架构师提供的文本描述。在我的工作中，我不断地试图削减对象，空间和细节的基本要素，同时试图保持某种优雅和精致的感觉，材料是如何连接和交叉。这个精化过程驱使我限制任何给定项目的材料配置，我相信它为这些材料提供了一定的能量。对于大象屋，在设计期间，我遇到了瓦楞纸纤维水泥面板，历史上用于屋顶应用。我被这种材料迷住了。该规模是完美的，自然制造的色彩美丽，无需处理，固有的耐用和低维护，安装似乎简单。近距离看，它看起来像大象皮，因此项目名称。

Text description provided by the architects. In my work I am continually attempting to pare down the objects, spaces and details to their essential elements while trying to maintain a certain sense of elegance and refinement to how materials are joined and intersect. This refinement process drives me to limit the palette of materials for any given project, which I believe lends a certain amount of power to those materials. For the Elephant House, during design I came across a corrugated fibre cement panel, historically used for roofing applications. I became enamored by this material. The scale was perfect, the natural manufactured color beautiful without treatment and inherently durable and low maintenance, and the installation seemingly straightforward. Up close it looks like elephant hide, hence the project name.

 © Leonid Furmansky

列昂尼德·弗曼斯基

这座房子的形式暗示了这一地区传统建筑的乡土风格，但这座房子与“现代农舍”的尝试相去甚远。这种形式的概念植根于建筑和细节的易用性，既有美学上的原因，也有成本上的原因。它进一步加强了我的内在愿望，以达到建筑物的基本要素。

The form of the house hints at the vernacular shapes of traditional buildings in this area, but this house is a far cry from an attempt at a “contemporary farmhouse.” The concept of the form is rooted in ease of construction and detailing, for both aesthetic and cost reasons. It further reinforces my underlying desire to arrive at the essentials of a building. 

 © Leonid Furmansky

列昂尼德·弗曼斯基

室内是一个使用松木胶合板的持续实验，这是我在我的项目中返回的材料，因为它的颜色和纹理。我采取了更多的自由，因为这是我自己的家在连接，边缘细节，面板布局等，并应用不同的概念在不同的房间。楼梯是设计成一个胶合板对象，你进入和出口的每一层的三层。其余的内部呈现简单的白色，与百叶窗的每一个大的南方面对窗户，既允许光线进入，并提供隐私取决于您所选择的配置。这些都是由路易斯·巴拉根启发而来的。

The interior is a continued experiment in the use of pine plywood, a material I return to in my projects for its color and texture. I took a few more liberties as this was my own home in the connections, edge details, panel layouts, etc., and applied different concepts in different rooms. The stair is designed to be a plywood object you enter and exit on each of the three floors. The remainder of the interior is rendered in simple white, with shutters for each of the 5 large south facing windows that both allow light in and provide for privacy depending on your chosen configuration. These were inspired by Luis Barragan.

 © Leonid Furmansky

列昂尼德·弗曼斯基

房子的选址利用了地段的长度和与角落的长边的关系。第一层在南侧的第二层有一个巨大的悬垂，在较低的水平上为南面的玻璃提供遮阳。朝南的二楼墙厚16“，而沿这一高度的五扇窗户被凹进了那个厚度，嵌入到深切的Lueder石灰岩周围。我们的车库是独立的，在房子和车库之间是一个24英尺x24英尺的露天雪松甲板，我们花了很多时间在上面。这是我们的露天广场，旨在利用我们的小虚张声势的皇冠上的微风。

The siting of the house takes advantage of the length of the lot and the relationship to the long side of the corner. A generous overhang of the second floor over the first on the south side provides shading for the south facing glazing on the lower level. The south facing second floor wall is 16” thick, while the five windows along this elevation are recessed into that thickness, inset into deep cut Lueder limestone surrounds. Our garage is detached, and between the house and garage is a 24’x24’ open air cedar deck, on which we spend a lot of time. It is our open air plaza, oriented to take advantage of the ever present breezes on the crown of our little bluff.

 Ground Floor Plan

 First Floor Plan

一层平面图

 Second Floor Plan

二层平面图

产品描述：该建筑的主要表现形式是纤维水泥覆层。例如，波纹的规模要比传统的瓦楞纸金属要大得多，上个世纪以来，波纹金属在这个地区的白话建筑中一直被使用。增加的包层规模与结构的简单形式和整体规模很好地吻合，在一天的过程中创造了戏剧性的阴影和阴影。这种原材料，未完成的材料将继续修补随着时间的推移，并采取新的性质，而不妥协的完整性和寿命的覆层。

Product Description. The principle expression of the architecture is the Cembrit corrugated fibre cement cladding. The scale of the corrugations is quite a bit larger than traditional corrugated metal, for example, which has been used in the vernacular architecture of this area for the last century. The increased scale of the cladding dovetails well with the simple form and overall scale of the structure, creating dramatic shade and shadow throughout the course of the day. This raw, unfinished material will continue to patina over time and take on new character without compromise to the integrity and longevity of the cladding.

 © Leonid Furmansky

列昂尼德·弗曼斯基