摘要：在安藤忠雄设计的Lorenzo Hadar House里，家具不仅是功能性的存在，更是空间叙事的关键笔触。混凝土的冷峻与木材的温润在此碰撞，而精选的家具以简约的线条和天然质感，悄然软化建筑的锐利几何。安藤擅用留白，而家具便成为“空”中的呼吸点，每一件器物都像被
安藤忠雄实现了
Lorenzo Hadar的愿望
打造了一座散发着
美丽与克制的洛杉矶住宅
在安藤忠雄设计的Lorenzo Hadar House里，家具不仅是功能性的存在，更是空间叙事的关键笔触。混凝土的冷峻与木材的温润在此碰撞，而精选的家具以简约的线条和天然质感，悄然软化建筑的锐利几何。安藤擅用留白，而家具便成为“空”中的呼吸点，每一件器物都像被空间自然生长而出。
洛伦佐·哈达尔（Lorenzo Hadar）对日本文化的推崇近乎虔诚。作为洛杉矶时尚先锋，这位H.Lorenzo买手店创始人在过去二十余年间持续赴日寻找设计人才，其门店自1980年代起便引领当地潮流。日本之行重塑了其审美体系，尤其折服于极简主义与匠人精神。在接触安藤忠雄（Tadao Ando）建筑作品后，他最终委托这位普利兹克奖得主在西好莱坞打造私宅。这座混凝土住宅距离其日落大道店铺仅数街之隔，以留白手法诠释克制美学，光线在纯净空间中形成独特韵律，实现了业主多年的建筑梦想。
Lorenzo Hadar’s reverence for Japanese culture borders on devotion. As a fashion pioneer in Los Angeles and the founder of the boutique H.Lorenzo, he has spent over two decades traveling to Japan in search of design talent, with his store setting trends in the city since the 1980s. His visits to Japan reshaped his aesthetic sensibilities, particularly drawing him to minimalism and craftsmanship. After encountering the works of architect Tadao Ando, he ultimately commissioned the Pritzker Prize winner to design his private residence in West Hollywood. This concrete home, just a few blocks from his Sunset Boulevard store, embodies restrained beauty through deliberate simplicity, with light creating a unique rhythm within its pure spaces—fulfilling the owner’s long-held architectural dream.
安藤忠雄(Tadao Ando)在洛杉矶打造了一座线条纯粹的混凝土住宅。©Yoshihiro Makino
安藤忠雄在南加州的混凝土住宅作品备受杰斯（Jay-Z）与碧昂斯（Beyoncé）、坎耶·维斯特（Kanye West）等名人追捧。这些建筑延续了安藤标志性的设计语言：以纯粹几何形态演绎极简美学，通过精妙的光影叙事赋予粗野的混凝土精致与优雅，使材料更具生命与灵性。洛伦佐·哈达尔住宅（Lorenzo Hadar House）的建造过程颇具挑战：西好莱坞山地陡峭地形与狭窄道路为混凝土浇筑和塑形带来巨大难度，整座建筑依靠36根桩柱支撑，桩基深入地底岩层达60英尺（约18.29米），期间施工历时九年。项目团队成员Alex Iida与BO.SHI建筑事务所的Kazushige Shichishima共同确保了安藤严格对混凝土接缝精度、孔洞定位等细节的标准，最终呈现出这座住宅的理想的状态。
Tadao Ando’s concrete homes in Southern California have attracted celebrities like Jay-Z and Beyoncé, as well as Kanye West. These structures carry Ando’s signature design language: pure geometric forms expressing minimalist beauty, where masterful interplay of light and shadow elevates raw concrete into something refined and elegant, imbuing the material with life and spirit. The construction of the Lorenzo Hadar House posed significant challenges—the steep hillside terrain and narrow roads of West Hollywood complicated concrete pouring and shaping. The entire structure is supported by 36 piles drilled 60 feet (approximately 18.29 meters) into bedrock, with the process spanning nine years. Project team member Alex Iida and BO.SHI architect Kazushige Shichishima ensured Ando’s exacting standards for concrete joint precision and hole placement were met, ultimately realizing the home’s ideal form.
顶层的三角形平台则为整体直线构图增添了一抹柔和。©Yoshihiro Makino
从街道看去，住宅的外观十分低调朴素，很难想象这座沿山坡向下延伸的房屋内部，竟拥有如此开阔明亮的空间。建筑外立面采用清水混凝土结构，垂直排列的鳍片不仅形成独特的光影韵律，还巧妙框取了周围的花园景观。顶部延伸出的三角形混凝土翼板投下动态阴影，从早到晚不断改变建筑的视觉形态。这些光影变化让原本刚硬的几何线条显得生动，而顶层的三角形平台则为整体直线构图增添了一抹柔和。
From the street, the house appears unassuming and modest, giving little hint of the expansive, light-filled interior that unfolds down the hillside. The façade features exposed concrete with vertical fins that orchestrate shifting patterns of light and shadow while framing views of the surrounding garden. Triangular concrete projections at the top cast dynamic shadows, subtly altering the building’s visual geometry throughout the day. These play of light softens the rigid lines, and the triangular terrace on the top level introduces a gentle counterpoint to the otherwise rectilinear composition.
建筑外立面采用清水混凝土结构，垂直排列的鳍片形成独特的光影韵律。©Yoshihiro Makino
屋主洛伦佐·哈达尔（Lorenzo Hadar）在他家的阳台上。©Yoshihiro Makino
在室内，精细的建造工艺却呈现出与预期完全不同的氛围。没有刻意的修饰或过度的讲究，空间散发着舒展、松弛与宁静的气息。它既非冷酷的粗野主义，也并没有剥夺感官体验，反而在精神与智性的层面给予滋养。为了不破坏建筑原本的美感，Lorenzo选择以简约的方式装饰空间，选用乔治·中岛美嘉（George Nakashima）、皮埃尔·让那雷（Pierre Jeanneret）与让·普鲁维（Jean Prouvé）等设计大师的经典作品。室内设计师凯瑟琳·瓦龙克（Katherine Waronker）也提供了专业建议，使整体氛围更加和谐。
Inside, meticulous craftsmanship creates an atmosphere that defies expectations—neither austere nor overly deliberate, the space exudes ease, relaxation, and tranquility. It avoids the coldness of brutalism without depriving the senses, instead offering intellectual and spiritual nourishment. To preserve the architecture’s inherent beauty, Lorenzo opted for a restrained approach to décor, selecting iconic pieces by George Nakashima, Pierre Jeanneret, and Jean Prouvé. Interior designer Katherine Waronker provided additional guidance to harmonize the overall aesthetic.
古董木制「こけし」（日本传统木娃娃）搭配着Sakura Seisakusho的乔治·中岛美嘉长椅。©Yoshihiro Makino
入口艺廊展示了古董木制「こけし」（日本传统木娃娃），旁边是Sakura Seisakusho（株式会社樱制作所）的乔治·中岛美嘉长椅。在主艺廊的另一端，摆放了Pierre Jeanneret的桌椅，墙上展有Gemi的艺术作品。
The entry gallery displays antique Japanese kokeshi dolls alongside a George Nakashima bench from Sakura Seisakusho. At the far end of the main gallery, Pierre Jeanneret chairs and a table accompany a wall-mounted artwork by Gemi.
摆放了Pierre Jeanneret的桌椅，墙上则展有日本艺术家Gemi的画作。©Yoshihiro Makino
在主客厅内，沙发由美国设计师Adrian Pearsall设计.来自洛杉矶家具店Obsolete。还配备了瑞土建筑师Pierre Jeanneret设计的扶手椅，木质咖啡桌和落地灯，由日裔美籍工艺大师乔治·中岛（George Nakashima）设计通过日本Sakura Seisakusho（株式会社樱制作所）购得。墙上展示着德国摄影师Aram Dikiciyan的艺术作品。
The primary living room features a sofa by American designer Adrian Pearsall, sourced from Los Angeles boutique Obsolete, paired with Pierre Jeanneret armchairs. A wooden coffee table and floor lamp by George Nakashima, acquired through Sakura Seisakusho, complete the arrangement. The walls showcase photography by German artist Aram Dikiciyan.
由美国设计师Adrian Pearsall设计的沙发，来自洛杉矶家具店Obsolete。©Yoshihiro Makin
休息区内则摆放着皮埃尔·让那雷的座椅，乔治·中岛美嘉设计的复古玄关桌、台灯以及古董椅，台面上摆放着屋主洛伦佐收藏的日本木芥子人偶古玩，墙上悬挂着一幅日本艺术家Gemi的画作《Freezing Rain》。
In the living area, Pierre Jeanneret chairs, a vintage console, and a lamp by George Nakashima share space with Lorenzo’s collection of antique kokeshi. A painting titled *Freezing Rain* by Japanese artist Gemi hangs on the wall.
乔治·中岛美嘉设计的复古玄关桌、台灯以及古董椅，台面上还摆放着屋主洛伦佐收藏的日本木芥子人偶古玩。©Yoshihiro Makino
餐厅中，木质餐桌和椅子由乔治·中岛美嘉设计，通过日本株式会社樱制作所购得。左侧墙上的肖像照是德国摄影师Aram Dikiciyan的作品，右侧墙上悬挂着日本艺术家奈良美智（Yoshimoto Nara）的两幅素描画。
The dining area centers around a George Nakashima wooden table and chairs, also procured through Sakura Seisakusho. A portrait by Aram Dikiciyan adorns the left wall, while two sketches by Yoshitomo Nara grace the right.
厨房岛台配备皮埃尔·让那雷设计的高脚凳，造型简约又不失格调，为厨房增添了独特艺术气息与舒适体验。
The kitchen island is outfitted with Pierre Jeanneret counter stools, their understated elegance adding an artistic yet functional touch.
楼梯由清水混凝土、木材、玻璃与金属组成，整体沐浴于自然光下，光影交织间，尽显独特魅力与高级质感。
A staircase of exposed concrete, wood, glass, and metal basks in natural light, its interplay of shadows and materials exuding quiet sophistication.
右侧摆放的是乔治·中岛美嘉设计的胡桃木椅子。©Yoshihiro Makino
放置的是乔治·中岛美嘉设计的凳子，凳子上装饰着Kvadrat/Raf Simons的纺织品。©Yoshihiro Makino
住宅底部设有一间小屋作为客房，其设计宛如一间日本茶室。屋内配有榻榻米与日式障子推拉门，尽显日式风情。还设有蒸汽浴室，内置传统日式泡澡浴缸，浴缸置于白橡木地板之上，均由日本公司 Bartok Design 精心打造。通往浴室的走廊悬挂着 POJ 工作室在京都采购的暖帘。
At the base of the house, a detached guest room evokes a Japanese tea house, complete with tatami mats and shoji sliding doors. A steam room features a traditional soaking tub set atop white oak flooring, crafted by Japanese firm Bartok Design. A noren curtain from Kyoto’s POJ Studio hangs in the hallway leading to the bath.
茶室通往浴室的走廊，配有在京都购买的POJ Studio品牌的暖帘。 ©Yoshihiro Makino
由日本公司 Bartok Design 精心打造的传统日式泡澡浴缸，浴缸置于白橡木地板之上。©Yoshihiro Makino
在主卧室中，一盏来自日本株式会社樱制作所的乔治·中岛美嘉台灯放置在由 Studio O By Oliviero Baldini 设计的定制床架上，并配有床头柜。主卧室的一角，摆放着乔治·中岛美嘉设计的躺椅和Kevin边桌，以及一块羊毛地毯。主卧浴室保持着极简的材质和色调，铺设了白色的卡拉卡塔大理石（Calacatta marble）。
In the primary bedroom, a George Nakashima table lamp from Sakura Seisakusho rests on a custom bed frame by Studio O By Oliviero Baldini, flanked by a nightstand. A Nakashima lounge chair, Kevin side table, and wool rug occupy one corner. The en suite bathroom maintains a minimalist palette with Calacatta marble.
一盏George Nakashima台灯放置在由Studio O By Oliviero Baldini设计的定制床架上。©Yoshihiro Makino
卧室的一角，摆放着乔治·中岛美嘉设计的躺椅和Kevin边桌。©Yoshihiro Makino
主卧浴室保持着极简的材质和色调，铺设了白色的卡拉卡塔大理石，增添了一抹奢华的感觉。©Yoshihiro Makino
位于酒店底层的客用小屋是传统日式设计的瑰宝。榻榻米、障子屏风和欧弗罗浴缸，营造出一处宁静的休憩之所，让人仿佛远离洛杉矶的喧嚣。这里的极简主义并非空无，而是本质——每个元素都诉说着一种专注与存在感。漫步花园，来到这片被竹林和银杏树环绕的宁静空间，本身就是一场旅程。
The guest casita at the base of the property is a jewel of traditional Japanese design. With its tatami mats, shoji screens, and an ofuro soaking tub, it offers aserene escape that feels worlds away from the energy of Los Angeles. The minimalism here is not about absence but about essence — each element speaks to a sense of mindfulness and presence. Walking through the garden to this tranquil space, surrounded by bamboo and ginkgo trees, is a journey in itself.
天井将自然光引入管家的房间。©Yoshihiro Makino
主屋与客房之间的花园由洛杉矶景观公司Double Green Landscapes设计，融合了日本庭园与加州的自然野趣，种植了枫树、银杏、大型竹子与豹纹叶等植物，庭院景观中本土植物与日本物种交融共生。从庭院漫步至茶室，让人恍若身处好莱坞里的日本。
Time stands still under the eaves, the wind ceases at the window, and the light has not yet fully faded. Silence surrounds, with sounds fading one by one, even breaths growing slow and deliberate. Here, no stylistic labels are followed, nor are eyes guided by color alone. Design is placed within life, running parallel to the everyday, becoming an extension of each other. On the way home, it settles the weariness of the body, wordless yet always close to the heart. The outline of a home is not drawn by material possessions, but gradually unfolds in the flow of light and shadow, the settling of memories, and the rise and fall of emotions.
花园景观由 Double Green Landscapes 设计，融合了本地物种和日本物种。©Yoshihiro Makino
哈达尔的家不仅仅是一个居住的地方，更是一个感受的地方。“我还在探索这栋房子，”他说。“坐在不同的地方，观察光线的变化，我欣赏着每一个细节。这房子充满了生命。”
安藤忠雄的作品提醒我们，伟大的设计并非在于过度，而在于创造滋养精神、引发反思的空间。在这个常常让人感到混乱的世界里，这座住宅正是克制与专注力量的证明。
Hadar’s home isn’t just a place to live: it’s a place to feel. “I’m still discovering the house,” he says. “Sitting in different spots, watching the light change, I appreciate every detail. This house is alive.”
Tadao Ando’s work reminds us that great design isn’t about excess. It’s about creating spaces that nurture the spirit and invite reflection. In a world that often feels chaotic, this home stands as a testament to the power of restraint and intention.
来源：星期八室内设计
