Casa Luzia是墨西哥Avándaro市三座房屋总体规划中的第二座乡村别墅。(第一座是M屋）。这第二块地从前面到后面的地形有一个相当大的下坡。一年中大部分时间都在下大雨，这块地位于雨水的自然垫上。阿凡达罗的大森林树木向该地块的中心开放。建筑方案必须考虑两种不同的情况：一对有孩子的年轻夫妇或两对年轻夫妇。
Casa Luzia is the second country house of a master plan of three houses in Avándaro, Mexico. (the first one is M House). This second land lot has a considerable downslope from the front to the back of the terrain. It rains with intensity most of the year and the lot is located in the natural pad of the rainwater. The big forest trees of Avandaro open to the center of the lot. The architectural program had to contemplate two different scenarios: a young couple with children or two young couples.
卡萨-卢齐亚是在这些情况下设计的，把地形的下坡和方案中的两个卧室作为关键。矩形的体量从地下升起，漂浮在坡度上。卧室位于计划的两个极端，给人以隐私和自主性，并创造了一种张力，它通过公共空间的完全开放来解决。
Casa Luzia was designed under these circumstances, taking as keys, the downslope of the terrain and the two bedrooms of the program. The rectangular volume rises from underground to float over the gradient. The bedrooms are located on the opposite extremes of the plan, giving privacy and autonomy and creating a tension that it`s solve by the complete openness of the public space.
如果在密斯的 “三院 “练习中，主体（查拉图斯特拉的超人类）可以从任何地方居住在整个空间中。这所房子使主体能够共同居住在整个公共空间中，并且只在卧室中找到隐私。这个中心空间是由家具定义的；烟囱和厨房吧台是暗示室内区域限制的元素。
If in the Mies exercises of the Three Courtyards House aloud the subject (the super-human of Zarathustra) to inhabit the totality of space from anywhere. This house multiplies the subject to co-habit the totality of public space and only found privacy on the bedrooms. This central space is defined by furniture; the chimney and the kitchen bar are elements that hint the limits of the interior areas.
现代建筑的镜像有一些精神分裂的现象。两个比例相近的空间在相反的arista，他们在对方身上看到了不同的定义，在对方身上认识到了它们，但在自己身上却没有。看起来，即使它们是相同的，但它们永远不会成为同质的；在它们的距离的命运中，它们创造了一种力量，可以破坏建筑的空间。而且，在建筑中最好是 “引导裂缝”，Casa Luzia的体量被双倍高度的石塔打破，这是一个沉重而粗暴的元素，”引导空间的裂缝”。
There is something schizophrenic in mirroring modern architecture. Two spaces of similar proportions on opposite arista, that they see them in each other with different definitions, recognizing them in the other but not in themselves. It seems that even though they are identical they will never become homogeneous; summited to the fate of their distance, they create a force that could disrupt the space of architecture. And; as in construction is better to “direct the fissures” the volume of Casa Luzia is broken by stone tower with double height, a heavy and brutal element that “directs the fissure” of space.
大部分的体积皮肤是由木材制成的。它由一个金属结构支撑着，该结构解放了房子的下半部分，让出了一个庭院/露台，连续了地形和植被的地势。
Most of the volume skin is made of wood. It is sustained by a metallic structure that liberates the down part of the house, giving place to a courtyard/terrace that continuous the topography and the vegetation of the terrain.
木质外皮在方向和视野的要求下打开窗户。两块混凝土板沿着体量在结构上休息，只被双倍高度的石塔打断，这解决了空间的平衡，材料的对比和房子的比例。
The wooden skin opens for windows where the orientation and views requires. Two concrete slabs rest over the structure along the volume, only being interrupted by the double height stone tower, which solves the space balance, the material contrasts and the proportion of the house.
Architects: saavedra arquitectos
Area : 220 m²
Year : 2018
Photographs :Onnis Luque
Manufacturers : Saint-Gobain, CASTEL, Grupo Arca, MACERE México, Rotoplas
Lead Architect : Rodrigo Saavedra Pérez-Salas
Construction : Cquadrada
Interior Design : Rodrigo Saavedra Pérez-Salas. Cocina. Idsign (Miriam Pavón)
City : Valle de Bravo
Country : Mexico