Building your dream house is a wonderful thing. But what happens when the dream changes?

建造属于自己的梦想之屋是一件美妙的事。但当梦想变了会怎样？

Just ask David Kelley, founder of the global design firm IDEO. In 2000, he became one of only three people in the United States to have a house designed by Ettore Sottsass, the legendary Italian architect, industrial designer and founder of the postmodern Memphis design collective whose name refers to both ancient Egypt and Elvis Presley.

问问全球设计公司IDEO的创始人戴维·凯利就知道了。2000年，他成为全美拥有埃托雷·索特萨斯设计的住宅仅有的三个人之一。索特萨斯是意大利传奇建筑师、工业设计师，也是主打后现代风的孟菲斯设计集团的创始人，孟菲斯既意指古埃及，也意指猫王。

The 6,000-square-foot Silicon Valley house, a cluster of separate pavilions joined by a glass atrium, was designed with Marco Zanini, a partner in Sottsass Associati, and featured in several magazines, as well as in a 2001 article in The New York Times. But in 2018, Kelley sold the house. “My whole life has been expansive,” he said, “but I’m 70, and I’m trying to make life simpler.”

这栋坐落于硅谷、面积达6000平方英尺的住宅包含数个独立房屋，通过玻璃中庭连接，由索特萨斯协会的合伙人马可·扎尼尼设计，《纽约时报》2001年的一篇文章以及多家杂志都曾对它进行报道。但在2018年，凯利卖掉了这套房子。“我的人生已经很丰富了，”他说，“但我都70岁了，还是想让生活更简单一些。”

That goal included being close to the campus of Stanford University, where, in addition to his work at IDEO, Kelley has taught design for 42 years in the school of engineering, and where he founded the Hasso Plattner Institute of Design, known as the d.school. He bought a much smaller house in a campus enclave that is exclusively for Stanford faculty. “I just wanted something less expansive,” he said. “The living room in the old house was the size of the entire new house.” He also wanted a studio, in which to make things, and to keep some of his extensive collections of — well, all kinds of things, about which more later.

他的目标包括住得离斯坦福大学的校园更近，除了在IDEO的工作，凯利还在斯坦福的工程学院教了42年的设计，并一手创办了被称为“d学院”的哈索·普拉特纳设计学院。他在校内购置了一套仅限教职工购买的房子，面积小得多。“我只想要没那么大的，”他说。“旧宅的客厅比这整个新宅都大。”他还想要一个工作室，在里面可以制作东西，并保留他的部分广泛收藏——那是各式各样的物件，稍后再详细介绍。

But less expansive didn’t mean un-designed. For that, Kelley turned to two people he knew well. Mark Jensen, founder of the San Francisco firm Jensen Architects, had designed IDEO’s Palo Alto and San Francisco offices, as well as projects like the roof terrace at the San Francisco Museum of Modern Art and a tower in collaboration with artist Ann Hamilton.

但面积更小不等于没有设计。为此，凯利求助于他的两个熟人。马克·詹森是旧金山詹森建筑事务所的创始人，他设计了IDEO在帕洛阿尔托和旧金山的办公室，以及旧金山现代艺术博物馆的屋顶露台，还有与艺术家安·汉密尔顿合作的塔楼等项目。

Johanna Grawunder, an artist and designer who creates installations using light, as well as actual light fixtures and furniture for companies like Flos and Glas Italia, worked with Sottsass for 16 years (12 of those as a partner in his firm), during which time she designed the lighting for Kelley’s former house. (Jensen and Grawunder have been a couple for 20 years, and while she was a consulting light artist for some of his projects, the two had had only one major collaboration, on their weekend house in Sonoma County.)

乔安娜·格拉文德尔是一位艺术家兼设计师，利用光线创作装置作品，并为Flos和Glas Italia等公司设计实用灯具和家具，她与索特萨斯合作了16年（其中12年都是他的公司合伙人），在那期间，她为凯利的旧宅设计了照明。（詹森与格拉文德尔交往已有20年，虽然她曾为他的一些项目担任灯光艺术顾问，但两人只有一次重大合作，那就是他们位于索诺马县的周末度假屋。）

“It was a very unassuming, generic California ranch house, surrounded by beautiful trees,” Jensen recalled. “Our approach was more about subtraction — what else can we take away?” While the two-bedroom interior was gutted and the living area made open and loft-like, the exterior, with its asphalt roofing and its weathered, vertical plywood siding — now painted dark gray — was left largely unaltered. A new garage door is flush with the exterior wall, to “de-emphasize” its “traditional primacy,” Jensen said. And a wide, pivoting front door made of cedar adds a striking design element. The San Francisco firm Surfacedesign was responsible for the verdant landscape; Grawunder said that it enhances the flow between indoors and out.

“这是一间非常朴实无华的加州牧场式平房住宅，四周环绕着美丽的树木，”詹森回忆道。“我们的设计更多是做减法——还可以去掉什么东西？”虽然两居室的内部结构被拆除，起居室变成了开放的、类似阁楼的地方，但外墙、沥青屋顶和已经风化的垂直胶合壁板（现在漆成深灰色）基本没变。詹森说，新的车库门与外墙齐平，以“弱化”其“传统上的抢眼位置”。一扇宽大的旋转式雪松木制前门增添了非常亮眼的设计感。旧金山的Surfacedesign公司负责做绿化景观；格拉文德尔称这能增强室内与户外的延续性。

As you pass through the entryway, there is a light piece by Grawunder on one wall, and a manhole cover from the factory that makes them for Stanford — a memento from one of Kelley’s students — is set into the brick floor. An atrium with comfortable furniture and retractable shade sails leads to the kitchen and living area, and has proved useful during the pandemic for safe outdoor gatherings.

当你穿过玄关，可以看到格拉文德尔在一面墙上设计的灯饰，砖铺地面上嵌有井盖，这来自专门为斯坦福生产井盖的工厂，是凯利的一位学生送的纪念品。通向厨房和起居室的中庭配有舒适的家具和可伸缩的遮阳棚，事实证明，在疫情期间，这对安全的户外聚会很有用。

Grawunder, who redid the layout of the existing house and worked with Kelley on placing the furniture, called her role in the project “essential and minimal — essential because of my friendship with David, from when I worked on the Sottsass house.” She designed a small, U-shaped outdoor seating space with a tall cedar fence outside the sliding glass door in Kelley’s bedroom, since it had no privacy from the street. Its floor is clad in mint green glazed bricks used in a courtyard of the Sottsass house. Grawunder called the house “a living organism,” with the studio being “the heart of the matter.”

格拉文德尔重新设计了现有住宅的布局，并与凯利一起布置家具，她说自己在这一项目中的角色是“必要且极小的——必要是因为从负责索特萨斯住宅项目开始，我与戴维的友谊就是不可或缺的”。她在凯利卧室的滑动玻璃门外设计了一个很小的U形户外就坐空间，并竖起高大的雪松木围栏，因为这里与街道之间没有遮挡。地上铺了薄荷绿的釉面砖，这在索特萨斯住宅的庭院也用过。格拉文德尔称这栋房子是“一个有生命的有机体”，而工作室就是“一切的心脏”。

The studio, which is just behind the house, “is who I am,” Kelley said. The “organized clutter” in the 25-foot-high space includes objects like tools and bicycles, that “bring up a story, or recall a memory.” Its unusual form was not part of the original design, which was a glass box, and was rejected by Stanford planners, who said that the building had to have a pitched roof and wood siding — “which led to something more interesting,” Jensen said. He designed a cedar rain screen — a waterproof membrane with Eastern red cedar boards over it — that looks as if one side of the roof just kept on going, down and outward. (A separate workshop, for activities like sawing and drilling, is tucked behind the garage.) “The project went from being a remodel with an addition to becoming a total live-work compound. Or village,” Grawunder said.

凯利表示，就位于住宅之后的工作室“代表了我本人”。在高达25英尺的空间里，“有序的混乱”涵盖了工具和自行车等物品，它们“或能讲述一个故事，或能唤起一段回忆”。它的独特造型并不在初始设计之中，原本的玻璃盒造型被斯坦福大学的规划部门否决，他们说这栋建筑必须有斜屋顶和木制墙板——“这催生了更有趣味的设计，”詹森说。他设计了一个雪松木雨屏——这是一种覆盖了东方红雪松木板的防水膜——看起来就像是屋顶一直倾斜而下，向外延伸了出去。（车库后面还有一个单独的工作坊，用于锯木和钻孔等活计。）“这个项目从加装改造变为了打造一个生活兼工作的完整综合体——或者说村落，”格拉文德尔说。

Kelley’s lifelong attachment to meaningful possessions is epitomized by the assemblage of things — including, but by no means limited to, his grandmother’s match holder, a clutch pedal from the Caterpillar factory where he worked as a student, his childhood sled and the Ohio license plates from his family’s car — that are mounted on one wall of the atrium and framed. In his minimalist white bathroom is a Ruth Orkin photograph of Albert Einstein “which I’ve had in my bathrooms since 1988,” he said.

中庭的一面墙上装裱着的各种物件反映了凯利对有意义之物的终生坚守，这包括但不限于他祖母的火柴支架、他学生时代工作过的卡特彼勒(Caterpillar)工厂生产的离合器踏板、他童年的雪橇和他家汽车用的俄亥俄州牌照。在极简风的白色浴室里，放有一张露丝·奥金(Ruth Orkin)拍摄的爱因斯坦肖像照，“自1988年以来，我的浴室里就有这张照片，”他说。

When Sottsass was designing the old house, Kelley wanted to bring in some of his collections (which also include vintage tractors, pickup trucks and sports cars, like the 1961 Mercedes 300SL convertible now parked in his driveway). But Sottsass said no. “I will build you a house for the present,” he declared, so Kelley stored his collections in a barn on the property. “I didn’t want his big ideas watered down by a kid from Ohio,” Kelley recalled.

当索特萨斯设计那栋旧宅时，凯利就想将他的一些收藏包括在内（还有老式拖拉机、皮卡和跑车，比如现在停在他车道上的1961年款奔驰300SL敞篷车）。但索特萨斯没答应。“我要为你建一栋属于当下的房子，”他说，于是凯利把他的收藏都放入了该物业的一个仓库里。“我不希望他的伟大灵感因为一个俄亥俄州的孩子而打了折扣，”凯利回忆道。

“He was Picasso, and who was I to say that he should put more green in the painting?” Still, the maestro, who died in 2007, might have considered that someone whose head is very much in the present (and the future) could also have a heart that cherishes the past.

“他就像毕加索，我有什么资格告诉他应该在画里多加点绿色？”尽管如此，这位2007年去世的大师大概会觉得，一个思想非常现代（和超前）的人也可能拥有一颗珍惜过去的心。