有一些极限，如海洋，在我们的眼睛和灵魂看来，就像无边的开口。当面对这些强大的自然元素时，建筑也必须打开自己，向极限投射。沙地上的房子，以其对巴西东北部的大西洋的非凡视野，进行了这种冒险。

There are limits, such as the ocean, that appear to our eyes and soul like boundless openings. When confronted with these powerful natural elements, architecture must also open itself and project towards the limit. The house on the Sand, with its extraordinary view to the Atlantic Ocean in the northeast of Brazil, undertakes this venture.

沉浸在通往Itapororoca迷人海滩的热带树林中，这栋房子表达了一种围绕建筑与自然环境相融合的真实实验。功能项目被减少到最低限度，房子没有严格意义上的封闭空间（走廊、入口大厅）。封闭的空间被减少到只有基本的生活区，这些生活区被浓缩成五个独立的体量，五个生活胶囊，每个基本上都致力于一个单一的功能：一个是厨房，一个是餐厅，一个是客厅，一个是主卧室，另一个是客卧。

Immersed within the tropical woods that lead to the stunning beach of Itapororoca, the house expresses an authentic experimentation around the dissolution of architecture into its natural surroundings. The functional program is reduced to the bare minimum and the house lacks closed spaces that are not strictly necessary (corridors, entrance halls). Confined spaces are reduced to only the essential living areas that are condensed into five separate volumes, five capsules of life, each essentially committed to a single function: one for the kitchen, one for the dining room, one for the living room, the master bedroom and another for the guest bedrooms.

这些建筑都在一个长方形的木质甲板上，略高于地面，彼此相邻但又略微分离。整个结构由一个质朴的桉树凉棚覆盖，凉棚由14个层压木框架支撑。现代主义结构的严谨性和逻辑性被一个重要的细节所打破：树冠上12个矩形开口的连续性被甲板上的几棵树所打断，使阳光可以直接进入空间。这种理性和短暂的对比减少了建筑和自然之间的差距。

The volumes rest upon an elongated rectangular wooden deck, slightly raised above the ground, next to each other yet slightly detached. The entire structure is covered by a rustic eucalyptus pergola supported by 14 laminated wood frames. The rigor and logic of the modernist structure is broken by an important detail: the continuity of the twelve rectangular openings in the canopy is interrupted by several trees that are embraced by the deck, allowing the entrance of direct sunlight into the spaces. This contrast between rationality and transience reduces the gap between architecture and nature.

生活发生在体量内和木质甲板上，它成为房子的连接组织，允许空间之间的移动。覆盖物的渗透性使环境状况变得非常模糊，将原本可能是普通的天幕转化为一种基本的情感梯度，使建筑与自然和谐。大气因素，如阳光和雨水，被覆盖物过滤，创造出暗示性的阴影，与围绕房子的众多树木的叶子造成的阴影交相辉映，并覆盖整个地段，一直到海滩。在房子的每一个地方，人们都能感觉到沉浸在一种悬浮的氛围中，在这种氛围中，阴影和树叶分割了太阳光，在一天中创造了一个持续的和诗意的阴影雨。

Life takes place inside the volumes and on the wooden deck, which becomes the connective tissue of the house, allowing for movement between spaces. The permeability of the covering makes the environmental situation highly ambiguous, transforming what might have been a common canopy into a sort of fundamental emotional gradient that harmonizes architecture with nature. Atmospheric agents, such as sunlight and rain, are filtered by the covering to create suggestive shadows that converse with the shades caused by the foliage of the numerous trees that surround the house and cover the entire lot all the way to the beach. Everywhere within the property’s spaces, one can feel immersed in a suspended atmosphere in which shadows and leaves split the sunrays creating a constant and poetic rain of shadows throughout the day.

这座房子沉浸在一条绿色的带子里，虽然可以说房产本身就是绿色的带子。游泳池与主体结构分开，靠近海滩，成为房子的一部分。它的周边由让人联想到自然界的弧形线条界定，而它的内部则由两个相对的地下楼梯的平行线标记，这些楼梯向泳池中心移动，在其核心部分形成一个几乎是矩形的区域。泳池与主体结构呈45°纵向排列，在泳池、房屋和邻近的海滩之间展开动态对话。绿色的顶棚带在游泳池附近打开，形成一个暗示性的空地，阳光从那里进入。

The house is immersed in a green strip, although it may be fitting to say that the property itself is the green strip. The swimming pool, which is separate from the main structure and close to the beach, becomes part of the house. Its perimeter defined by curved lines reminiscent of natural ones, while its interior is marked by the parallel lines of two opposing inground staircases that move towards the center of the pool forming an almost rectangular area at its core. The pool is aligned longitudinally at 45 ° in relation to the main structure, opening a dynamic dialogue between pool, house and neighboring beach. The green canopied strip opens up near the pool, forming a suggestive clearing through which sunlight enters.

在Trancoso，房子放弃了对现代主义唤起的居住机器的任何参考，而将自己作为一个感官机器，其中自然、光线、阴影和恒定而无限的海洋之声成为项目的基本材料。

In Trancoso the house abandons any reference to the dwelling machine of the modernist evocation and offers itself as a sensorial machine in which nature, light, shadows and the constant and infinite sound of the ocean become the fundamental materials of the project.

Architects: Studio MK27 – Marcio Kogan
Area: 819 m²
Year: 2019
Photographs: Fernando Guerra | FG+SG
Manufacturers: COMARX, Lightworks, Marcenaria Dati, Monteiro Irrigação, Pedras Bellas Artes, Plancus, Tresuno, mado
Landscape: Isabel Duprat Arquitetura Paisagística
Structural Engineering: Inner Engenharia, Eng. Ricardo Bozza, Eng. Marcelo José Bianco
Electrical Installation: Zamaro Instalações Hidráulicas e Elétricas
Lighting Consultants: Lightworks Iluminação
Project Management: SC Consult
Air Conditioning: Logiproject
Construction: Kross Engenharia
Architect:Marcio Kogan
Co Architects:Marcio Tanaka, Beatriz Meyer
Interior Design:Serge Cajfinger, Diana Radomysler
Interior Design Co Author:Pedro Ribeiro
Project Team:Carlos Costa, Laura Guedes, Mariana Simas, Oswaldo Pessano
Wood Structure:Eng. Alan Dias (Carpinteria), Eng. Calil Neto (Rewood)
Construction Management:Eng. Sérgio Costa (SC Consult)
Contractor:Eng. Sérgio Ramos, Eng. Davi Moraes
Architecture And Interior Design:Studio MK27
Timber Structure:Carpinteria, Rewood
Automation System:G&F Engenharia e Iluminação
Av Consultants:Office Facilities
City:Trancoso
Country:Brazil