一座房子。一个村庄。所有的建筑都隐含着废墟的使命，这种状况是建筑与自然交流并回归自然的最终形式。从这种潜在的命运出发，我们对未完成的物理表达感兴趣，对时间和困境的转变感兴趣，对作品逐渐被景观所接受和构成的方式感兴趣，慢慢地在整体中消解其独特性。这座房子被设想为一个从山上出现的混凝土和石头的海角，一个被墙分割的房子，从地板上相同尺寸的体积的组织和重复中出现，5 x 5米，有不同的高度和倾斜的屋顶，由战略空隙、天井、通道和夹层衔接，在外面提供地方并保存当地森林中的物种。红色的Quebracho，Celtis Tala，Vachellia caven，Bacchari等，而在内部，它们成为这个石头经络的 “街道”，如同一个 “中世纪的山村”。墙面上的盒子划定了空的地方，这和满的地方一样重要，让周围的景观过滤，外部空间为其使用而调整，保护它不受盛行风的影响，并根据太阳旋转的方向进行调整。
A House: A Village. All architecture carries implicitly its vocation of ruin, and such condition is the final form with which architecture enters in communion with nature and returns to it. From this potential fate, we were interested in the physical expression of the unfinished, what time and inclemency transform, the ways in which the work is gradually taken and constituted by the landscape, slowly dissolving its singularity in the whole. The house is conceived as a concrete and stone promontory emerging from the hill, a wall-divided house, that emerges from the organization and repetition of volumes of identical dimensions on the floor, 5 x 5 meters, with variable heights and sloping roofs as prescribed by the edification code, articulated by strategic voids, patios, passages and interstices, which on the outside give place and preserve the species from the local forest; Red Quebracho, Celtis Tala, Vachellia caven, Bacchari, among others, whereas in the inside they become the “streets” of circulation of this stone warp, as a ‘medieval mountain village’. Wall boxes that delimit empty places, which are as important as full ones, let the surrounding landscape filter and the exterior space is tempered for its use, protecting it from prevailing winds and oriented according to solar rotation.
主要的通道将外部与房子的中心连接起来；它被具体化为一个纯粹的水平混凝土体，由于土地的坡度，在通道部分与地面分离，高度为2.20米，获得了箱形梁的外观，形成一个小中庭，其焦点是一个天顶窗，框住了天空，所以每次有人进入或离开房子，都会不由自主地执行看苍穹的古老姿态，垂直的无限，给我们提供了我们与宇宙的精确比例。这个循环连接了土地的不均匀性，并衔接了房子的所有空间；它是人们在任何时候都会走过的地方。出于这个原因，它在项目中起着核心作用，通过通向内部或外部花园的穿孔，使房屋内部的外部景观具有连续性，在外部和家庭环境之间创造一种过渡气氛。一个 “主要通道”，在水平和垂直方向上连接、命令和引导其余的房间，因为它在中间的休息区与主楼梯相连；一个类型学的决定，使楼上的房间和底层的房间都有自己的服务，总是与主要的会议空间等距离和半水平，主要的会议空间围绕厨房和一个壁炉设置。
The main circulation links the exterior with the heart of the house; it is materialized as a purely horizontal concrete volume, which due to the slope of the land, in the access sector is detached from the ground at 2.20 meters high, acquiring the physiognomy of a box beam, forming a small atrium whose focal point is a zenithal window that frames the sky, so that every time someone enters or leaves the house executes involuntarily the archaic gesture of looking at the firmament, the vertical infinity that gives us back the precise scale of our becoming in relation to the universe. This circulation bridges the unevenness of the land and articulates all the spaces of the house; it is the place where people invariably walk through at all times. For this reason, it takes a central role in the project, giving continuity to the exterior landscape from inside the house through perforations that lead to internal or external gardens, creating a transition atmosphere between the outside and the domestic environments. A ‘main passage’ that links, orders, and leads to the rest of rooms, horizontally and vertically since it is connected to the main staircase in its intermediate rest; a typological determination that leaves both the upstairs rooms and the ground floor rooms with their own services, always equidistant and at a half level from the main meeting space, which is set around the kitchen and a fireplace.
厨房是这个房子里生活的重心。客户的要求在住宅的类型学配置中得到了表达，它是抵达和停留的空间，在这里，室内与外部空间和其景观的力量进行了公开和不同方向的交流。它构成了一个平均高度为一半的无遮挡的地方，由一个台面/酒吧主持，像一个雕塑或一个烹饪的祭坛，在家庭时间，与朋友的会议和他们的经验，穿插着美食仪式的管理。材料条件定义和限定了这所房子，并且通过它来表达整个建筑的技术。环形模板墙技术是一个手工程序，是根据当地工人使用石头的经验执行的，在铸造过程中，它开始打印木材的纹理，包裹着砂浆并压缩石头。它也是通过 “错误 “建造的，随着结构的上升，墙壁上出现的排列变化，石头的随机分布和它们的矿物颜色取决于它们被提取的采石场的来源，给人一种物理特性，对空间的限制的触觉刺激。墙壁的功能是作为文本，由标记和标志安排的构造性书法，当暴露在光线的变化条件下时，它将提供无限的变化，并根据一年的季节，其发生率。严酷的材料暴露在天气中，时间是这所房子与周围景观进入交流的物质程序。
The kitchen is the center of gravity of life in this house. The client’s request is expressed in the typological configuration of the residence, being the arrival and stay space where the interior communicates openly and in different directions with the exterior space and the power of its landscape. It constitutes a diaphanous place of average height and a half, presided by a countertop/bar that comes off the ground like a sculpture or a culinary altar which governs during family time, meetings with friends and their experiences, interspersed with gastronomic rites. The material condition defines and qualifies this house, and it is through it the technique used throughout the whole is expressed. The cyclopean formwork wall technique is an artisanal procedure executed from the experience in working with a stone of local workers, that after a casting process it starts printing the texture of the wood that encases the mortar and compresses the stone. It is also built through “error”, and the alignment variations that appear in the wall as the structure rises, the random distribution of the stones and their mineral color depending on the origin of the quarry where they are extracted, give a physical character, a tactile stimulus to the limits of space. The walls function as texts, tectonic calligraphy arranged by marks and signs, which will offer infinite variations when exposed to the changing conditions of light and its incidence according to the seasons of the year. The stark material is exposed to the weather and time is the material procedure for this house to enter into communion with the surrounding landscape.
Architects: Nanzer + Vitas
Area: 290 m²
Year: 2020
Photographs: Gonzalo Viramonte
Architects In Charge:Cristián Nanzer, Carolina Vitas
Interior Design:María Laura Herrera
City:Capilla del Monte
Country:Argentina