没有任何环境与新建筑无关。而且往往场地本身产生的条件影响到项目的几乎每一个决定。这所房子的情况并非如此。
No context is irrelevant to a new building. And often the site itself generates conditions affecting the project in almost every decision. This is not the case with this house.
阳光、地块的几何形状–几乎是正方形的倒角–南边的邻居太近了，北边有一座高楼，这些都是六十年代住宅区的典型特征，而不是地块所在的这块花园城市。四个不好算的投入。
The sun, the geometry of the plot -almost square with a chamfer-, a neighbor too close to the south, and a tower of houses to the north, are more typical of a residential area of the sixties than of this piece of the garden city where the plot is located. Four badly counted inputs.
业主（一对有两个孩子的夫妇）希望有一个无需维护的房子，有很多隐私，与花园–更像是一个庭院–全年都有良好的关系，一个位置良好的工作室，以及其他一些通常的要求。还希望住在一个现代的房子里–没有大写字母–。还有对当代日本家庭建筑的某种兴趣。
The owners (a couple with two children) wanted a house without maintenance, with a lot of privacy and a good relationship with the garden -more like a courtyard- all year round, a well-placed studio, and a few other usual requirements. And a desire to live in a modern house -without a capital letter-. And a certain interest in contemporary Japanese domestic architecture.
有了这些决定性的因素，我们很清楚，历史几乎要从头开始书写，或者说从内部开始，从建筑本身开始。一个新的场地必须被创造出来。
该地块很平坦，略低于街道水平。没有树木。
With these determining factors, it was clear to us that history had to be written almost from scratch, or rather from within, with the building itself. A new site had to be created.
The plot was flat, slightly below street level. No trees.
第一步是建立一个尽可能高的不透明的围栏，大约两米，并将房子偏离中心向东放置，填补120平方米的最大占用面积，并填补所有的建筑限制，除了西边，因为那里一年四季都有太阳。在那里，周边的花园变得更宽（7.6米），其余部分的宽度不一，以适应法规的要求（对邻居为3米，对街道为5至6米）–法规要求的东西并不总是很有意义的。
The first step was to build an opaque fence as high as possible, about two meters, and place the house off-centered to the east, filling the 120m2 of maximum occupation and filling all the building limits except the west, where the sun comes in all year. There is where the perimeter garden becomes wider (7.6m), the rest has variable widths adapted to the regulations (3m to neighbors and between 5 and 6 to the streets) -the regulations force things that do not always make much sense-.
在北面，我们种植了一些常青树，随着时间的推移，这些树将剥夺邻近的房屋塔的视野。
To the north, we planted some evergreen trees that, with time, will deprive the view of the neighboring tower of houses.
新房子的结构为四个同心层，与地块的界限平行，像一个洋葱。从外到内：建筑围栏、周边庭院和环绕中央主体的连续长廊，一个两层楼高的混凝土砌块盒子。
The new house is structured in four concentric layers parallel to the limits of the plot, like an onion. From outside to inside: the building fence, the perimeter courtyard, and a continuous gallery that surrounds the central body, a two-story concrete block box.
在项目的最初阶段，当房子比较大的时候，周边的画廊是一个中间空间，生物气候，有互补的用途，而所有的主要作品都被安置在房子的核心。后来，由于预算的调整，表面被减少，只有房间、浴室和楼梯被留在中心体。公共区域被移到了画廊。
In the initial phases of the project, when the house was bigger, the perimeter gallery was an intermediate space, bio climatized, with complementary uses, and all the main pieces were housed in the core of the house. Later, due to budgetary adaptation, the surface was reduced and only the rooms, the bathrooms, and the stairs were left in the central body. The common areas were moved to the gallery.
几乎所有的事情都发生在画廊里。它是一个阳台，与查尔斯-摩尔的奥林达房子有一定的共鸣，它提出了与天井的强烈和可变的关系（季节性的）；在夏天，通过大的滑动墙，它成为一个门廊；在冬天，角落里的大窗户提供了花园的框架视图，并捕捉到西部的太阳辐射。与通常的情况相反，在这所房子里，窗户是固定的，而活动门是不透明的，这种情况不断地改变着外墙和画廊，取决于什么是开放的，什么是关闭的。
Almost everything happens in the gallery. It is a veranda, with certain resonances to Charles Moore’s Orinda house, which proposes intense and variable relations (seasonally) with the patio; in summer, through the large sliding walls it becomes a porch; in winter, large windows in the corners offer framed views of the garden and capture solar radiation to the west. Contrary to what is usual, in this house, the windows are fixed, and the mobile doors are opaque, a condition that constantly transforms the facade and the gallery, depending on what is open and what is closed.
如同Lina Bo Bardi设计的Santa María dos Anjos小教堂一样，拥有倾斜屋顶的长廊是用轻型和干燥的系统建造的：木质结构（支柱、横梁和屋顶）和玻璃、铝、木和波纹镀锌板围墙。与画廊的轻盈相比，中央核心区是巨大而紧凑的，具有更多的热惯性。砖墙和石板在画廊里是可见的，在房间里则涂成白色。
As in the chapel of Santa María dos Anjos by Lina Bo Bardi, the veranda, with its sloping roof, is built with light and dry systems: wooden structure (pillars, beams, and roof) and glass, aluminum, wood and corrugated galvanized sheet enclosures. In contrast to the lightness of the gallery, the central core is massive and compact, with more thermal inertia. The block walls and slabs are left visible in the gallery and painted white in the rooms.
在冬季，廊道为整个中央主体（浴室和卧室）提供庇护和加热，它没有自己的气候系统（在一楼）；混凝土地板有很大的惯性，除了按时接受直接的太阳辐射外，还通过地板加热，二楼的房间也是如此；发电是通过空气热泵。
In winter, the veranda shelters and heats the entire central body (bathrooms and bedrooms), which does not have its own climate system (on the ground floor); the concrete floor, with a lot of inertia, apart from receiving direct solar radiation on time, is heated via underfloor heating, as are the rooms on the second floor; generation is by an aerothermal heat pump.
在夏天，当滑动门关闭时，窗户被屋顶的悬垂和反射性的外部窗帘所保护，免受阳光照射。同时，通过分层，屋顶的倾斜有利于被动式通风系统，通过隐藏在外墙的四个管道疏散热空气，这些管道作为小型太阳能烟囱发挥作用，有利于自然改造，并促进阳台的冷却。
In summer, when the sliding doors are closed, the windows are protected from the sun by the overhang of the roof and by reflective exterior curtains. At the same time, the inclination of the roof favors, by stratification, a passive ventilation system that evacuates the hot air through four ducts hidden in the facades that work as small solar chimneys, favoring the natural renovation and facilitating the cooling of the veranda.
在与客户第一次见面的十年后，在漫长而紧张的历史过程中，905号房屋竣工了。漫长的时间是该项目过程中的另一个决定性工具。
建筑有时会利用（它的）缓慢性。
Ten years after the first meeting with the clients, and with a long and intense history in between, house 905 was completed. The long time was another determining tool in the process of the project.
Architecture sometimes takes advantage of (its) slowness.
Architects: HARQUITECTES
Area : 154 m²
Year : 2020
Photographs :Adrià Goula
Lead Architects : David Lorente, Josep Ricart, Xavier Ros, Roger Tudó
Collaborators : Blai Cabrero, Jordi Mitjans, Montse Fornés
Quantity Surveyor : Carles Bou
Country : Spain