Located on the mountainside in the heart of a large real estate development project, the site of this residence essentially had been stripped by the developer to promote views of the St. Lawrence River and thus stimulate sales of the project lots. Paradoxically, this destructured the natural landscape, rendering appropriation of the site for residential purposes more complex, given the overexposure of the land. The resulting monumentality of the landscape is as spectacular as it is difficult to appropriate on a residential scale.
这就是为什么该项目试图融入这一景观，同时在家庭背景下寻求一种它可以提供的关系。奇怪的是，这种情况与Charlevoix地区（魁北克）悠久的定居传统不无关系，其特点是住宅的规模不大，与圣劳伦斯河的浩瀚和起伏的景观相映成趣。”La Charbonnière “的设计围绕着这个 “适合 “景观的问题，这是一个既正式又文化的考虑。
That is why the project attempts to fit into this landscape while seeking a relationship it can offer in a context of domesticity. Curiously, this situation is not unrelated to the long tradition of settlement in the Charlevoix region (Québec), characterized by the modest scale of the dwellings set against the immensity of the St. Lawrence River and the rolling landscape. “La Charbonnière” was designed around this problem of “fitting” into the landscape, a consideration that is both formal and cultural.
We believe the mode of implementation of the region’s traditional rural complexes has translated the rustic culture of yesteryear, which has almost disappeared today. The subtlety with which the villagers appropriated their territory according to a precise arrangement of small volumes of homes or outbuildings, has today been supplanted by a uniform deployment of a residential typology that is much more suburban than rustic. The project plan plots an interior yard fronting on the St. Lawrence River, like an arm that hugs and protects the inhabitants from the immensity of the landscape.
外部的体量是抽象的，耐人寻味的。它从土壤中浮现出来，像一个雕塑品，面对着河流的纪念碑。规模是模糊的，与周围景观的形象一致。用 “shou-sugi-ban “技术制作的烧焦的雪松墙，在面向道路的那一面没有窗户，有助于这种形式的陌生感，它分割了景观，却没有强加于人。空间的部署拥抱了场地的轮廓，清除了两个可居住的楼层，但在整个周边的地面上保持直接通道。这允许直接占用室外场地，同时为用户提供一些隐私。
The exterior volumetry is abstract and intriguing. It emerges from the soil, like a sculptural object, facing the river’s monumentality. The scale is ambiguous, in the image of the surrounding landscape. The charred cedar walls, produced by the “shou-sugi-ban” technique are free of windows on the side facing the road and contribute to the strangeness of this form, which divides the landscape without imposing itself. The deployment of the spaces hugs the contours of the site, clearing two habitable stories but maintaining direct access at ground level over the entire perimeter. This allows direct appropriation of the outdoor site while allowing some privacy for the users.
The meal preparation spaces are vast and constitute the residence’s living center, opening onto the inner yard. The living room is designed like a contemplative retreat, opening onto the riverscape. In the same spirit, a dry sauna, largely opening onto the yard, is also offered as a place of relaxation in the heart of the dwelling, facing the St. Lawrence. The aesthetics of the indoor spaces have a rustic stamp. The materiality refers to our roots, more rustic than modernist, closer to the earth. Its internal organization is organic, like our beautiful rural homes designed without an architect…
Architects: Alain Carle Architecte
Area : 225 m²
Year : 2016
Manufacturers : Alumilex, Demonfort
Contractor : Demonfort
Exterior Cladding : Charred cedar (“Shou-sugi-ban” technique)
Conception Team : Alexandre Lemoyne
City : Cap-à-l’Aigle
Country : Canada