Le Refuge公寓改造项目丨Antes Architects

在与 Antes Architects 的交流中，“Le Refuge”被不断回溯至其更本质的起点——对既有结构、光线与空间秩序的再阅读。由 Capucine Guhur 与 Maeva Henninot 共同主导的设计过程，始终建立在紧密协作之上：在反复的讨论与修正中，原本封闭、分隔且略显昏暗的旧式格局，被逐步梳理为一个更为连贯、清晰的生活场域，空间的节奏也由此被重新组织与显现。

In our conversation with Antes Architects, Le Refuge was repeatedly traced back to a more essential point of departure—an attentive re-reading of the existing structure, light, and spatial order. Led jointly by Capucine Guhur and Maeva Henninot, the design process is rooted in close collaboration: through continuous discussion and refinement, what was once a closed, compartmentalized, and dimly lit layout has been gradually reorganized into a more fluid and legible living environment, where spatial rhythm is carefully rearticulated.

Antes Architects的创始人Capucine Guhur和Maeva Henninot。工作室名称中“Antes”一词，源自罗马建筑中的壁柱，既是空间的开启者，也是支撑与装饰之间的平衡象征。她们的创作亦由此展开：以精确的线条控制与细腻的细部处理为基础，让材料捕捉光、回应光，使空间在克制中显露出层次与张力

这一项目更接近一次“在限制中重组”的过程，承重墙与窗洞所界定的框架，既构成约束，也提供线索，使空间得以转向双重朝向，并在公共与私密之间建立明确而流动的关系。与此同时，施工阶段的现场发现与不断调整，也持续介入设计判断——从体量的再利用到垂直维度的生成，使“Le Refuge”在严谨秩序之中，保留了一种来自现实情境的开放性与生长感。

The project can be understood as a process of “recomposition within constraints.” Load-bearing walls and window openings define a framework that is at once limiting and generative, allowing the apartment to evolve into a dual-aspect dwelling while establishing a clear yet fluid relationship between public and private realms. At the same time, on-site discoveries and ongoing adjustments during construction continuously informed the design—transforming existing volumes and introducing vertical extensions—so that Le Refuge, while grounded in rigorous order, retains a sense of openness and growth shaped by real conditions.

YINJISPACE: How did you collaborate on this project?

ANTES Architects：我们在创意层面始终保持紧密合作，同时，其中一人可能会负责整体项目的管理，以确保推进的有序性。在体量与细节的构思上，我们共同参与、持续交流，每个人都提供不同的视角，相互激发与推进，最终逐步形成一个共同的设计体系。

ANTES Architects: We are used to working hand in hand on the creative aspects. At the same time, one of us may take charge of the overall project management to ensure smooth organization. However, we are deeply committed to developing ideas of volume and detail together: each of us brings a perspective that advances the other’s work. This is how our shared universe gradually takes shape.

YINJISPACE: In more concrete decisions — such as the layout, material selection, or collaboration with craftsmen — did one of you take the lead, or were these choices shaped through continuous dialogue?

ANTES Architects：在某些情况下，会由其中一人自然地成为主导，尤其是在一方对场地、体量或氛围产生更直接灵感时。双方建立在高度信任之上，一方提出构想，另一方对其进行延展与深化，从而丰富整体方案。对于“Le Refuge”项目而言，场地本身具有鲜明特质，使设计更易展开；而在一些更难把握的空间情境中，通常会先出现一种独特的视角，进而推动整体创作的发展。

ANTES Architects: Yes, sometimes one of us naturally takes the lead, particularly when she is more immediately inspired by a place, its volumes, or its atmosphere. We have great trust in one another: one can initiate an idea, which then allows the other to expand the vision and enrich the project. In the case of Le Refuge, the site already had a strong character, which made projection easier. Sometimes, certain “shells” are more difficult to grasp, and in those cases, one vision tends to emerge first and then feeds the collective work.

YINJISPACE: Beyond the final result, we are also interested in the making of Le Refuge. Were there any key moments or decisions during the process that significantly influenced the direction of the project?

ANTES Architects：

项目位于一栋由多方共管、且受市政府保护的历史建筑内，整个施工过程伴随着诸多限制。尤其是屋顶露台的改造，不仅需要结构审批，还需兼顾历史建筑的美学协调。原本闲置的平屋顶被重新规划：结构加固、防水更新，并以浅色石材与米色调建立与原有建筑之间的联系。原计划延续切割石材语言，但未获批准，最终改以更轻质的材料回应场地条件。水池的尺寸、位置及台阶布局也均受技术条件限制，其下方通过 IPN 钢结构实现荷载分配，以确保屋顶在蓄水后的结构安全。

ANTES Architects: The project was carried out within a co-owned historic building protected by the city, which imposed numerous constraints throughout the construction process. The rooftop terrace, in particular, required both structural approvals and careful aesthetic coordination with the existing architecture. Originally an abandoned flat roof, the space was completely rethought through structural reinforcement, waterproofing upgrades, and the introduction of light stone materials and beige tones to establish continuity with the historic context. While we initially hoped to extend the language of cut stone, this approach was not approved, leading us to adopt lighter materials better suited to the site conditions. The dimensions, location, and stepped configuration of the basin were also determined by technical constraints. Beneath it, an IPN steel structure was installed to ensure proper load distribution and maintain the roof’s structural integrity once filled with water.

步入 Le Refuge，仿佛瞬间沉入一种近乎凝滞的静谧之中。时间在光影的流动里被悄然放缓，柔和的光线掠过墙面与体块，如同一座无声的舞台，逐层揭示出材质的温度与结构的秩序。在这样的场域里，Antes 工作室创始人 Capucine Guhur 与 Maeva Henninot 的设计语言得以清晰呈现——一种游走于阴影与明朗之间、理性结构与感性经验之间的微妙对话。

Stepping into Le Refuge feels like entering a state of near stillness. Time seems to slow within the movement of light and shadow, as soft illumination glides across walls and volumes like a silent stage, gradually revealing the warmth of materials and the logic of structure. Within this atmosphere, the design language of Antes’ founders, Capucine Guhur and Maeva Henninot, becomes distinctly perceptible—a subtle dialogue between shadow and brightness, rational structure and sensory experience.

在与 ANTES Architects 的对话中，“Le Refuge”的空间叙事被逐步展开。我们首先交流到，在这个项目中，可以感受到一种强烈的秩序感与空间节奏。与其将其视为一个孤立的作品，她们更倾向于如何界定它——是对一种生活方式的回应，还是对自身方法论的集中表达？

During the conversation with ANTES Architects, the spatial narrative of Le Refuge was gradually unfolded. We first discussed that in this project, a strong sense of order and spatial rhythm could be felt. Instead of viewing it as an isolated work, they were more inclined to consider how to define it - whether it is a response to a certain lifestyle or a concentrated expression of their own methodology?

设计师回应道：“我们更愿意回溯至建筑本身的逻辑起点。”她们强调，设计始于对原有结构的尊重——窗的位置、承重墙的分布，几乎预写了空间的基本秩序。在这一既定框架中，她们以极为克制的方式介入：通过申请许可，在结构墙体中开设开口、重组动线，使原本单一朝向的公寓转变为一个拥有“双重朝向”的居所——一侧通向港口与海，另一侧连接山丘与自然。

The designers responded: “We prefer to return to the architectural logic itself.” They emphasized that the design begins with respect for the existing structure—the placement of windows and the distribution of load-bearing walls almost predetermine the spatial order. Within this given framework, their intervention remains deliberately restrained: by opening up structural walls (with permissions) and reorganizing circulation, they transformed a single-aspect apartment into a dual-oriented dwelling—one side facing the harbor and sea, the other opening toward hills and nature.

然而，这种清晰的空间秩序并非一开始就存在。设计师坦言：“最初的状态是典型的旧式分隔——狭小、封闭、昏暗且功能碎片化。”多个房间通过走廊串联，却彼此孤立。随着居住方式的转变，人们对空间提出了新的需求：开放的接待区域、可承载用餐与社交的厨房、独立的主卧套房，以及具备私密性的卧室配置。

Yet this clarity of spatial order was not present from the beginning. As they noted, “The initial condition was a typical fragmented layout—small, enclosed, dim, and functionally disjointed.” Rooms were linked by corridors yet remained isolated. With evolving lifestyles, new spatial demands emerged: open reception areas, kitchens that support dining and social interaction, independent master suites, and more private bedroom configurations.

“某种程度上，这是一次‘去隔断’的过程。”她们解释道。通过拆解原有分隔，重新组织生活场景，使空间转向连续与开放。厨房不再只是操作空间，而成为社交的核心；卧室则从单一功能转向套房化与私密性的强化。这种转变，是对当代生活方式的一种回应与重构。

“In a way, it was a process of ‘de-partitioning,’” they explained. By dismantling existing divisions and reorganizing domestic scenarios, the space shifts toward continuity and openness. The kitchen becomes a social core rather than merely a functional zone, while bedrooms evolve into more private, suite-like environments. This transformation reflects a rethinking of contemporary living.

当谈及对既有建筑元素的处理时，她们展现出一种克制而审慎的态度。“我们选择保留入口的彩绘玻璃与拱形通道。”与此同时，原有的门被拆除并重新安置于新的位置，一些装饰线条也被拆解、再利用，转化为新的空间语言。尽管地面与大部分饰面被更新，但这并非是刻意制造新旧对比，而更多的是源于现实条件的限制。值得注意的是，那扇原有的彩绘玻璃反而成为了新的创作起点——她们据此设计出另一件呼应之作，使“过去”在当下获得延续。

When discussing the treatment of existing architectural elements, the designers demonstrated a restrained and thoughtful approach. “We chose to preserve the stained glass at the entrance and the arched passage.” Meanwhile, original doors were removed and repositioned, and certain moldings were dismantled and reused as part of a new spatial language. Although most surfaces and flooring were renewed, this was not intended to create a contrast between old and new, but rather resulted from practical constraints. Notably, the original stained glass became a point of departure for new interventions, inspiring a complementary piece that allows the past to persist within the present.

在空间组织层面，她们呈现出一种高度清晰的策略。“整个公寓围绕一个中央入口展开。”左右分区明确——一侧为公共生活区域，另一侧为私密休息空间。主套房则以一种近乎“隐藏”的方式嵌入其中，从中心进入，既独立又与整体保持微妙联系。这种布局不仅提升了空间的可读性，也强化了其作为“接待场所”的属性。

In terms of spatial organization, a clear strategy emerges: “The entire apartment is structured around a central entrance.” The layout is divided into two distinct zones—public living spaces on one side and private areas on the other. The master suite is discreetly embedded within this arrangement, accessed from the center yet maintaining a subtle autonomy. This configuration enhances both legibility and the apartment’s role as a space for hosting.

在进一步的交流中，一个更具启发性的，关键的转折来自“偶然”。设计师回忆道：“项目中变化最大的部分，其实发生在施工过程中。”在公寓的第二层，她们意外的发现了屋顶结构下隐藏的潜在体量。正是这一未被预设的空间，使她们得以在浴室上方嵌入一个阁楼，形成一个面向天空的休憩之所。原本平面的空间在此获得了垂直维度的延展，也印证了一个重要观念——设计并非完全来自图纸，而是在现实中不断被修正与激发的。

Further into the discussion, a particularly significant turning point emerged—one shaped by chance. The designers recalled: “The most transformative moment actually happened during construction.” On the upper level, they unexpectedly discovered a hidden volume beneath the roof structure. This unanticipated space allowed them to insert a loft above the bathroom, creating a retreat open to the sky. What was initially a planar space thus gained a vertical dimension, reinforcing the idea that design does not solely originate from drawings but evolves through real-world conditions.

在最后的交流中，我们问及项目完成后的回望：“当一切落定之后，你们是否会从新的角度重新审视这个项目？”设计师的回答出奇地平静：“我们几乎没有强烈的修改欲望。”她们认为，现有的空间组织已在既定条件下达到了某种最优状态。唯一的遗憾，或许是走廊占据的面积——如果能够进一步压缩，或许可以释放出新的空间可能。

In the final stage of our conversation, we asked: “Now that the project is complete, do you look back on it differently?” Their response was notably calm: “We don’t feel a strong desire to change anything.” They believe the current spatial organization represents an optimal balance within the given conditions. The only slight regret, perhaps, lies in the space occupied by the corridor—if reduced, it might have unlocked further possibilities.

但即便如此，这种“未完成的可能性”并未被视为不足。相反，它成为项目的一部分。“每一个项目都可以有多种路径。”她们说道。这取决于设计者、合作者与使用者之间的互动关系。对她们而言，设计从来不是单向度的表达，而是一种在多重视角中不断生成的过程。

Yet even this “unrealized potential” is not seen as a flaw. On the contrary, it becomes part of the project itself. “Every project can take multiple paths,” they noted. It depends on the dynamic between designers, collaborators, and users. For them, design is never a singular expression, but an evolving process shaped through multiple perspectives.