時間：設(shè)計2009年-2010年，施工2010年-2012年

地點：厄瓜多爾伊巴布拉

設(shè)計單位：arquitectura X，Adrian Moreno，Maria

Samaniego

施工單位：Arquitectura X & SM Arquitectura Y Comercio

建成面積：378平方米

場地面積：6 640平方米

結(jié)構(gòu)工程師：Pedro Caicedo

攝影：Sebastián Crespo

Time: Design 2009 – 2010, Construction 2010-2012

Location: Cotacachi, Imbabura, Ecuador

Design: arquitectura x, Adrian Moreno,

Maria Samaniego

Construction: arquitectura x & SM arquitectura y comercio

Built area: 378 m2

Site area: 6 640 m2

Services engineer: Raúl Cueva

Photographs: Sebastián Crespo

該項目是一個特例，在進行房屋設(shè)計時，并沒告訴我們房屋的選址。根據(jù)我們對自己房屋的設(shè)計經(jīng)驗，便采用了相同策略：可適用所有場地條件的通用方案，山谷中兩座主要的山地構(gòu)成了該房屋的空間限制因素，以抽象玻璃屋作為建造起點。

但是，我們也認為通用和抽象元素需要被具體化，才可發(fā)揮作用，適應(yīng)具體地形、天氣、用途等。在建筑具體化的各個方面，有一個讓我們最感興趣，即施工和物質(zhì)化：用當?shù)夭牧虾图夹g(shù)建造，可將抽象植根其中，同時確定形式和類型、庭院房屋。

在地震發(fā)生頻率較高的地區(qū)進行房屋建造，意味著必須嚴格遵守幾何規(guī)則，類型變化的空間較??；這樣，房屋不會受到山脈的限制，或者可在調(diào)整后提高對地勢、場地幾何結(jié)構(gòu)、果園樹木和客戶實際用途需求的適應(yīng)度。完全按照當?shù)厥┕すに噷H可保證外觀上的統(tǒng)一性，不能實現(xiàn)真正的形式套用。

This project is a special case that we have to design a house without knowing the site. Based on our experience for our own house, we apply the same strategy: a universal scheme that can work for any site condition, a house whose spatial limits will be the two mountains we know dominate the valley, the abstract glass house as a starting point.

But we are also convinced that the universal and abstract need to become specific in order to work,specific to topography, weather, use, etc. but there is one aspect that makes architecture specific that interest us above all, construction and materiality: building with local materials and techniques will root abstraction in its place, and also determine form and type, the courtyard house.

Building with earth in a highly seismic region implies you have to work with very strict geometric rules that allow for very little variation from a type; this would not allow the house to be limited by the mountains, or vary to become more specific to topography, site geometry, trees in the orchard and actual needs of use by the client. Strictly applying local construction techniques would only guarantee apparent continuity, not real formal implantation.

我們必須找到將通用元素具體化的方法，將我們確認為必要的現(xiàn)實條件通過抽象和物質(zhì)化實現(xiàn)強化；怎樣讓山谷和山脈中建造的這個房屋不僅僅只是一個被其限制的存在？我們將類型學作為一種通用工具，通過物質(zhì)化調(diào)整其形式特征，從而得到了一套清晰而又靈活的規(guī)則，用以實現(xiàn)具體化。傳統(tǒng)庭院房屋，第一層建造承重土墻，第二層和屋頂為木制，抽象為庭院式，在本情況下，由三個不同用途的開間形成：夫婦和客人共用的公共開間、庭院隔開的客人私人開間和在這兩個開間頂上供夫婦私人使用的第三間開間。

通過對現(xiàn)代雙核房屋的理解，結(jié)合夯土施工特性和輕質(zhì)補充材料鋪裝，而進行的傳統(tǒng)庭院房屋類型變化，實現(xiàn)了當?shù)卦睾屯ㄓ迷氐娜诤?，體現(xiàn)出變化中的統(tǒng)一。

We had to determine a way to make the universal specific, intensifying the conditions of reality we identified as essential through abstraction and materiality; how to make the house of the valley and mountain range, not just an object placed in and limited by them? Understanding typology as a universal tool, modified in its formal traits by materiality, provided us with a clear and adaptable set of rules to achieve specificity.

The traditional courtyard house, built with loadbearing earth walls for the first story and wooden second stories and roofs, is abstracted to a courtyard type defined in this case by three bays determined by use: a public bay shared by the couple and guests, a private bay for the guests separated by the courtyard, and a third bay atop the other two for private use by the couple.

This typological variation of the traditional courtyard type, through understanding the modern binuclear house, combined with the properties of rammed earth construction and the layering of lighter complementary materials, strive towards a synthesis of the local and the universal, towards continuity through variation.