该项目是在对某些因素的思考过程中产生的，我们保留了这些重要的因素：秘鲁海岸的气候条件，住宅所在海岸的地理特征，以及客户的需求。
The project emerges from a process of reflection on certain factors that we retain essential: the climatic conditions of the Peruvian coast, the geographical characteristics of the coast in which the dwelling was to be located, and the clients needs.
在安第斯山脉和海洋之间，有一条细长的尘土飞扬、颜色暗淡的沙漠，几乎处于海平面。虽然秘鲁的沙漠是世界上最干旱的沙漠之一，但其气候并不极端。温度范围从冬季的最低14℃到夏季的最高29℃，由于湿度大，昼夜变化很小。
Between the Andes range and the ocean there is a long thin strip of dusty, dun-coloured desert almost at sea level. Although the Peruvian desert is one of the most arid ones in the world, its climate is not extreme. Temperatures range from 14°C minimum in winter to 29°C maximum in summer, with very little variations between day and night due to a high percentage of humidity.
即使如此，为了居住在沙漠中，我们认为必须 “驯化 “这种特殊景观的绝对和永恒的秩序，而不否认或背叛它。线索是创造必要的亲密关系，以便在秘鲁沿海景观的广阔和抽象中生活。
Even though, to inhabit the desert, we believe it is essential to ‘domesticate’ the absolute and eternal order of this particular landscape without denying or betraying it. The clue was to create the necessary intimacy to live in though integrating to the vastness and abstraction of the Peruvian coastal landscape.
我们决定在设计过程中，首先想象一个抽象而朴素的体量，其界限由建筑法规来界定。然后，在设计过程中，我们 “挖掘 “这个理论上的实体，像考古学家清除沙子以发现该地区的前哥伦布时期的遗迹一样，一点一点地清除物质。
We decided to begin the design process by imagining an abstract and plain volume whose limits are defined by building regulations. Then, during the design process, we “excavated” this theoretical solid, removing matter bit-by-bit as archaeologists remove sand to discover the pre-Columbian ruins in this region.
这种 “减法逻辑”，与常见的 “构造逻辑 “非常不同，被应用于项目的所有规模。其结果是外部空间与内部空间在一个辖区内的连续流动空间中合并。这个区域将沙漠的绝对和无限的空间与居住的私密空间分开。从这个定义明确但可渗透的区域，景观和天空都以不同的方式被框住。
This ‘subtractive logic’, very different from common ‘constructive logic’, was applied to all scales of the project. The result was exterior spaces merging with interior spaces in a continuous fluid space within a precinct. This precinct divides the absolute and infinite space of the desert from the intimate spaces of dwelling. From this well defined but permeable precinct, landscape and sky are each framed in different ways.
入口处的天井通向房屋的私密空间。这个空间通过一个大露台向海洋延伸。这个露台被设想为一个人工海滩，通过一个狭长的水池与海洋联系起来。起居/用餐空间的屋顶被设想为一把失重的沙滩伞，固定在辖区内。客厅/餐厅空间和露台之间的界限被无框玻璃滑动板自然消除。
The entrance patio leads to the intimate space of the house. This space extends towards the ocean with a large terrace. This terrace is conceived as an artificial beach that relates to the ocean by a long and narrow pool. The living/dining space roof is conceived as a weightless beach umbrella, anchored to the precinct. Limits between the living/dining space and the terrace are naturally erased by frameless glass sliding panels.
一个开放的楼梯顺着自然地形，通向露台下的卧室层。孩子们的卧室可以通过露台平台覆盖的天井/凉棚进入。父母的卧室在楼梯的尽头到达，从悬空的游泳池下穿过。
An open staircase follows the natural topography and leads to the bedroom level beneath the terrace. The children’s bedrooms are accessible by a patio/pergola covered by the terrace deck. The parents’ bedroom is reached at the end of the staircase, passing under the suspended pool.
赭色/沙色的使用，在哥伦布前和殖民时期的房屋中也可以找到，防止建筑在视觉上老化，因为它积累了一层又一层的沙漠灰尘，并加强了挖掘体积的统一感。
The use of ochre/sand colour, found also in pre-Columbian and colonial houses, prevents the building from visually aging as it gathers layers of desert dust, and reinforces the sense of unity of the excavated volume.
我们在巴黎的办公室和秘鲁的工地之间的距离很远，这使我们对建筑系统进行了合理化的调整，那些看起来不是必须的细节工作被取消了。我们简化了剩余的细节，以便当地的手工艺人可以很容易地建造它们。
The long distance between our office in Paris and the Peruvian site led us to rationalize the construction system, and detail work that appeared not to be essential was eliminated. We simplified the remaining details so that they could be easily built by local crafts people.
Architects: BARCLAY&CROUSSE Architecture
Area : 174 m²
Year : 2003
Manufacturers : GRAPHISOFT
City：CAÑETE PROVINCE
Country：Peru