鲁道夫·辛德勒(RudolfSchindler)在他的家乡奥地利维也纳进行建筑研究时，一心想去美国和弗兰克·劳埃德·赖特(FrankLloyd Wright)一起工作。就在第一次世界大战爆发前五个月，他航行到了纽约；到1918年战争结束时，他已经实现了他的目标，加入了赖特的行动。1919年，辛德勒嫁给了来自明尼阿波利斯的音乐老师和政治活动家索菲·波琳·吉布林，她对传统制度-包括婚姻本身-有着同样的厌恶。

During his architectural studies in his hometown of Vienna, Austria, Rudolf Schindler became intent on traveling to the United States to work with Frank Lloyd Wright. He sailed to New York only five months before the outbreak of the First World War; by the war’s end in 1918, he had achieved his goal and joined Wright’s practice. In 1919, Schindler married Sophie Pauline Gibling, a music teacher and political activist from Minneapolis who shared his distaste for traditional institutions – including marriage itself.[2]

1920年7月，赖特邀请这对新婚夫妇到他在威斯康星州的塔利班工作室。这一经历对鲁道夫和索菲都产生了重大影响-房子和乡村环境和谐共存的方式吸引了他们，他们开始梦想为自己建造一个新的工作室。

Wright invited the newlyweds to his Taliesin studio in Wisconsin in July 1920. The experience had a significant impact on both Rudolf and Sophie–the manner in which the house and its rural surroundings coexisted in harmony appealed to them, and they began to dream of building a new studio home for themselves.[3]

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当年晚些时候，辛德勒和妻子搬到洛杉矶时，他有机会建造自己梦想中的房子。正是在那里，辛德勒与建筑师欧文·吉尔(Irving Gill)建立了一种熟悉关系。在辛德勒看来，吉尔是唯一位试图脱离20世纪20年代初在洛杉矶流行的西班牙殖民地复兴的本土设计师。辛德勒对吉尔在倾斜板施工中的工作特别感兴趣，在这种施工中，混凝土墙被浇进模具，固化后在现场倾斜。赖特的塔里森的田园宁静和吉尔倾斜板混凝土的工业效率最终将在辛德勒于1921年11月开始起草的设计中结合在一起。

The opportunity for Schindler to build his dream house arose when he and his wife moved to Los Angeles later that year. It was there that Schindler developed an acquaintanceship with the architect Irving Gill, who, in Schindler’s opinion, was the only local designer attempting to break away from the Spanish Colonial revival popular in Los Angeles in the early 1920s. Schindler was particularly fascinated by Gill’s work in tilt-slab construction, in which concrete walls were poured into molds and tilted into place on site after curing. The pastoral serenity of Wright’s Taliesin and the industrial efficiency of Gill’s tilt-slab concrete would ultimately come together in the designs Schindler began drawing up in November 1921.[4]

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这所房子不是一个单一的家庭住宅，而是与玛丽安和克莱德·切斯共同居住的住宅。辛德勒将担任该项目的建筑师，而切斯则担任建设者。因此，这一合作关系将为这两对夫妇节省劳动力和材料成本。[5]将这套房子建在国王路(Kings Road)上的一块200平方英尺(18.6平方米)的地块上，将进一步节省经济。该地段当时位于贝弗利山庄和好莱坞之间，是一片未合并的土地。规划阶段只持续了两个月，从1921年11月至12月。最后的方案是经过四次设计迭代后出现的，最后一次是更新，以考虑到Chace的第一个孩子即将出生。

The house was conceived not as a single-family residence, but as one to be shared with Marian and Clyde Chace. Schindler would serve as the architect for the project, while Chace acted as the builder. The partnership would therefore save the two couples money on both the labor and material costs of the project.[5] Further economy would be achieved by siting the house on a 200 square foot (18.6 square meter) lot on Kings Road in what was then unincorporated land between Beverly Hills and Hollywood. The planning phase lasted only two months, from November to December of 1921. The final scheme emerged after four design iterations, the last of which was updated to account for the impending birth of the Chace’s first child.[6]

 Courtesy of The United States Library of Congress

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辛德勒的国王路大厦的计划是一个单独的工作室和公共生活空间的混合体。他将这一设计描述为“两对年轻夫妇的合作住宅”：为每位成年居民建造一间私人工作室，一间门厅，一间封闭的露台和一间浴室，屋顶上有两个供睡觉的露台，一间公共厨房，以及一套客房，其中包括房子内的空间。这座建筑物的三叶风车图还在地段两端创造了几个独特的花园空间，将室内的私人氛围带入花园。

Schindler’s scheme for the Kings Road House was a mixture of individual studios and communal living spaces. He characterized the design as a “cooperative dwelling for two young couples:” a private studio for each adult inhabitant, an entrance hall, an enclosed patio and a bathroom for each couple, two open terraces on the roof for sleeping, a single communal kitchen, and a guest apartment comprised the spaces within the house. The three-bladed pinwheel plan of the building also created several distinct garden spaces at both ends of the lot, carrying the private atmosphere of the interior into the gardens.[7]

 © Joshua White

乔舒亚·怀特

辛德勒夫妇和查斯夫妇于1922年2月15日破土动工。[8]所有四个未来的居民都参加了以辛德勒对吉尔倾斜板系统的改进为中心的建设过程。吉尔预制了整堵墙，辛德勒则使用了一个四英尺长(1.2米)的系统，理论上可以让两个人不用吊车就把它们倾斜到合适的位置。每个板子之间的接缝用玻璃表示，打破了未完工混凝土的单调，让光线进入了房子。

The Schindlers and Chaces broke ground on their new home on February 15, 1922.[8] All four future residents took part in the construction process, which centered on Schindler’s improvements on Gill’s tilt-slab system. Whereas Gill had prefabricated entire walls, Schindler used a system of four-foot long (1.2 meter) units, theoretically allowing them to be tilted into position by two men without the use of a crane. The seam between each slab was expressed in glass, breaking the monotony of the unfinished concrete and admitting light into the house.[9]

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屋顶由一个比较传统的后梁系统支撑.在工作室里，每根红木梁的一端由混凝土墙板支撑，另一端由两根木柱支撑。非结构木材，连同玻璃和帆布，也被用来制造内部隔墙和庭院门。由此产生的效果是，每个工作室的对立面都有很大的不透明度和显著的开放性，几乎每一个房间都能看到花园里的树叶。

The roof was supported by a comparatively traditional post-and-beam system. In the studios, one end of each redwood beam was supported by the concrete wall slabs; the other end was supported by two wooden posts. Nonstructural lumber, along with glass and canvas, was also used to create interior partitions and patio doorways. The resulting effect was that of heavy opacity and remarkable openness on opposite sides of each studio, with the garden foliage visible from almost every room in the house.[10]

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建造工作进行得很快，房子基本上在1922年6月完成。[11]两年来，辛德勒夫妇和查斯夫妇继续开发他们的新家，安装了新的固定装置和购买了家具，在最初建造房屋之后，这两个地方都没有预算。不幸的是，经济压力继续给两对夫妇带来压力，在生了第二个孩子后，查斯夫妇不得不于1924年7月前往佛罗里达。不到一年后，理查德·诺纳和他的妻子和儿子搬进了房子。辛德勒的婚姻在查斯夫妇离开之前已经开始受到侵蚀，虽然他与中性的新的职业伙伴关系刺激了他蓬勃发展的建筑事业，但他与妻子的关系却在继续恶化。到了1927年，波琳和她的丈夫分手了，搬出去了；中立一家在1930年搬出去了，尽管辛德勒继续和她一起讲课，但他们的关系明显地变冷了。

Construction proceeded quickly, with the house essentially completed by June 1922.[11] For two years, the Schindlers and the Chaces continued to develop their new home by installing new fixtures and purchasing furniture, neither of which they had a budget for after the initial construction of the house. Unfortunately, financial pressures continued to put strain on both couples, and after having a second child, the Chaces had to leave for Florida in July 1924. Less than a year later, Richard Neutra moved into the house along with his wife and son. Schindler’s marriage had already begun to erode before the departure of the Chaces, and while his new professional partnership with Neutra stimulated his burgeoning architectural career, his relationship with his wife only continued to decline. By 1927, Pauline split with her husband and moved out; the Neutras moved out in 1930, and though Schindler continued to lecture alongside Neutra, their relationship grew noticeably colder.[12]

 © Luke Fiederer

卢克·菲德尔

到了20世纪30年代末，波琳回到了她和前夫建造的房子里。辛德勒住在最初为他们两人建造的工作室里，而宝琳则住在以前由查斯夫妇和中立人居住的公寓里。在辛德勒于1953年去世之前，两人都是离婚的夫妻。1974年，波林创建了一个非营利组织，“辛德勒之友”，以帮助确保房子的保存。该组织于1980年收购了这座房子，并在1922年最初完工的基础上开始了一项修复房屋的计划。1994年，与MAK/奥地利应用艺术博物馆的合作将国王之路之家变成了洛杉矶的MK艺术和建筑中心-现在被认为是西好莱坞的一个公共展览馆。

Toward the end of the 1930s, Pauline returned to the house that she and her ex-husband had built. Schindler lived in the studios originally built for the two of them, while Pauline took up residence in the apartments formerly inhabited by the Chaces and the Neutras. The two shared the home as a divorced couple until Schindler’s death in 1953. In 1974, Pauline created a nonprofit organization, the Friends of the Schindler House, to help ensure the house’s preservation. The organization acquired the house in 1980 and began a program to restore the house based on its original completion in 1922. In 1994, a partnership with with the MAK/Austrian Museum of Applied Arts turned the Kings Road House into the MAK Center for Art and Architecture, Los Angeles – a public exhibition gallery in what is now considered West Hollywood.[13]

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王道大厦周围的世界发生了变化。原来空旷的平地已经被完全填满了；实际上，这座房子现在已经被多层公寓楼的两边相形见绌了。尽管如此，辛德勒和他的妻子在1920年的共同愿景仍然盛行：隐藏在邻居和翠绿的幕墙后面，房子继续无缝地融合在室内和室外，形成一个平静、和谐的空间。

The world has changed around the Kings Road House. What was formerly open flat land has been completely infilled; indeed, the house is now dwarfed to either side by multi-level apartment buildings. Despite this, the vision shared by Schindler and his wife in 1920 still prevails: hidden  behind its neighbors and its verdant curtain wall, the house continues to seamlessly merge indoors and outdoors into one calm, harmonious space.

[1]Smith，Kathryn。辛德勒之家。纽约：Harry N.Abrams，Inc.，2001年。P7.[2]Smith，p7-14。[3]Smith，p16。[4]Smith，第17至18页。[5]Smith，第18页。[6]Sweeney，Robert和Judith Sheine。辛德勒，国王之路，南加州现代主义。伯克利和洛杉矶：加州大学出版社，2012年。第14至15页。[7]Sweeney和Sheine，第15页。[8]Smith，第24-28页。[9]Sweeney和Sheine，第18页。[10]Sweeney和Sheine，p20。11 MAK中心。“辛德勒之家”2016年2月9日http://makcenter.org/sites/schindler-house/.[12]Smith，P26。[13]“辛德勒之家”。

[1] Smith, Kathryn. Schindler House. New York: Harry N. Abrams, Inc., 2001. p7. [2] Smith, p7-14. [3] Smith, p16. [4] Smith, p17-18. [5] Smith, p18. [6] Sweeney, Robert and Judith Sheine. Schindler, Kings Road, and Southern California Modernism. Berkeley and Los Angeles: University of California Press, 2012. p14-15. [7] Sweeney and Sheine, p15. [8] Smith, p24-28. [9] Sweeney and Sheine, p18. [10] Sweeney and Sheine, p20. [11] MAK Center. “Schindler House.” Accessed February 9, 2016. http://makcenter.org/sites/schindler-house/. [12] Smith, p26. [13] “Schindler House.”

位置西好莱坞，美国类别房屋建筑师鲁道夫辛德勒建设者克莱德蔡斯区3500.0英尺2工程年1922年照片约书亚怀特

Location West Hollywood, United States Category Houses Architect in Charge Rudolf Schindler Builder Clyde Chase Area 3500.0 ft2 Project Year 1922 Photographs Joshua White