房子周围的景观是一个独特的地方，它的每一个角落都可以被赞美。该项目采用了双重策略：向三个相互远离的特定点建立瞭望台，同时建立一个中央的、节点式的、受保护的但向外部开放的、完全暴露在不同环境中的、自己的建筑所限定的环境。建筑策略也通过项目的材料性得到发展：一方面是与维护、结构和热行为有关的决定；另一方面是考虑到建筑在像房子所处的景观中必须具有的视觉重量而作出的材料决定。
The landscape surrounding the house is a unique place, where each and every one of its corners can be celebrated. The project works with a double strategy: to build lookouts towards three specific points distant from each other while building a central, nodal, protected but open to the outside, and that has a total exposure to different environments that the own architecture delimits. The architectural strategy is also developed through the materiality of the project: on the one hand with decisions that have to do with maintenance, structure and thermal behavior; and on the other, by material decisions that result from considering the visual weight that architecture must have in landscapes as recondite as the one the house occupies.
混凝土无疑是一个起点，因为它的结构性能很高，可以抵御房屋一侧不断变化的地形；它多年来的良好表现和低维护需求也是无可争议的。由于该地区的热跳跃，该材料的热质量是积极的；大开口的交叉窗允许产生准时的交叉通风，使该项目在一天中的不同时刻以及全年都有很高的热舒适度。
Concrete will undoubtedly be a starting point, due to its high structural performance against a changing topography on one side of the house; It is also indisputable its good behavior over the years and its low need for maintenance. The thermal mass of the material is positive due to the thermal jumps in the area; and the incorporation of large openings of crossed windows allow to generate punctually crossed ventilations that grant the project a high thermal comfort throughout the different moments of the day, as well as throughout the year.
然而，CDLR项目的不同之处在于，它致力于重新利用从整个地区的倒下或死去的树木中获得的大量木材，房子的屋顶，定义了所有生活空间的界限，包括内部和外部，将用这些木材建造。在这些横梁之间，一个陶瓷片被放置为一个丢失的模板，它巩固了屋顶的平面。
However, the differential ingredient of the CDLR project is the commitment to the reuse of the huge amount of wood obtained from fallen or dead trees throughout the area, the roof of the house, which defines the limits of all living spaces, both interior and exterior, will be built with that wood, and that wood. Between these beams, a ceramic piece is placed as a lost formwork, which consolidates the plane of the roof.
一种非常有个性的材料以这种方式出现，它构建了一个单一的平面，木材建立了一个非常强调和定向的节奏，这将使项目有序，同时它定义了一个基本的工作模块来定义空间。这座房子被涂成黑色。它是油漆（而不是染料），因为它反过来是配置房子的另一层材料保护；它是油漆，因为房子非常暴露于时间的不稳定性，而染料往往随着时间的推移而失去其品质；它是黑色，回应了融入景观的愿望，在植被和旺盛的景色面前寻求某种匿名性。
A material of great personality appears in this way, which constructs a single plane, with the wood establishing a very emphatic and directional rhythm that will order the project, at the same time that it defines a basic work module for the definition of the spaces. The house is painted black. It is painted (and not dye), as it is, in turn, another layer of material protection that configures the house; it is painting, because the house is very exposed to the inclemency of time, and the dye tends to lose its qualities over the years; and it is black, responding to the desire to blend in with the landscape, seeking a certain anonymity in front of the vegetation and exuberant views.
Architects: Cadaval & Solà-Morales
Area: 300 m²
Photographs: Sandra Pereznieto
Landscaping:Simon Bequillard
Hydrology:Daniel Jaramillo
Collaborators:Eduardo Alegre, Orsi Maza, Alexandra Coppetiers
Structure:Ricardo Camacho de la Fuente
Installations:José Antonio Lino
Author:Eduardo Cadaval & Clara Solà-Morales
Local Architect:Alejandro Filloy
City:Valle de Bravo
Country:Mexico