一所可以和家人一起享受的房子。这座房子会变化，会适应，会欢迎父母、曾祖母、女儿、女婿、孙子，要么是其中的一部分，要么是全部。这所房子在清晨伴随着安静的早餐的轻声细语而升起，到了下午，在孩子们玩耍的喧闹声中，在餐桌谈话的延伸中，在最后一分钟的会议中，把你塞进去。一个灵活的、有活力的房子随着时间的推移不断发展，并随着家庭的需要而改变。在《建筑如何学习》中，斯图尔特-布兰德告诉我们时间的层次。他认为结构是最常年的一层，是建筑寿命中最难改变的一层，无论现场条件如何。
A house to be enjoyed with the family. A house that changes, that adapts, that welcomes parents, great-grandmothers, daughters, sons-in-law, grandchildren, either some of them or all at once. A house that rises in the morning with the soft murmur of a quiet breakfast and, in the afternoon, tucks you in with the uproar of the children playing, with table talk stretching, with that last-minute meeting. A flexible, vibrant house evolving through time and transforming with the needs of the family. In How Buildings Learn, Stewart Brand tells us about the layers of time. He identifies the structure as the most perennial layer, the hardest one to change during the lifespan of a building, regardless of the site conditions.
使结构受制于特定的功能布局，迟早会涉及到使其与它所包含的生命不同步。因此，位于Requena的REI房子是按照一个灵活的系统组织的，它包含了不同的用途–从基督教寺庙到市场、法院和罗马时代的行政用途–这在历史上被证明是一个有效和有弹性的解决方案：大殿计划。该布局由三个中殿组成。中央大殿容纳了主要功能：吃饭、聊天、休息、游戏等。
Subjecting the structure to a specific functional layout would, sooner or later, involve desynchronizing it from the life it contains. Thus, REI house, located in Requena, is organized following a flexible system that contains different uses -from Christian temple to market, courthouse and administrative use in Roman times- which has proved an effective and elastic solution through history: the basilica plan. The layout consists of three naves. The central nave holds the main functions: eating, chatting, resting, playing, etc.
纤细的管状金属柱将中央区域与卧房分开，从卧房进入配备的周边。边上的过道被塑造成圣餐室，也就是21世纪的家庭 “秘书室”。这种空间配置超越了作为 “公共 “住房的用途。它允许居民用意想不到的方式来改造和利用这个地方。根据罗伯特-史密森在他的文章《帕赛克的纪念碑》中的想法，这所房子在被建造之前就像一个废墟。也就是说，它包含了未来将要建造的每一个新建筑。
The slender tubular metal columns separate the central area from the ambulatory, from which to access the equipped perimeter. The side aisles are shaped as sacristies, domestic “secretaria” of the 21st century. This spatial configuration transcends the use as “common” housing. It allows the inhabitants to transform and appropriate the place with unexpected uses. Based on Robert Smithson‘s idea in his essay Monuments of Passaic, this house stands as a ruin before being built. That is, it contains every new construction that will be built in the future.
三个中殿可以方便地用栏杆、窗帘或干式隔断系统进行分隔。轻轻的划分，比结构的混凝土和金属更短暂。在某些地方，三个大殿合并成两个，或一个。它们延伸到外面，成为一个露台。它们甚至挖开地板，连接到下层。这张网把照亮第一层中央空间的光线筛选出来。
The three naves can be conveniently compartmentalized with railings, curtains or dry partition systems. Light divisions, more ephemeral than the concrete and metal of the structure. At some points, the three naves merge into two, or one. They extend to the outside, they become a terrace. They even dig the floor and connect to the lower level. The net sifts the light illuminating the central spaces of the first floor.
假天花板出现在必要的地方，让中央区域的天花板裸露出来，露出弯曲的混凝土拱顶，从而成为主要空间的同义词。基本的物质性，在这种天启式的大教堂中寻求亵渎的材料的圣化。简而言之，这个项目探索了一种允许变化的建筑，它试图不限制生活或将其冻结在一个好的镜头中。总是在建设中，包容，不断变化。互动性和刺激性。正如Aldo Van Eyck所说 “无论空间和时间意味着什么，地点和场合意味着更多”。
The false ceiling appears where necessary, allowing the ceiling of the central areas to be bare and reveal the curved concrete vault, thus becoming synonymous with the main space. Basic materiality that seeks the consecration of profane materials in this sort of apocryphal basilica. In short, this project explores an architecture that allows changes, which tries not to confine life or freeze it in a good shot. Always under construction, accommodating, constantly changing. Interactive and stimulating. As Aldo Van Eyck would say: “Whatever space and time mean, place and occasion mean more”.
Architects: CRUX arquitectos
Area: 223 m²
Year: 2018
Photographs: Milena Villalba
Lead Architects: Raquel Sola Rubio + Alejandro García Pedrón
Collaborators:Luis Ros Serrano, cálculo de estructuras y director de ejecución
Mobiliario:Nolek Design
City:Valencia
Country:Spain