在12月初的一个早晨，Annkur Khosla为我们的早餐会议带来了清新的能量，她告诉AD阳光公寓项目是如何意外地找到她的。几年前，她和丈夫在巴黎度假，“住在奥斯曼建筑里一家装饰艺术风格的酒店里，建筑最原始，窗户上有彩色玻璃窗。就在那时，我接到了房主的电话，问我是否考虑为她在阳光的五楼公寓做室内建筑，”科斯拉说，并补充说，“这有点神秘”——这位修行的佛教徒经常使用这个词。
主要位置
阳光公寓本身就处于风口浪尖。它俯瞰着壮观的椭圆形独立广场，所有文明都在它的场地上打板球。Mantralaya在它的左边，对面是新哥特式的高等法院大楼，另一边是维多利亚哥特式的Chhatrapati Shivaji Maharaj Vastu Sangrahalaya博物馆。从这套位于五层的公寓望去，可以跨越时间和建筑风格，这本身就是一种奢侈。阳光大厦建于20世纪20年代，代表了孟买的装饰艺术浪潮，当时进步的商人和企业家开始探索这种华丽的建筑风格，并将其带回了他们的家乡。科斯拉对装饰装饰的深入把握了绝佳的时机。当她开始创作《阳光》时，孟买对装饰艺术的兴趣明显回升，这在一定程度上要归功于2016年成立的非营利组织“孟买装饰艺术”(art deco Mumbai)。2018年，经过长期努力，联合国教科文组织宣布海洋大道和椭圆形独立广场周围的装饰艺术建筑为世界遗产。“阳光是一个原始的遗产项目，建于20世纪20年代。它带来了一系列挑战，”她说。 “We had to be extremely careful while strengthening the structure. It had to be done incrementally and certainly not like an invasion.” Yet this wasn't a pure restoration project. It was someone's home, a husband and wife's, and it had to be functional and practical and beautiful and simply a home. “I feel passionately about having the homeowners appreciate the movement as well; that you're sitting in a building that belongs to an era, but it's also extremely liveable and relevant to the present moment and their lives.”
内部详细
科斯拉巧妙地把握了空间和流动。入口门厅以极简的地板图案和微妙的凹槽橡木背景打开，隐藏了一个壁橱空间。从门厅向前走，你会看到一个镜像隔断，它通向餐厅空间，镶板具有类似的棱纹效果。开放式阳台由两根带有爱奥尼亚式大写字母的柱子支撑，装饰艺术风格的烧烤架已恢复到最初的辉煌。装饰艺术运动以创造自己的硬件而闻名，科斯拉当然很喜欢这一点。黄铜门把手、门把手、钥匙孔和房子周围的木工细节都是设计师的小项目。公寓尽头的门上有一个高大而优雅的黄铜把手，这本身就是一件雕塑。她笑着说:“设计这些东西对我来说是一个相当高的境界。”然而，这个空间的亮点是设计师扩展的持续一致的视觉语言。从地板和定制家具，到没有地毯的地毯，再到艺术品的摆放方式——不是为了适合平面，而是为了适合波浪状的墙壁——都是科斯拉对装饰派的实验。 She radically cropped out the carpet and simply left a border running along the patterned floors, “essentially using a carpet to bind the entire space together.” Art deco was a movement of innovation and breakthroughs from old norms, and Khosla has clearly slipped her own avant-garde ideas into the scheme. “If you notice the window frames, we padded them up, to strengthen them, of course, but also to add that staggered wood aesthetic that is more typical of art deco rather than flat wood,” she adds. She also did away with curtains completely. “In the den, I took an artwork and put it on a sliding panel, which if you open, you see the skyline outside, and if you shut, you cut all glare and noise of the outside. The wooden screens in classic geometric patterns work as partitions to transform private rooms into one open, flowing, public space, their varying wood finishes adding a subtle texture and depth. Khosla's interventions have a sense of humour. They also have a rhythm and flow in which she clearly believes—in design and in life.
