建筑不仅仅是建筑，它首先是一种理念。这座房子的想法是诗意地想象一种情况，即石头一直在那里，被大自然重新安排，像一个永恒的废墟。准确地嵌在最好的地方，在阳光最充足的山坡上，免受南风的侵袭，从北方向太阳开放。我们的废墟将在准确的地方，经过几个月的观察和欣赏而选择的：我们因此正在制造一个全新的废墟！这不是一个微妙的选址计划，而是在一个新的环境中。这不是一个精致的场地规划，不是。房子并没有 “停留 “在土地上，它没有接触大地，结构上也不粗暴。它是一个钝的场地规划，嵌在斜坡上，从土壤中盛开。
Architecture is more than just construction; it is first and foremost an idea. The idea for this house was to poetically imagine a situation where the stones had always been there, rearranged by nature, like a timeless ruin. Embedded precisely in the best site, on the sunniest slope, protected from southerly winds and open to the sun from the north. Our ruin would be in the exact place, chosen after months of observation and appreciation: we are thus making a brand new ruin! This is not a delicate site plan, no. The house does not “rest” on the land, it does not touch the earth with pilotis, and it is not structurally brash. It is a blunt site plan, embedded in the slope, blooming from the soil.
好吧，关于这个废墟没有什么可做的了，或者说几乎没有。而这正是我们所做的。我们只增加了使这个废墟成为家园所必需的东西。与属于土地的东西、石头和放在废墟上的来自外部的一切相对立，使用民用建筑行业中最现代和合理的东西：交叉层压木材（CLT）和玻璃。这些材料的性质重新获得了它们在结构中的地位。
Well, there is nothing more to be done regarding this ruin, or nearly nothing. And that is precisely what we did. We added only what was necessary to make this ruin a home. And in opposition to what belongs to the land, the stones, and everything placed on the ruin that came from outside, using what is most modern and rational in the civil construction industry: cross-laminated timber (CLT) and glass. The nature of these materials reclaims their positions in the structure.
这里涉及到建筑学中一个长期存在的讨论，这个问题自文艺复兴以来已经发展到了极致，但却被现代主义所忽视：立面的衔接，开口和围墙之间的关系，满的和空的，窗户之间的墙，窗户下的墙，门楣，和窗户，排列和错位的。在墙上开窗是建筑中最难的事情之一，正如苏托-德-莫拉在关于圣玛丽亚-杜-布罗修道院设计的采访中感叹的那样。”开窗的想法对我来说是很难的，这是一种童年的创伤，是很明显的”。
Here is where a long-held discussion in architecture comes up, a matter that has been developed to exhaustion since the Renaissance, yet neglected by Modernism: the articulation of the façade, the relationship between openings and enclosures, full and empty, walls between windows, walls under windows, lintels, doors, and windows, alignments, and misalignments. Making a window opening in a wall is one of the hardest things to do in architecture, as Souto de Moura lamented in an interview on the design of the Santa Maria do Bouro Convent: “the very idea of opening windows is hard for me, a type of childhood trauma, which is noticeable.”
再次转向历史，我们的前现代和永恒的废墟有规律的开口，有规律地分布在立面上，不管里面发生什么，就像一个经典。而在有玻璃和木材的钢琴金字塔上，这个标准被颠倒了，每个窗台都有不同的高度，完全遵循内部需求，这里没有经典的衔接，而是一个墙一个墙地撕开开口。经典的顺序（基座+柱子+门廊+窗台+门楣）或巴西传统的两层楼房的顺序（基座+琴房+屋顶）在立面方案中被打破。地下一层没有一个线或线的过渡到钢琴移动。根据不同的情况，基座延伸到钢琴金钗的窗台。基座和金丝楠木之间的默契以及窗台的不对称波动阻碍了任何古典主义，并降低了人们对房屋高度的感知。这不是一个经典的两层楼的房子–它是一个废墟上的房子。
Once again turning to history, our Pre-Modern and timeless ruin has regular openings that are regularly distributed across the façade, regardless of what happens inside, like a classic. While on the piano nobile, with its glass and timber, the criterion is inverted, with each windowsill having a different height, solely following internal demand, and here there is no classic articulation, but rather openings are torn out, wall by wall. The classic sequence (base + column + entablature + ledge + pediment) or the sequence for a traditional Brazilian two-story house (base + piano nobile + roof) is broken in the scheme of the façade. The basement level does not have a line or line of transition to the piano nobile. The base extends to the windowsill of the piano nobile, according to each situation. The mimesis between the pedestal and the piano nobile and the asymmetrical fluctuations of the windowsills stymie any Classicism and reduce the perception of the house’s height. This is not a classic two-story house – it is a house over a ruin.
场地位置是在高处建造所消耗的能量和与太阳路径、视野和通道有关的最佳位置之间的力量平衡的结果。回到起点，在一个废墟应该存在的确切位置。
The site location results from a balance of forces between the energy expended to build in a high place and the best position in relation to the sun’s path, views, and accesses. Returning to the start, in the exact place where a ruin should exist.
Architects: Cicero Ferraz Cruz, Fábio Mosaner
Area : 600 m²
Year : 2022
Photographs :Manuel Sá
City：CUNHA
Country：Brazil