© Ranjan Sharma / Lightzone India

(Ranjan Sharma/印度光区)

架构师提供的文本描述。坐落在四分之一英亩，渐细的包裹画廊房子最大的正面朝北面对绿色草坪和抵达法庭，同时谈判的角度后边缘条件。底层布局将各主要房间定位于北、西，主要服务于南方。

Text description provided by the architects. Set on a quarter-acre, tapering parcel the Gallery House maximises its frontage along the north facing green lawn and arrival court while negotiating the angled rear edge condition. The ground floor layout positions all primary rooms towards the north and west keeping the south primarily service heavy.

 © Ranjan Sharma / Lightzone India

(Ranjan Sharma/印度光区)

在房子的各个区域之间的运动，在两个层次，是外化沿这个北面，作为一个延伸的‘多级走廊’。和布局一样，这栋房子的立面也表现出画廊般的运动。

The movement between various zones of the house, at both levels, is externalized along this north face and acts as a stretched 'multilevel gallery'. As with the layout, the façade for this house also expresses the gallery like movement

 © Ranjan Sharma / Lightzone India

(Ranjan Sharma/印度光区)

在底层，正式的绘画/就餐和主卧室成为这一进程的书签，而家庭房间则以它为中心。次级卧室、厨房和服务区位于这条长廊的后面。在上层，由于编程依赖的减少，这个面向北方的连接器呈现出一个通风和不受约束的特性。在很大程度上，高层布局的调整来自一项关于视觉进展的框架和顺序的研究，当一个人在上主卧室和客人卧室之间向东北象限移动时。线性楼梯的位置是这个编排的旅程的一部分，现在它假定垂直的维度。当楼梯开始于大客厅的更深的一端时，当一个人向上移动时，他们会被移动到北边的门槛或房子的表皮上。这给室内空间的体验性带来了巨大的变化。

On the ground floor, the formal drawing/dining and the master bedroom become the bookends of this progression, while the family room is centered along it. Secondary bedrooms, kitchen, and service zones are positioned behind this promenade. On the upper floor this north facing connector assumes an airy and unencumbered character given the reduction in the programmatic dependencies. For a large part, the modulation of the upper floors' layout emerges from a study in framing and sequencing of the visual progression as one moves between the upper master bedroom and guest bedroom towards the north-east quadrant . The position of the linear staircase is a part of this choreographed journey which now assumes a vertical dimension to it. While the staircase begins at the deeper end of the large living room; as one moves upwards they are maneuvered towards the northern threshold or skin of the house. This creates a dramatic change in the experiential quality of the interior space.

上层立面被认为是一个透明的线性体积；包含在一系列的砖石信封或褶皱之间。使用经验丰富的硬木巴托有助于筛选釉上走廊，并似乎编织在一起的长板褶皱，确定了上层的体积。这种白色灰泥和木料覆盖的构筑物与底层较重的视觉构造形成鲜明对比，地面主要覆盖着喷砂和燃烧的花岗岩板。三个部分封闭的北面露台点缀在上面的正面。这些中等大小的露台中，有两个在上面的板子上切割，上面是天空和树梢的框架，还有阳光的移动轴。

The upper level facade is conceived as a transparent linear volume; contained between series of masonry envelopes or folds. Use of seasoned hardwood battens helps screen the glazed upper corridor and also seems to weave together the long slab folds that define the upper level volume. This white stucco and timber clad composition is deliberately contrasted with the heavier visual tectonics of the ground floor that is primarily clad in sand-blasted and flamed granite slabs.  Three partially enclosed north facing terraces punctuate the upper facade. Two of these modest sized terraces have cut-outs in the slab above which frames the sky and tree tops and also the shifting shaft of sunlight.

 © Ranjan Sharma / Lightzone India

(Ranjan Sharma/印度光区)

景观设计调色板的回声是在正面使用的材料。铺路和池面铺装用粗糙的钢灰色花岗岩覆盖，而铺路和墙壁之间的连接处则由一条连续的黑色砾石条隔开。车道设计使用灰色石英岩鹅卵石，并故意保持低调。

The landscape design palette echo's the materials used on the facade. The paving and pool side decking is clad in rough steel-grey granite while the junctions between the paving and walls are separated by a continuous strip of black gravel. The driveway design is executed with the use of grey quartzite cobblestones and is deliberately kept understated.

 © Ranjan Sharma / Lightzone India

(Ranjan Sharma/印度光区)

Architects DADA & Partners

Location Chattarpur, India

Category Houses

Project Team Mukul Arora,Parul Mittal, Jyoti Nair, Neha Kashyap

Area 8500.0 ft2

Project Year 2015

Photographs Ranjan Sharma / Lightzone India

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