以防万一的想法。

Our architectural practice was taking off, and we wanted to live on top of a building─for the sunlight and view. We looked at penthouses and fell in love with an awful one on Central Park South─just blocks from our office. The building's owner had mounted it on the roof in the '60s, and the interior was a wreck─shag carpeting and gold-veined smoked mirror tiles on the walls and ceiling. But being able to see the park from the 22nd floor and the silence won us over.

那时，我们的建筑设计事务迅猛发展，我们也想住在顶层，因为顶层的阳光和景致好。我们看了一些顶层公寓，看中了中央公园南(Central Park South)的一套公寓，它离我们的办公室只有几条街的距离。它是这栋楼的主人于上世纪60年代在楼顶加建的，室内残破不堪──地毯乱蓬蓬的， 壁与天花板贴的是烟灰色的金色纹理镜面瓷砖。不过，能够从22层观赏中央公园的景色这一点及其安静的环境俘获了我们。

When we closed on the space in 2001, Tod and I thought we were buying an apartment─but we wound up with a construction site. We tore down the structure and put up a 16-by-30-foot glass box. Now when you walk in the front door, you enter another world. There are 9-foot floor-to-ceiling windows on three sides, a wood-paneled kitchen, a tiny bedroom just big enough for a bed, and a bathroom with a tub that looks out to the view. The penthouse became our glamour pad─like a quiet place in the country.

我与托德在2001年敲定了交易，当时我们认为我们购买的是一套现成的公寓，可是最终它却成了一个建筑工地。我们拆掉了公寓，建起了一个16英尺（约合4.9米）宽、30英尺（约合9.1米）长的玻璃盒子。现在，当你走进正门，就像步入了另一个世界。房子的三面安有九英尺（约合2.7米）高的落地玻璃窗，还有一个铺有木面板的厨房，一个只能容纳一张床的非常小的卧室以及一个卫生间，从里面的浴缸可以观赏室外的风光。这套顶层公寓成为了我们的魅力居所，就像乡村里的一处宁静所在。

In 2008, we received a formal eviction letter from Carnegie Hall. That's when Tod and I realized our glass penthouse wasn't going to work as a primary residence. We couldn't move our art collection and books there. The space was too small, and the walls were all glass. We talked briefly about selling, but we loved the penthouse too much. Instead, we decided to look for a second apartment─a simple place for our life stuff.

2008年，我们收到了卡内基音乐厅发出的赶走我们的正式信函。正是那时候，我和托德认识到那座玻璃顶层公寓当不了我们的主要居所。我们不能把我们的艺术藏品和藏书都搬到那儿。那个地方太小了，而且 壁全部都是玻璃的。我们曾短暂讨论过把它卖掉，可是我们太喜欢它了。最终，我们决定物色第二套公寓──一个用于存放我们生活物品的简单居所。

We had always been fond of an unusual 10-story building on the Upper West Side. It was built in 1915 as a cooperative─housing residences and artists' lofts on opposite sides of the same floors. In some ways the layout had the same spirit as the Carnegie Hall studios. Apartments with double-height living spaces were all taken, but we found a duplex that was 15 feet wide by 28 feet long on the first level and a little larger on the second.

我们一直都喜欢纽约上西区一栋非常独特的10层楼的楼房。它建于1915年，是一栋综合性的大楼，住宅与艺术家的loft公寓位于同一楼层的对面，其布局在某些方面与卡内基音乐厅的那套公寓构思类似。居住空间为两倍层高的公寓已经全部被人买下，不过我们找到了一套首层长28英尺（约合8.5米）、宽15英尺（约合4.6米），第二层则稍稍大些的复式公寓。

We gutted both levels and painted the entire interior white─including the wood floors─to brighten the space and make it feel larger. We created three different zones on the first level─a galley kitchen, a dining area and living space─by designing a continuous series of elevated platforms. We unified all three with a 13-foot-long white marble countertop.

我们把两层楼的空间都打通了，把包括木地板在内的内饰全部漆成了白色以提亮空间，使它看上去感觉更大些。我们在首层设计了一个连续加高的平台，以此打造了三个不同的区域──一个L形厨房、一个就餐区以及起居空间，我们还用一个13英尺（约合四米）长的白色大理石台面把这三个区域连成了一体。

When you enter the duplex, you are immediately in the kitchen galley. Next you step up to a platform where you can sit on stools and dine at the counter. Then you walk up two steps to sit in the living area. That final elevation allowed the back of our long sofa to meet the base of the apartment's original 20-foot-high studio window, which continues up to the second level.

一迈进这套复式公寓，你就立即进入了厨房操作区。接着走上一个平台，你可以坐在凳子上在案台旁用餐。再往上走两个台阶，你就可以在起居区坐下休息。我们的长沙发就摆放在这个区域，其背部恰好与这套公寓原先20英尺（约合六米）高的窗户的底部对上，这扇窗户一直往上延伸到了二层。

Upstairs, you arrive at a living area with a flat-screen TV and sofas. We wanted a quiet wall for the hall connecting the living area to our bedroom, so we created floor-to-ceiling panels of etched Bendheim glass with mirrors behind them. The mirrors reflect light into the etched glass, producing a greenish, satiny wall surface.

进入二层，眼前就是一个摆放了平板电视和沙发的起居区。我们想要连接起居区与我们卧室的那个厅的 壁显得静谧一些，因此我们打造了落地的Bendheim蚀刻玻璃嵌板，其背面还安有镜子。镜子将光线反射进蚀刻玻璃中，打造出绿莹莹的光滑 面。

Tod and I have been married since 1983 and we're together all the time─at work and at our two apartments. I suppose we've never had a big enough fight for us to spend time separately in the two homes. When we're at the duplex, Tod prefers to be upstairs watching sports. I like being downstairs─near the bookcases and the food.

我与托德在1983年结的婚，一直以来我们都呆在一起──在工作当中以及我们的这两套公寓中。我觉得我们从来没有发生过激烈到足以让我们分开住在两套房子中的争吵。我们在这套复式公寓时，托德喜欢呆在楼上看体育比赛，我则喜欢呆在楼下，离书架和食物近些。

We also spend a lot of time looking at our art, which includes photography by Rachel Perry Welty, a small sculpture by Mark di Suvero and mixed media by El Anatsui. Art isn't fraught, and we'd rather be indirectly inspired by our collection than directly stimulated by other works of architecture in books.

我们也花了很多时间来欣赏我们的艺术藏品，其中包括瑞秋·佩利·威尔蒂(Rachel Perry Welty)的摄影作品、马克·迪·苏维洛的一座小雕塑以及艾尔·安纳祖(El Anatsui)的多媒体艺术品。艺术品不会让人烦恼，我们宁愿间接从我们的藏品汲取灵感，而不是受到书本上其他建筑作品的直接激发。

At our penthouse, we have friends over for dinner. Tod prefers this space because he feels freer there. I like our duplex because I often read three books at a time and want them around. For me, the biggest irony about the duplex is that I'm comfortable in a building and apartment that are period pieces─even though I'm a modernist architect. Apartment buildings from the period were made to accommodate lives─which doesn't seem to be the goal of residential architecture these days.

我们会邀请一些朋友到我们的顶层公寓吃晚饭。托德更喜欢这个地方，因为他觉得在这儿更自由。我则喜欢那套复式公寓，因为我常常一次读三本书，希望这些书就在身旁。在我看来，关于这套复式公寓的最大的讽刺是我住在过去某一时代的大楼和公寓内却觉得很舒适──但我却是一个现代派的建筑师。过去的公寓楼都是为提供住处而建，这似乎不是当今的居住性建筑的目的。

Even though our two apartments are just eight blocks apart, Tod and I always feel like we're traveling between two exciting spaces. It's exhilarating.

尽管这两套公寓只相隔八个街区，我和托德却总是觉得我们是在两个令人激动的地方之间旅行。这种经历让人感到兴奋。