© Guillermo De la Maza

c Guillermo de la Maza

架构师提供的文本描述。该项目被认为是丛林中的一座寺庙；该地区丰富的植被可以追溯到这一分段街区的概念，它同时允许内部和外部空间之间强烈希望的顺序，在自然阳光和每个房间的空气循环中得到有效利用。预制的混凝土结构允许向东北方向有很大的空地，使湖面上的日落景色令人惊异。

Text description provided by the architects. The project is conceived as a temple in the jungle; the abundant vegetation in the area traced the lead to the conception of this segmented block which permits simultaneously the strongly wished sequence between inner and outer spaces, achieving efficient use in natural sunlight and air-circulation in every room. The premade concrete structure allowed for great clearings facing to the northeast enabling an astonishing view of the sunset over the lake.

Text description provided by the architects. The project is conceived as a temple in the jungle; the abundant vegetation in the area traced the lead to the conception of this segmented block which permits simultaneously the strongly wished sequence between inner and outer spaces, achieving efficient use in natural sunlight and air-circulation in every room. The premade concrete structure allowed for great clearings facing to the northeast enabling an astonishing view of the sunset over the lake.

 © Guillermo De la Maza

c Guillermo de la Maza

空间的排列顺序令人惊讶：它的中心大厅从主门面一直延伸到后立面，游泳池和湖面都位于这里。这个纵向的元素交叉和表达整个房子的灵感来自于帕拉迪奥奥林匹克剧院有限的视角，模拟了接近或距离的双重义务感觉。同样，这个简单的特性作为花园的背景，将门限设置为访问。

The sequence of spaces is ruled by surprise: it is set up with a central hall running from the main façade up to the back façade where the swimming pool and the lake are both located. This lengthwise element crossing and articulating the whole of the house has been inspired by the restrained perspectives in Palladio Olympic Theatre, simulating a dual obliged perception of proximity or distance. Likewise, this simple feature serves as a background to the garden framing the threshold to the access. 

The sequence of spaces is ruled by surprise: it is set up with a central hall running from the main façade up to the back façade where the swimming pool and the lake are both located. This lengthwise element crossing and articulating the whole of the house has been inspired by the restrained perspectives in Palladio Olympic Theatre, simulating a dual obliged perception of proximity or distance. Likewise, this simple feature serves as a background to the garden framing the threshold to the access. 

 © Guillermo De la Maza

c Guillermo de la Maza

轨迹集中在湖面上，经过湖面，从哥伦比亚艺术家拉蒙·拉塞尔纳(RamonLaserna)对工件的赏心悦目中获得了一种享受的审美体验。它的两旁是墙壁，在日落时非常突出，产生了惊人的光影效果，模仿古代最伟大的文明，如奇钦-伊察，乌克斯马勒或埃及。

The trajectory focuses on the lake and going through it becomes an aesthetic experience of enjoyment derived from the chiaroscuro sight of the workpiece by Colombian artist Ramon Laserna. It is flanked by walls alongside, which stand out remarkably at sunset time, generating an amazing view of light and shade effects emulating the greatest civilizations of ancient times, like Chichen-Itza, Uxmal or Egypt.

The trajectory focuses on the lake and going through it becomes an aesthetic experience of enjoyment derived from the chiaroscuro sight of the workpiece by Colombian artist Ramon Laserna. It is flanked by walls alongside, which stand out remarkably at sunset time, generating an amazing view of light and shade effects emulating the greatest civilizations of ancient times, like Chichen-Itza, Uxmal or Egypt.

 Lower Floor Plan

低层平面图

房子是由一个完全简单，但优雅的正面与显着的树木和植被巨大的背后介绍。相反，后立面面向湖面，与所需的类型相结合，满足住宅建筑群和客户的要求。一般来说，它是一个单色的建筑作品，在沙米色和金色的色调，热烈欢迎景观工程和原始植物环境。通过模拟该地区的地面和沙子，实现了与背景的颜色融合。

The house is introduced by a fully simple but elegant front facade with significant tree and vegetation bulkiness behind it. In contrast, the back façade faces to the lake and integrates with the required typology satisfying the claims from the residential complex and clients as well. In general, it is a monochromatic architectural piece, in sand-beige and golden shades that warmly welcomes both the landscape project and the original vegetative context. A chromatic fusion with the context is achieved by mimesis with the ground and sand of the area.

The house is introduced by a fully simple but elegant front facade with significant tree and vegetation bulkiness behind it. In contrast, the back façade faces to the lake and integrates with the required typology satisfying the claims from the residential complex and clients as well. In general, it is a monochromatic architectural piece, in sand-beige and golden shades that warmly welcomes both the landscape project and the original vegetative context. A chromatic fusion with the context is achieved by mimesis with the ground and sand of the area.

 © Guillermo De la Maza

c Guillermo de la Maza

 Sections 1 and 2

第1及2条

 © Guillermo De la Maza

c Guillermo de la Maza

土地的地形是达成建筑规划的有效解决办法的一个帮凶。街道保持在-0.0的水平，并保持在整个底层，而土地下降到15%，以一种正常的方式，允许建造机房，以最佳的功能，毗邻游泳池和日光浴室。地面和日光浴室之间的水平对比为接待游客提供了一个高架式的露台风格，没有任何室内台阶。由于一座完全适应陆地地貌的建筑物已经完工，所以平仓的工作是毫不费力的.

The topography of the land was an accomplice element to reach to an efficient solution to the architectural plan. The street was preserved to a +-0.0 level and was also kept all along the ground floor, whereas the land descends to a 15% in a regular way, allowing for the construction of machine rooms in optimum functioning adjacently to the swimming pool and the solarium. The level contrast between the land and the solarium provides for the reception of visitors in an elevated terrace-like style without any indoor step. The level-off work was effortless since a building, fully adapted to the land physiognomy, was accomplished.

The topography of the land was an accomplice element to reach to an efficient solution to the architectural plan. The street was preserved to a +-0.0 level and was also kept all along the ground floor, whereas the land descends to a 15% in a regular way, allowing for the construction of machine rooms in optimum functioning adjacently to the swimming pool and the solarium. The level contrast between the land and the solarium provides for the reception of visitors in an elevated terrace-like style without any indoor step. The level-off work was effortless since a building, fully adapted to the land physiognomy, was accomplished.

 © Guillermo De la Maza

c Guillermo de la Maza

 © Guillermo De la Maza

c Guillermo de la Maza

这些元素的建筑和设计，特别是承重墙，是独一无二的，它们展示了一种技术语言，融合了前面提到的拉丁美洲艺术家的塑料作品，以及来自墨西哥的工匠的作品。这一复杂的连接最终形成了建筑中央身体的褶皱形式，这与大胆的结构估算做法相补充，导致大框架在顶部留有空隙，从而以极权主义的方式向湖面开放。

The architecture and design of the elements, especially the load-bearing walls, are unique and they exhibit a technological language which incorporates the plastic work by the Latin American artist, previously mentioned, and the work performed by artisan-carpenters from the State of Mexico. This sophisticated link ends up in the pleated forms of the central body of the construction, which supplements with the audacious practice of the structural estimation resulting in big frames with clearings over the top allowing for visual openings to the lake in a totalitarian way.

The architecture and design of the elements, especially the load-bearing walls, are unique and they exhibit a technological language which incorporates the plastic work by the Latin American artist, previously mentioned, and the work performed by artisan-carpenters from the State of Mexico. This sophisticated link ends up in the pleated forms of the central body of the construction, which supplements with the audacious practice of the structural estimation resulting in big frames with clearings over the top allowing for visual openings to the lake in a totalitarian way.

 © Guillermo De la Maza

c Guillermo de la Maza

Architects Studio Francisco Elías

Location Cancún, Mexico

Author Architects Francisco Elías

Design Team Eduardo Peón, Jorge Pérez Boeneker, Hairo Salgado, Daniel Fuertes, Neftalí Serrato, Gabriela Portillo

Area 782.0 m2

Project Year 2017

Photographs Guillermo De la Maza

Category Houses

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