“我们应该尝试把自然、房屋和人类带到一个更高的统一体”-米斯·范德洛(Mies Van Der Rohe)。

“We should attempt to bring nature, houses and the human being to a higher unity”   -Mies van der Rohe.

 © Hemant Patil

赫曼特·帕蒂尔

Panorama的房子设置在纳西克的冈加普尔大坝的死水上。这片死水是由美丽的萨哈德里山脉构成的，这些山脉帮助使整个遗址像一个田园诗般的梦想。

The Panorama house is set on the backwaters of the Gangapur Dam in Nasik. The backwater is framed by the beautiful Sahyadri mountain ranges that help render the entire site like an idyllic dream.

 © Hemant Patil

赫曼特·帕蒂尔

在这样的背景下，我们的意图再简单不过了，就是要创造一个空间，简单地描绘田园诗般的形象，并观看那些能使这幅画完美的景色生动的天气和季节的壮丽的戏剧。这里的想法是与最低限度的设计，空间制造和材料。作为一个流动的空间，它也模糊了内部、外部和外部自然之间的界限。

With such a context the intention couldn’t have been more simpler than to create a space that simply frames the idyllic image and to behold the magnificent plays of weathers and seasons that animate that picture perfect view. The idea here is to work with the minimum in design, space making and also materials. Being a fluid space, it also blurs the lines between the interior, exterior and the nature beyond.

 First Floor Plan

一层平面图

考虑到这个简单的意图，这所房子被设想成一个简单的彩色混凝土长方体，与周围的土壤颜色相匹配，支撑在纤细的米辛柱上。一种沉重和细长的奇怪共存-更像是柯布西耶嫁给米斯，创造出一种独特的亚热带住宅类型。

With this simple intention in mind, the house was conceived as a simple Pigmented concrete cuboid matching the soil colour of  the surrounding, supported over an even grid of slender Miesien columns. A sort of a strange co-existence of heaviness and slenderness -more like, Corbusier marrying Mies to create a unique sub-tropical house type. 

 © Hemant Patil

赫曼特·帕蒂尔

混凝土壳和钢柱的布置方式是混凝土壳体悬臂四边，全高滑动窗板的屏幕在柱间运行，有助于进一步构图。窗户以外的混凝土外壳板可以顺利过渡到阳台。

The concrete shell and the steel columns are arranged in a manner that the concrete shell cantilevers on all four sides.  A screen of full height sliding window panels run in between columns and help compose the view even further. The cantlevering slab of the concrete shell beyond the windows creates a smooth transition into a verandah.

服务块被视为放置在具体外壳中的独立对象，其方式只根据它们的存在来描述空间，而从不完全分隔空间。这确保了一个有机的运动与房子，而不是一个正式的运动区。

The service blocks are treated as independent objects placed within the concrete shell in a manner that they only delineate spaces by their presence but never completely seperate the space. This ensures an organic movement with the house instead of a formalized zones of movement.

 © Hemant Patil

赫曼特·帕蒂尔

我们设计的这座房子只包含了三种材料，都是为了保持空间的纯净，同时也是反对目前使用几乎无限数量的虚假材料和人工饰面的关键立场，而我们在一个钢筋混凝土板上实现了所有这一切，从底部的天花板到顶部抛光的混凝土地板。周围的土壤和山脉的颜色与结构混合在一起，让我们把它看作一个单一的单位。

This house designed by us incorporates only three materials in a vow to maintain the purity of space and also as a critical stand opposed to the current trends of using almost infinite number of false materials and artificial finishes whereas we have achieved all of this in a single R.C.C slab, right from the ceiling pattern at the bottom to polished concrete floor on top. The colour of the surrounding soil and mountains mingles with the structure to let us perceive it as a single unit.

 Ground Floor Plan

无论我们如何追求诗意，建筑最终都是由真实材料构成的三维元素构成一个空间。因此，材料是创作这首诗的最重要的材料。小时候，每个人都怀念从两座山上升起的太阳，以及它在水里的倒影和在天空中飞翔的鸟儿。因此，我们努力将这些宝贵的时刻描绘成无穷大。

However poetic we try to be, architecture ultimately is the composition of three dimensional elements made of real materials put together to form a space. Hence, materials are of utmost importance to compose this poetry. As a child everyone cherishes memories of drawing the sun rising from two mountains and reflections of it in water and birds soaring in the sky. We thus make an effort to frame these prized moments towards infinity.

 © Hemant Patil

赫曼特·帕蒂尔