架构师提供的文本描述。与安第斯山脉的葡萄园景观是微妙的，我们必须上升到植被线，以获得山谷和安第斯山脉的看法。

Text description provided by the architects. The vineyard landscape with the Andes Mountains is subtle, we must rise over the vegetation line to get the views of the valley and the Andes mountains.

 © Michael Evans

迈克尔·埃文斯

建造一种技巧。

Construction of an artifice.

这个项目是位于地下室的棱镜。由安第斯山脉构成的乌科山谷的自然景观，被葡萄园的地块所文化。范围很广。它让我们思考呼吸.。留下来.。

The project is a prism that sits on a basement. The natural landscape of Uco`s Valley, framed by the Andes, gets culturalized with the vineyards plots. It is extensive. It invites us to contemplate, to breathe ... to stay ...

 © Michael Evans

迈克尔·埃文斯

在这种情况下工作是一项挑战，但也是一项重大责任。这一过程所产生的项目应符合这一自然背景的精神，成为其中的一部分.

Working on such context is a challenge, but  a great responsibility as well. The project resulting from this process should meet the spirit of this natural background, be part of it ...

 © Michael Evans

迈克尔·埃文斯

该方案是用空心主干的逻辑设计的。从内部看，空间集中于西方和东方的景观。外面覆盖着生锈的金属对话与葡萄园的文化景观.而里面是涂上天然木材的。

The project is designed with the logic of the hollowed trunk. From the inside, the space concentrates the west and east views. The exterior coated in rusty metal dialogues with the cultural landscape of vineyards ... while the inside is coated in natural wood.

 © Michael Evans

迈克尔·埃文斯

 First Floor Plan

一层平面图

 © Michael Evans

迈克尔·埃文斯

地下室是用当地的河石建造的，它们的颜色与矿物和干旱的自然景观相吻合。

The basement is built with local river stones, their colors dialogue with the mineral and arid natural landscape.

 © Michael Evans

迈克尔·埃文斯

 Ground Floor Plan

 © Michael Evans

迈克尔·埃文斯

在地下室的顶部，房子安排了白天的区域，使观众处于主导地位，形成景观的框架。

On top of the basement, the house arranges the diurnal areas, placing the viewer in a dominant position, framing views of the landscape.

研究的重点是该项目与其所在的景观之间的关系。从占主导地位的景观和与自然土壤接触的构造元素开始的过程，以获得栖身之所，感知占主导地位的景观。

The research focuses on the relation between the project and the landscape where it sits. A process that goes from the dominant landscape and the constructed element in contact with the natural soil, to get shelter and perceive the dominant views.

 © Michael Evans

迈克尔·埃文斯