这个项目发展的开端是由我们早期对现场的考察，对我们的记忆、观察和想象的分析所决定的。这使团队了解到当地建筑在时间和气候条件下形成的一些变形。我们的观察使我们确定了与当地人的生活方式相关的东西的存在，我们需要传递这些东西。这让团队意识到，房子应该始终保持折叠状态，好像时间会通过房子最终倒塌的可能性来定义它的存在。一个可以优雅地衰落或已经开始衰落的房子。这种仔细检查的结果是一首诗，它被修改/纠正或/完成/用从当地建筑、参考资料和手绘中收集的图片。这些不透明的物体被用作设计过程中的主要框架。
The beginnings of the project´s development were characterized by our early trips to the site, the analysis of our memory, observations, and imagination. This informed the team of several deformations that local buildings have developed through time and climatic conditions. Our observations lead us to define the presence of something attached to the local people´s way of living which we needed to transmit. It made the team realize that the house should always remain folded onto itself as if time would define its existence by the possibility of the house´s eventual collapse. A house that could decay gracefully or that has already begun its decay process. The result of this close examination resulted in a poem that was revised/corrected or /completed/ with pictures recollected from local buildings, references, and hand drawings. These opaque objects were used as the main framework in the design process.
场地是一个广阔的山谷，由近处的山和远处的山勾勒。为了创造一种对远处和近处景观的连续理解，我们设计了一个不透明的实体，将在这个地方发现的压倒性的刺激有序化。这座房子以不明显的方式框住了一些景观片段，创造了一种巧合的叙述。我们在主房间的中心放置了一个大型潜望镜，以进一步加强对景观的碎片化理解，并通过房屋内的光线引入时间。于是，室内就出现了景观，而不是反过来。
The site is a vast valley, outlined by a close hill and distant mountains. In order to create a sequential comprehension of the distant and close landscape, we devised an opaque solid which would order the overwhelming stimuli found in the place. The house frames indistinctively pieces of landscape that create a narrative of coincidences. We placed a large periscope in the center of the main room to further enhance the fragment comprehension of the landscape as well as to introduce time through light inside the house. The interior then made the landscape appear and not the other way around.
为了制定建筑的最初布局，我们反复绘制米拉里斯和皮诺斯的科洛尼哈文的原始规划，直到我们的复制品开始偏离它并与我们的要求相关。这是一个询问我们或（他们）的布局与我们需要的东西的过程，是一个从记忆和重复中重画的过程。所有的空间都是通过它们与天花板的接近程度来定义的，然后每个房间的用途都被赋予了对规模和家庭性的理解。
To formulate the initial layout of the building we drew Miralles´and Pinos´ Kolonihaven´s original plan repeatedly until our reproductions started to deviate from it and relate to our requirements. It was a process of inquiring about our or (their) layout with what we needed in a process of redrawing out of memory and repetition. All spaces were defined through their proximity to the ceiling, and the uses of every room were then assigned understanding scale and domesticity.
该项目的结果是一个由几种不同类型的元素/或固定物/定义的实体，如放置在入口斜坡上的面具，提醒我们当地房屋围墙的短暂状况，将主房间延伸到远处山头的平台，或有时作为灯塔为山上的游客工作的潜望镜。它是由当地的工匠建造的，他们通过日常的技术和当地的技能，用钢铁以及当地的材料，如烧焦的柏木、混凝土块和混凝土来开发这个项目。在施工的最后阶段，我们开始把它当作一个生物，而不是一个房子。
The project resulted in a solid defined by several types of dissimilar elements /or fixations/ such as the mask placed in the entrance ramp which reminded us of the ephemeral condition of local houses enclosures, the platform that extends the main room to the distant hill or the periscope that sometimes works as a lighthouse for visitors up in the mountain. It was constructed by local craftsmen who developed the project through everyday techniques and local skills with steel, and locally sourced materials such as charred cypress wood, concrete blocks, and concrete. In the final stages of construction, we started to think of it as a creature rather than a house.
Architects: Idem
Area : 125 m²
Year : 2021
Photographs :Isabel Delgado, Chris Falcony, Oscar Velasco
Manufacturers : Vitrum, Autodesk Media and Entertainment, El contactor, FV Andina, Objekt1, Robert McNeel & Associates
Lead Architects : José López, Daniel Romero, Dennis Sola
Country：Ecuador