House in El Sesteo Arkosis

2016-03-26 13:00

 © Roberto D´Ambrosio

.罗伯托·迪安布罗西奥

架构师提供的文本描述。这座房子意在反映从历史上了解到的遗址的一般精神，在这种情况下，它更多地涉及到它作为“Sesteo”的起源，而不是它更加炫目的礼物。Sesteo是牛车司机在长途旅行后过夜的地方；这个名字一直流传至今，并被赋予了目前的中上阶层社区。

Text description provided by the architects. The house intends to reflect the general spirit of the site as understood from its history, in this case it relates more to its origin as a "sesteo" than to its more ostentatious present.  A sesteo was the place where oxcart drivers would spend the night after a long journey; this name lingered on and was given to the current upper-middle class commu

 © Roberto D´Ambrosio

.罗伯托·迪安布罗西奥

荒诞的现实主义让这一论点成为一个真实的事实，“一种虚幻的或奇异的成分”被加入其中。想象中的考古学是挖掘古城墙的借口，是可能的过去的痕迹，这将支撑着这座房子的现在和未来。

Fantastic Realism allows the argument to be a real fact, to which "an illusory or fantastic ingredient" is added.  An imaginary archeology is the excuse to unearth ancient walls, traces of a possible past that will support the present-future of the h

 © Roberto D´Ambrosio

.罗伯托·迪安布罗西奥

这些混凝土墙是整体的基础和概念上的相反的集合材料，显示了他们的工业边缘和装配，作为一个参考的连续砖老化发生在大多数哥斯达黎加社区，这里的材料进步意味着不仅要获得更多的电器或汽车，而且建筑材料是建立在一起，在明显的混乱，他们的个性作为单一的工业作品仍然可读的.。增加了空间，这里的改变意味着大部分时间的扩展。这个过程可以被看作是一种元语言，不是因为它描述了建筑语言，而是因为它先于它。它还意味着减少结构词典的中介，并将注意力集中在空间上，这是材料积累的直接结果。

These concrete walls are the monolithic base and the conceptual opposite of a collection of materials that show their industrial edges and assemblage, as a reference to the continuous bricolage that takes place in the majority of Costa Rican neighborhoods, here material progress means not only to acquire more appliances or cars, but also construction materials that are set on top of each other in apparent disorder, their individuality as single industrial pieces still readable... added space; alteration here means expansion most of the time. This procedure could be regarded as a meta language, not because it describes architectural language but because it precedes it. It also implies reducing the mediation of constructional lexicon and focusing on space as a direct consequence of the accumulation of materials.

实际上，这所房子的价格略低于每平方米600美元，是国内中间价格最低的地方，主要原因是使用了廉价的材料和逐步完成。

In practical terms, the cost of the house was slightly under $ 600 per square meter, the bottom of the intermediate price range in the country, mainly due to the use of inexpensive materials and progressive finishes.

 © Roberto D´Ambrosio

.罗伯托·迪安布罗西奥

另一个令人感兴趣的问题是矛盾的无人居住的建筑，它仍然是空荡荡的，而业主们却在为此付出代价，这在哥斯达黎加中产阶级中是一个明显的现象。作为回应，当房主在场时，房子在早晨和下午以特殊的方式亮起来。使用西方和东方作为光源的挑战被选择了一个深和交错的布局，以确定最可识别的不同的灯光彼此。

Another interest is the paradoxical uninhabited architecture which remains empty while the owners work to pay for it, a distinct phenomenon in Costa Rican middle class. As a response the house lights up in particular ways in the mornings and the afternoons when the owners are present. The challenge of using west and east as the source of light is chosen with a deep and staggered layout in order to identify the most recognizably distinct lights from each other.

 Long Section

长剖面

在只有105平方米，一个可以通过房子平行于串行化的飞机，而对角线视图扩大空间。一个连续的前进和追溯一个人的步骤在重要的点发生在里面。在外面，房子需要与它的近邻交织在一起，因此它会退却，以发现南边房子的曲折轮廓。在另一边，一片空地，房子提供了一个分离和一个几何结构，与现有的房子的共鸣，作为邀请下一个建筑师在类似的原则下工作。

In only 105 m2 one can transit through the house in parallel to the seriated planes while diagonal views expand space. A continuous going forth and retracing one´s steps at significant points occurs inside. Outside, the house needs to interweave with its immediate neighbors, thus it recedes in order to discover a zigzagging profile of the house on the south. On the opposite side, a vacant lot, the house offers a separation and a geometry that resonates with that of the existing house as an invitation to the next architect to work under similar principles.