架构师提供的文本描述。这座房子是现代建筑，有着信息时代的面孔。这是一个实验，用来表达信息时代的变态性、随机性和不和谐性。这种主观分析与通过自然通风减少能源消耗的合理决策相结合。

Text description provided by the architects. This house is a modernist structure with an information age face. This is an experiment in expressing the amorphousness,  randomness, and dissonance of the information age. This subjective analysis is paired with rational decisions to reduce energy usage through natural ventilation.

 © Hiroyuki Oki

(C)小平之(Hirouki Oki)

这个房子的主要目标是为建筑师和他的家人提供一个舒适的退休场所。大量的光和空气是希望利用室内/室外提供的机会，在这种热带气候。自然通风是需要的，同时尽量减少空调，所以很大一部分的外部外观被给予开口，以让微风通过。

The primary goal for this house is to provide a comfortable place for the architect and his family in retirement. Lots of light and air are desired to take advantage of the indoor/outdoor opportunities provided in this tropical climate. Natural ventilation is desired while minimizing air conditioning, so a large proportion of the exterior facades are given over to openings to let the breeze flow through.

 Floor Plan

在越南，法国殖民时期和早期现代主义的房屋在每一层的外墙和内墙顶部都有广泛的通风口，后来使用吊扇将空气通过开口移动。但在过去20年中，越南的大多数房屋变得更像洞穴，因为空调以合理的成本得到了更多的使用。空调需要有控制的环境，因此开口已经被消除，门窗仍然关闭。

French colonial and early modernist houses in Viet Nam had extensive vents at the tops of exterior and interior walls on each floor, and later used ceiling fans to move air through the openings. But most houses in Viet Nam over the past two decades have become more like caves as air conditioning became more available at a reasonable cost. Air conditioning requires contained environments, so openings have been eliminated and doors and windows remain closed.

 © Hiroyuki Oki

(C)小平之(Hirouki Oki)

这房子有百叶窗玻璃窗在所有的外部和内部交叉墙顶部，以允许通风在整个房子，以及在开放的楼梯上。百叶窗可以关闭，如果必要的话，允许空调，但在实践中，空调是很少需要的，微风在任何时候都穿过房子。

This house has louver glass windows at the tops of all exterior and interior cross-walls to allow ventilation throughout the house as well as up the open stairway. The louver windows may be closed if necessary to allow air conditioning, but in practice, air conditioning is rarely required and the breezes move through the house at all times.

 © Hiroyuki Oki

(C)小平之(Hirouki Oki)

大多数越南人的房屋白天都会打开窗户和门以供通风，但为了安全起见，它们必须在夜间关闭。在大多数房屋中，所有门窗的内部都有钢丝网或屏风。在这所房子里，钢制的网格包围了所有阳台外面的房子，所以如果愿意的话，窗户和门可以随时保持打开。其效果就像生活在鸟笼里而不是监狱里。因此，阳台外的钢制屏风将房间扩大到包括阳台。

Windows and doors are opened during the daytime in most Vietnamese houses for ventilation, but they must be closed at night for security. In most houses, steel grids or screens are provided on the inside of all windows and doors. In this house, the steel grid envelops the house at the outside of all balconies, so windows and doors may remain open at all times if desired. The effect is like living in a bird cage instead of jail cells. The steel screens outside of the balconies thus extend the rooms to include the balconies.

在越南的房子里，阳台很常见，但通常是一米宽的长方形，只允许一张或两张椅子。这所房子的外部门窗和阳台边缘都是以角度展开的，这样就可以在3米宽的阳台端放桌子和椅子。

Balconies are common on Vietnamese houses, but are usually rectangular at 1 meter wide, which only allows a chair or two. The exterior doors and windows and the balcony edges of this house are splayed at angles to allow tables and chairs at the 3-meter-wide ends of the balconies.

 © Hiroyuki Oki

(C)小平之(Hirouki Oki)

这种在每一层楼上展开的阳台边缘的组合，以及钢制的安全屏障，为超越现代主义的建筑提供了机会。这位建筑师高度尊重越南建筑师在过去80年中发展起来的独特的越南现代主义风格。他们继续试验线条、图案、材料、纹理、颜色、形状和体积的抽象构图。但这些成分几乎都是正交的。这个设计不是。

This combination of splayed balcony edges on each floor, as well as the steel security screens, provides opportunities for an architecture beyond modernism. The architect highly respects the uniquely Vietnamese modernist style for houses that Vietnamese architects have developed over the past 80 years. They continue to experiment with abstract compositions of lines, patterns, materials, textures, colors, shapes, and volumes. But these compositions are almost always orthogonal. This design is not.

 © Hiroyuki Oki

(C)小平之(Hirouki Oki)

阳台的棱角边缘，每一层离下面一米远，迫使钢网格向下四层的房子表面，弯曲，随着它的发展。翘曲表现出变形，钢横梁的图案表现出随机性，阳台和轻型货架上屏幕的层次性显示出信息时代的不和谐。因此，信息时代的复杂性用一个简单的概念来表达。

The angular edges of the balconies, with each floor set back a meter from the one below, compels the steel grid to cascade down the four-storey face of the house, warping as it goes. The warping exhibits amorphousness,  the pattern  of the steel cross-bars expresses randomness, and the layering of the screens against the balconies and light shelves displays the dissonance of the information age. The complexity of the information age is thus expressed in a simple concept.

 © Hiroyuki Oki

(C)小平之(Hirouki Oki)

Architects Mel Schenck

Location Tân Phú, Vietnam

Category Houses

Design Team Mel Schenck, Nguyen Thi Tra Giang

Area 309.0 sqm

Project Year 2015

Photographs Hiroyuki Oki