摘要：历史设计风格的流行度自然会经历起伏，但其中一些风格因其巨大的影响力和广泛的喜爱度而从未真正消失。装饰艺术风格（Art Deco）已历经一个世纪，至今仍是塑造空间和物品的重要力量，其严谨的层次几何结构、风格化的装饰以及厚重的体量一直在设计中不断涌现。
历史设计风格的流行度自然会经历起伏，但其中一些风格因其巨大的影响力和广泛的喜爱度而从未真正消失。装饰艺术风格（Art Deco）已历经一个世纪，至今仍是塑造空间和物品的重要力量，其严谨的层次几何结构、风格化的装饰以及厚重的体量一直在设计中不断涌现。
The popularity of historic design styles naturally ebbs and flows, but some are so impactful and well-loved that they never really go away. Art Deco has remained a powerful player in shaping spaces and objects for a century now, its strict, layered geometries, stylized flourishes, and heavy volumes all continually cropping up in design.
如今，这一运动正经历着一场尤为显著的复兴，尤其是在室内设计领域，尽管不再是以拼贴的方式，而是通过形式上的致敬来体现——这个空间也不例外。在翻新旧金山一座1927年建成的装饰艺术风格建筑中的顶层公寓时，当地设计公司Studio Ahead大量借鉴了该时代的主色调和形状，同时加入现代元素，使空间保持轻松且“前瞻”的氛围。
Today, the movement is having a particularly noticeable renaissance, particularly in interiors, albeit less in a pastiche way and more through formal nods — the space featured here being no exception. When it came to renovating a penthouse in a 1927 Art Deco building in San Francisco, local firm Studio Ahead leaned heavily into the era’s primary colors and shapes, while adding contemporary touches to keep the space relaxed and “forward-thinking.”
这座位于诺布山（Nob Hill）15层的顶层公寓是为企业家Lara Cumberland翻新的，公寓享有俯瞰全市以及马林县（Marin）、伯克利（Berkeley）、奥克兰（Oakland）和海湾（包括以装饰艺术细节闻名的金门大桥）的全景。其客厅和餐厅采用了20世纪20年代典型的蓝色、黑色和银色装饰，搭配明亮的黄色艺术品和配饰，相得益彰。客厅区域的核心是一件复古的镜面控制台，它与旧金山佩奇玻璃公司（Paige Glass Company）定制的酒吧镜相映成趣。一张带有浅色镶边的黑色区域地毯勾勒出房间的形状，其上的菱形角是对装饰艺术风格的标志性建筑——克莱斯勒大厦（Chrysler Building）的致敬，而餐厅桌子的金字塔形底座则是以窗外可见的泛美大厦（Transamerica Building）为原型设计的。
Renovated for entrepreneur Lara Cumberland, the 15th-floor penthouse in Nob Hill enjoys panoramic views over the city and across to Marin, Berkeley, Oakland, and the Bay — including the Golden Gate Bridge, renowned for its own Art Deco details. Its living and dining rooms are decorated in the blues, blacks, and silvers typical of the 1920s, offset by bright yellow artworks and accessories. Anchoring the lounge area is a vintage mirrored console that’s paired with a custom bar mirror by SF’s Paige Glass Company. A black area rug with a light trim traces the shape of the room and features chevron corners that nod to the Chrysler Building, the poster child for Art Deco, while the pyramidal base of the dining room table is modeled after the Transamerica Building that can be spied out the window.
社交区域的其他亮点家具包括由安妮-梅特·延森（Anne-Mette Jensen）和莫滕·恩斯特（Morten Ernst）为埃里克·约根森（Erik Jorgensen）设计的波浪形躺椅，其波浪形的设计让人联想到旧金山的地形，还有盖·奥伦蒂（Gae Aulenti）设计的趣味咖啡桌。在主卧室中，深色基调被白色、银色和珍珠色所取代，客厅地毯的颜色也进行了反转。床被窗帘笼罩，两侧挂着杰弗里·张（Jeffrey Cheung）的画作，而保罗·马修（Paul Mathieu）的金属作品则增添了对比感。全黑的媒体室也布满了窗帘，坎伯兰经常与儿子在这里享受电影之夜，但窗帘也可以拉开，露出当地画廊的艺术作品——这是贯穿整个顶层公寓的共同主题，完美致敬了其周边及更广泛的环境。
Other notable pieces in the social areas include an undulated daybed by Anne-Mette Jensen and Morten Ernst for Erik Jorgensen, its wavy form reminiscent of San Francisco’s topography, and a playful Gae Aulenti coffee table. In the primary bedroom, dark tones are replaced with white, silver, and pearl, and the living room rug colors are reversed. The bed is shrouded by curtains and flanked by Jeffrey Cheung paintings, while metal pieces by Paul Mathieu add contrast. More drapery lines the all-black media room, where Cumberland enjoys movie nights with her son, but can be drawn back to reveal artworks from local galleries — a common theme throughout the penthouse, which honors its immediate and wider context perfectly.
Studio AHEAD是由Homan Rajai和Elena Dendiberia共同创立的一个总部位于旧金山的艺术与设计团体。我们的设计理念是“无界”，意指我们的创作之源虽散布四方，却深深植根于北加州的悠久历史之中。我们借鉴自身散居各地的经历，坚信不存在一种放之四海而皆准的功能性理念，能够适应所有文化和人群。唯一不变的是，我们对传统与工艺的由衷尊重与欣赏。
Studio AHEAD is a San Francisco-based art and design collective founded by Homan Rajai and Elena Dendiberia. Our approach is “borderless” in that our roots are far-flung yet deeply embedded in Northern California’s history. Drawing from our diasporic experiences, we believe strongly that there is no universal idea of functionality that fits all cultures and people. What remains constant is an appreciation of tradition and craftsmanship.
来源：星期八室内设计
