它是一堵坚固的混凝土墙，是展开整个项目的元素。这堵墙，在某些区域相当高，而在其他区域则是半埋的，是一种保护机制：一方面，它保护房子不受北方和西方的负面影响，另一方面，它也保护房子不受周围地块的观点和视角的影响。最后，它也是一种对土地的控制机制，因为它允许房子产生平坦的空间，并使自己适应土地的强烈不平整。

It is a strong concrete wall the element that unfolds the whole project. The wall, that is quite high in some areas and semi-buried in other areas is a protection mechanism: on the one hand, it protects the house from negative orientations –north and west- and on the other hand, it also protects the house from the views and perspectives from the surrounding plots. And, finally, it is as well a mechanism of containment of land, since it allows the house to generate flat spaces and adapt itself to the strong unevenness of the land.

那么，这堵墙做了一个明显的 “L “形姿态，其结果是非常明显的：房子因此完全向一个水平的、非常私人的花园开放，面向南方和东方。面向该花园的立面是柔软和温暖的。它是由垂直的伊罗科木片和大玻璃洞组成的–卧室被放在长体中，客厅被放在短体中。相比之下，北面和西面的外墙更粗糙，它们是墙的境界，是 “L “的背面；它们被混凝土和锌板所支配。只有一些彩色的孔允许光线在非常具体的位置进入。

The wall, then, makes a clear “L”-shaped gesture whose consequence is very clear: the house thus opens fully towards a horizontal and very private garden, facing south and east. The façade that looks to that garden is soft and warm. It is made up of vertical pieces of Iroko wood and large glass hollows –the bedrooms are placed in the long body and the living room is placed in the short body. In contrast, the north and west facades are rougher, they are the realm of the wall, the back of the “L”; they are dominated by the concrete and zinc panels. Only some colored holes allow the entrance of light at very specific points.

第二个 “L “的姿态，由一堵较小的墙拉出，创造了一个较低的主体，大厅、服务区和车库都设在这里。这个主体也是一个防御性的元素：它的正面是非常抽象的，由Iroko木材塑造的，阻止了任何内部的视线，它的后立面，由上述的墙产生，作为花园的正面。它保护了花园不受街道的影响，并使里面的所有景色都朝向远处的风景。

A second “L” gesture, drawn by a smaller wall, creates a lower body, where the lobby, the service area, and the garage are housed. This body is also a defensive element: its frontal façade, which is very abstract and shaped by the Iroko wood, prevents any view of the interior, and its rear façade, generated by the aforementioned wall, acts as a front for the garden. It protects it from the access street and makes all the views from inside go towards the distant landscape.

在建筑方面，房子被理解为一个平面的游戏，它不寻求成为一个盒子或体积的语言。因此，前面提到的混凝土墙是朝向地面的边界平面；木质表面是产生朝向花园的围墙的平面，最后，一个巨大的锌盖是一个飞行的斜面，悬浮在墙上。事实上，它的结构是由金属支柱悬挂在墙上的，因为它也被支撑在花园的立面平面上。

In terms of construction, the house is understood as a game of planes, it does not seek to be a language of boxes or volumes. Thus, the aforementioned concrete walls are the boundary planes towards the ground; the wooden surfaces are the planes that generate the enclosure towards the garden and, finally, a huge zinc cover is an oblique plane that flies, levitating on the wall. In fact, its structure is suspended from the wall by metal pillars, as it is also supported in the plane of the façade of the garden.

这是一个离散的、内向的房子，它的主要空间，中央花园，是平静和柔和的，它是一个自然环境，逃避任何暴露的感觉。一旦人们位于这种空间的中心，就不可能察觉到房子被置于一个由非常狭窄和暴露的地块组成的住宅区。材料是自然的。可以说它们是真诚的，因为它们没有被涂抹或覆盖：具有锯木板纹理的混凝土、锌（天然锌，没有预镀）和经油处理的美丽的红木。

It is a discrete, introverted house, and its main space, the central garden, is calm and soft, it is a natural environment that escapes any sensation of exposure. It is impossible to perceive, once one is located in the center of such space, that the house is placed in a residential area made of very narrow and exposed plots. The materials are natural. It could be said that they are sincere since they are not painted or covered: concrete with the texture of sawn wood boards, zinc (natural zinc, not pre-patinated) and the beautiful iroko wood treated with oil.

另一方面，内部的材料论述几乎是相反的。管辖外部的自然材料的粗糙性让位于隔板和屋顶底部的光滑和白色的表面。然而，也有一些对外部材料 “真诚 “的记忆：例如，卧室的地板和某些垂直墙面是用天然的丹麦松木包覆的；或者还有柱子，尽管它们被涂成白色，但总是从里面露出来。简而言之，室内空间是一个更抽象的环境，由天花板和某些隔断的倾斜形式以及滑过它们的光滑光线所主导。

Inside, on the other hand, the material discourse is almost the opposite. The crudity of the natural materials that govern the exterior gives way to the smooth and white surfaces of the partitions and the underside of the roof. There are, however, some memories of the material “sincerity” which characterizes the exterior: for example, the floors of the bedrooms and certain vertical walls are clad in natural Danish pine wood; or also the pillars, although they are painted in white are always exposed from the inside. In short, the interior space is a more abstract environment, dominated by the sloping forms of the ceilings and certain partitions, and by the smooth light that slips through them.

客厅可能是这个项目的亮点。它是 “L “的末端，是最大的室内空间，也是室内和室外融合的区域。一个大的玻璃滑门和由锌屋顶创造的门廊，使这个空间的生活成为花园本身的延续。因此，它的后面是厨房和柔软的丹麦松木，而在它的前面，在低矮的门廊（正好236厘米高）和倾斜的天花板的框架下，是花园和潘普洛纳地区的山脉的景色。简而言之，隔离、隐私和某些经过精心处理的材料的自然性是这个住宅项目的成分。

The living room is probably the highlight of the project. It is the end of the “L”, the largest interior space and the area where the interior and the exterior merge. A large glass slide door and the porch created by the zinc roof, allow the living of this spaces as a continuity of the garden itself. Thus, behind it is the kitchen and the soft wood of Danish pine, and on its front, framed by the low porch (exactly 236cm high) and the sloping ceiling, is the garden and the views of the mountains of the Pamplona area. Isolation, privacy, and naturalness of certain materials treated with great care are, in short, the ingredients of this residential project.

Architects: Verne Arquitectura
Area: 400 m²
Year: 2017
Photographs: Josema Cutillas, Pablo García Esparza
Manufacturers: Bulthaup, Cortizo, Dinesen, Inalco, VMZINC
Author Architects:Javier Martín, Víctor Larripa, Javier Martínez, Daniel Ruiz de Gordejuela
Construction:ECAY construcciones
City:Navarre
Country:Spain