Architects(建筑师）: Kavellaris Urban Design
Location（建筑地点）: Melbourne VIC, Australia
Design Team（设计团队）: Billy Kavellaris, Rodrigo Mateluna Sandoval
Project Architect（项目建筑师） : Rodrigo Mateluna Sandoval
Builder（施工）: Liberty Builders
Area（建筑面积）: 4300.0 ft2
Year（建筑年份）: 2014
Photographs（建筑摄影）: Peter Clarke
From the architect. The 2 Girls Building is a mixed use building that fuses art, photography and architecture. The project explores the relationship between the three disciplines and blurs their respective boundaries resulting in one craft overlapping and appropriating with the characteristics of the others in the form of a new medium. As a result photography appropriates architectural materiality and photography shifts into the architectural space of the third dimension. Architecture becomes photography, photography becomes architecture and the building becomes a hybrid urban artefact within the built environment. 姐妹住宅是一个融合艺术，摄影和建筑的混合使用房屋。该项目探讨了三个学科之间的关系，并且模糊了它们各自的界限，以造成一个工艺重叠和通过新媒体挪用另一项的特征。结果是摄影在物质层面适合了建筑学，并且可以从第三维度来诠释建筑空间。建筑成为影像，摄影成为建筑，房屋成为了一个与建筑环境相融合的混合的城市人工制品。
KUD collaborated with Melbourne Artist Samantha Everton during the design process to ensure a collaborative integration of art forms throughout the project. The “Masquerade”, from Everton’s ‘Vintage Dolls’ series, that features on the building façade, was specifically selected for its familiar vernacular in its subject matter which is synonymous with inner city traditional domestic spaces and more importantly, for the drama and theatre it provides to the public realm. The primary circulation space doubles as a de facto art gallery with art works on display, dividing the offices, warehouse spaces and residential apartments.
KUD与墨尔本艺术家萨曼莎埃弗顿在设计过程中，确保整个项目的在艺术形式上的和谐统一。“假面舞会”，从埃弗顿的复古玩具系列，这些特点在建筑外立面表现出来，因为其熟悉的本土化的的素材而被特别挑选出来，它不但和城市传统的内部空间相契合，更重要的是它为歌剧和戏剧提供了公共表演的区域。选择在其主题是跟国内传统的空间和更重要的是同义的熟悉的白话文，为戏剧提供了公共领域。这个主要的社交空间兼作陈列艺术作品的现实艺术的画廊，同时也区分出办公室，仓库空间和住宅公寓。
The collaboration injected another layer of complexity; unintentionally exchanging and swapping the roll of the architect to artist and the artist to architect. The boundaries of the alliance were blurred, redefining ‘the artist’ and ‘the architect’ as one expression. This synergy spawned a hybrid typology and ensured that the photo‐archi‐art prevailed. 这种合作注入了另外一个层面的复杂性；无意中的交换和替换了建筑师成为艺术家和艺术家成为建筑师的轨迹。两者的联盟的边界是模糊的，它将“艺术家”和“建筑师”重新为一种表达。这种协同作用催生了一个让摄影‐建筑‐艺术并行的混合类型的身份。
建筑师讨论
