有一天，Clonmacnoise的修道士们正在教堂开会。正当商议的时候，他们看见一艘船从他们头顶飞过，就像在海上航行一样。而船上的人也看到地上的人们与他们的居所，于是就下了锚。锚正好落在教堂的地板上，被牧师抓住。有一个人跟着锚从船上下来，他像在水中一样游着，一直游到锚那儿。地上的人们把他拖下了来。“看在上帝的份上，让我走吧!” 他说，“你们就要把我淹死了。”然后他像刚才一样在空中游着，带着锚离开了他们。

One day the monks of Clonmacnoise were holding a meeting on the floor of the church, and as they were at their deliberations there they saw a ship sailing over them in the air, going as it were on the sea. When the crew of the ship saw the meeting and the inhabited space below them, they dropped anchor, and the anchor came right down on to the floor of the church, and the priest seized it. A man came down out of the ship after the anchor, and he was swimming as if he were in the water, till he reached the anchor; and they were dragging him down then. ‘For Gods Sake let me go!’ said he, ‘for you are drowning me.’ then he left them, swimming in the air as before, taking his anchor with him.

▼项目外观， appearance of the project © Aisling McCoy

霍利布鲁克路（Hollybrook Road）位于都柏林郊区。项目内容包括翻新一幢维多利亚式住宅的底层，并扩建出厨房和用餐区。项目的业主是一个年轻的家庭，设计旨在反映出他们的日常生活和他们对创造美好事物的渴望。

Hollybrook Road is in a suburb of Dublin. The project involved refurbishing the ground floor return of a Victorian house and making an extension that would incorporate a kitchen and dining area for a young family that would reflect their life and their aspiration toward making something beautiful.

▼轴测分析图，axonometric diagram © Aisling McCoy

设计意图从项目之初就极为明确，即从前门到后花园，形成一系列不同而连续的室内空间，将房子的新旧部分连接在一起。厨房与用餐区从主屋向后延伸，新旧部分之间由六级宽大的石灰石台阶衔接起来。原建筑的回廊形成新旧部分之间的过渡区域，区域中设有一个隐藏式卫生间以及实用功能空间。新扩建部分由钢筋混凝土建造，外部则采用了绝缘材料饰面。

The project from the outset had a clear intent to make a series of distinct sequential interior spaces from the front door to the rear garden that knitted the old and new parts of the house together. The pantry area drops from the main house in 6 generous limestone steps . This room containing a hidden WC and utility area beneath the existing return and the new extension are built in reinforced concrete and wrapped in external insulation.

▼原建筑的回廊形成新旧部分之间的过渡区域， The existing return forms a transition area between the old and new parts © Aisling McCoy

▼回廊上的飘窗形成舒适的休闲区， The bay Windows on the cloister form a comfortable leisure area © Aisling McCoy

扩建部分与场地两侧墙壁之间留有距离，形成两条小径，从厨房一侧的开窗可以看到邻居家的灰泥院墙。随着一天时间的变化，阳光由院墙反射到室内，形成令人愉悦的光影效果。玻璃幕墙同样设置在混凝土结构的外侧，幕墙高度直至女儿墙。透过青铜色玻璃，人们可以清晰地看到混凝土结构的横梁。在一年中的大部分时间里，建筑与太阳的关系非常融洽，柔和的阳光洒落在倾斜的横梁、混凝土墙面以及室内斑驳的水磨石地板上，营造出温馨的光影氛围。

The extension is pulled back from the neighbouring walls on both sides, on the kitchen sides this has the enjoyable effect of setting a window to look at a plastered wall ( the wall of the neighbours extension) as the sunlight moves across its face over the course of the day. The external glazing screens are similarly kept outside the concrete shell and allowed run to the height of the parapet with the excessive concrete beams exposed behind bronze tinted glass. A generous relationship with the sun throughout the days and seasons is intended, manifest in the changing light and shadows cast on the sloping beams, concrete walls and speckled terrazzo floor inside.

▼由窗口看邻居家的隔墙， viewing the neighboring wall from the window on the kitchen sides © Aisling McCoy

▼由回廊看厨房中岛， viewing the kitchen island from the existing return © Aisling McCoy

混凝土材料是项目的核心建筑元素，这种材料既具有极高的可塑性，又能表现出丰富的材质肌理，例如某些区域使用了混凝土原始的粗糙肌理，而另一些区域则采用了光滑细致的抛光混凝土。扩建的部分作为一个独立的建筑体量，支撑着上方回廊的横梁，扩建部分的屋顶也因此可以与结构相分离。横梁与屋顶在立面的边缘停止，并留出了一小段距离，在室内与室外之间形成了微妙的缓冲空间。外部的绝缘材料包裹住整个扩建部分，使混凝土形式在内部保持完整。对本项目的建筑师来说，内部空间的建造远远优先于建筑的外观。

The concrete work forms the basis of the project providing a material that can be rough in places, smooth and more refined in others, and allows a degree of form making / shaping. Casting the extension as a singular form, the down-stand beams that hold the return overhead and the roof of the extension could depart from being mere structure. They are brought back within the main cruciform space of the extension to buffer the threshold between inside and outside. Wrapping the building in external insulation allows the concrete form to be unbroken internally. The making of the interior spaces took precedence over what the building might look like as an object externally.

▼厨房， kitchen © Aisling McCoy

▼柔和的阳光洒落在厨房， Soft sunlight sprinkles into the kitchen© Aisling McCoy

▼青铜色玻璃幕墙营造出温馨的光影氛围， Bronze glass curtain wall creates a warm atmosphere of light and shadow © Aisling McCoy

带有弧度的混凝土天花板是设计中的点睛之笔，天花板与结构巧妙地连接在一起，在定义出空间的边界的同时，使平面布局一目了然。房间的一角设有一处与混凝土结构整体浇铸的壁炉，与其他三个角落的方柱形成对比。壁炉之上的混凝土墙面逐渐向外侧倾斜，与天花板连城一体，混凝土饰面的处理方法也与室内标高2.4米以下空间中的混凝土墙面不同。壁炉顶部的烟囱违背了设计中的正交原则，并旋转了45度。烟囱顶部设有一个带有圆形空洞的混凝土体块，这让它从周围维多利亚时代的高大砖砌烟囱中脱颖而出，为建筑带来了一个新奇又古怪的新形象。

The concrete soffit of the ceiling is carefully set out with the joint lines indicating the plans geometry. A cast fireplace forms one corner and is in contrast to the bracketed columns of the other three corners. This also slopes outward and upward and the face of the concrete is treated differently to the other board marked elements below the 2.4m datum. Its chimney overhead disobeys the orthogonal set out to the plan and rotates 45 degrees. It is capped in concrete with a hole punched through, and is intended as a new eccentric figure amongst the tall victorian brick chimneys that surround it.

▼混凝土材质是整个项目设计的核心元素，Concrete is the core element of the project © Aisling McCoy

▼壁炉， The fireplace © Aisling McCoy

室内空间沉静安详，就如同置身于重物之下，带有些许奇艺的安全感。神秘的氛围感让人们从工作和辛劳的世界中得到喘息的机会。就好比游离在幻想和现实之间凯尔特民间传说，身体的感知先于意识。建筑师希望将这种张力表现在这个空间中，使空间氛围既带有神圣之感又不显得过于迷幻。

I feel like the effect of the interior is akin to being a under something heavy. It feels strange but also protective. Its uncanny character is intended to offer respite from the world of work and toil. Celtic folklore is characterised by a tension between fantasy and reality and a situating of the body prior to consciousness. I hope that tension is somehow also present in this space. Without getting too wooly, this effect is intentionally sought in the work.

▼餐厅， dining area © Aisling McCoy

▼餐厅细部， detail of the dining © Aisling McCoy

这种神圣的空间氛围源于设计者自身的信仰。他解释道：“斯宾诺佐公理第11页：‘上帝，或一种由无限属性组成的实体，每一属性都表示永恒和无限的本质，必然存在。’我想这是泛神论的一种形式。试图理解并创造出我们与我们的感官和身体的联系，并延伸到从局部到宇宙的一切事物，让我不断前行。而我的作品就是这种意图的产物。”

I believe in the Spinozo axiom: ‘P11: God, or a substance consisting of infinite attributes, each of which expresses eternal and infinite essence, necessarily exists.’ From this axium a concept of our world where we are but all modes of one substance springs. It is a form of pantheism I guess. Trying to understand and make work that connects us to our senses and bodies and by extension everything from the local to the cosmic keeps me going. My work is a product of that intent.

▼夜景，night view © Aisling McCoy

▼平面图，plan © t o b Architect

▼剖面图，section © t o b Architect

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