架构师提供的文本描述。生活在这1，500，500 SF的房子，它借鉴了美国的玻璃亭类型，狗骑兵，佛罗里达现代主义的原则，提供了一个热带避难所在迈阿密市中心。在离地面5英尺高的地方，这座房子包括100英尺不间断的玻璃-50英尺长的前后外墙，有四套滑动玻璃门，允许房屋在需要时完全开放。房子包括800 SF的室外生活空间，前后门廊和关闭的门沿前面，以增加隐私和保护免受这些因素。这些细节，以及房子的位置，是在330英尺长的土地的中心，使房子与该网站的密集和郁郁葱葱的本土景观无缝融合。

Text description provided by the architects. LIVING IN THE LANDSCAPE This 1,500 sf house, which draws upon the American glass pavilion typology, Dog Trot, and principles of Florida Modernism, provides a tropical refuge in Downtown Miami. Elevated 5’ off the ground, the house includes 100 feet of uninterrupted glass – 50 feet spanning the length of the front and rear facades, with four sets of sliding glass doors that allow the house to be entirely open when desired. The house includes 800 sf of outdoor living space, with front and back porches and shuttered doors along the front for added privacy and protection against the elements. These details, and the position of the house, which is at the center of a 330-foot long lot, allow the house to meld seamlessly with the site’s dense and lush native landscaping.

作为业主、建筑师和总承包商，我们自己建造了这所房子的大部分。构造、物质性和构造逻辑成为人们最感兴趣的问题。在一个以混凝土为主要建筑材料的国家，我们选择了一种更可持续的钢和玻璃上层建筑，探索了木材饰面的组合，并对建筑组装和创新进行了持续的调查。

As owners, architects and general contractors, we physically built most of the house ourselves. Tectonics, materiality and the logic of construction became of primary interest. In a part of the country where concrete is the primary construction material, we opted for a more sustainable steel and glass superstructure, explored a combination of wood finishes, and made continued investigations into construction assemblies and innovations.

设计理念-我们房子的设计依赖于一种背靠背的方法-特别是研究老建筑模型，这些模型关心良好的形式，但对某些东西也有好处。每一个设计决策都围绕着四个核心问题组织起来，这些问题挑战着建筑大的文化：什么是必要的；我们如何将我们对地球的影响降到最低；我们如何尊重周围的环境；我们真正能建造什么？

DESIGN CONCEPTS The design for our house relies on a back-to-the-basics approach – specifically studying old architectural models that care about good form but are also good for something. Each design decision was organized around four central questions that challenge the culture for building big: what is necessary; how can we minimize our impact on the earth; how do we respect the context of the neighborhood; and what can we really build?

 Courtesy of Brillhart Architecture

布里哈特建筑

未来建筑的旧模型-狗骑兵-一些答案来自一个我们已经非常熟悉的地方-似乎被遗忘的美国方言，更具体地说，“狗骑兵”(Dog Trot)，在过去一个多世纪里，一直是代表佛罗里达饼干建筑的主导形象。这座又小又简单又实用的建筑既朴素又富有文化内涵。它试图最大限度地利用效率、空间和能量；依赖当地的建筑材料；并庆祝温暖的微风。

OLD MODELS FOR FUTURE BUILDINGS Dog Trot Some answers came from a place with which we are already intimately familiar – the seemingly forgotten American Vernacular, and more specifically, the Dog Trot, which for well over a century, has been a dominant image representing Florida Cracker architecture. The small, simple, and practical building is both modest and rich in cultural meaning. It attempts to maximize efficiency, space, and energy; relies on vernacular building materials; and celebrates the balmy breezes.

 © Stefani Fachini

.Stefani Fachini

玻璃亭类型学和热带现代主义、玻璃亭类型学和热带现代主义原则也提供了方向。由于迈阿密后院混凝土工业的蓬勃发展，迈阿密-戴德县已经发展出了一种对混凝土建筑几乎毫不留情的坚持，因此，在其他任何地方建造混凝土的想法似乎都是荒谬的。有一种毫无根据的，尽管普遍存在的看法，认为用钢和玻璃建造住宅项目的成本会过高；手边没有足够的熟练劳动力来建造这样的项目，以此类推。具有讽刺意味的是，我们有来自南佛罗里达热带现代派的旧模型-可以追溯到20世纪50年代和60年代-由混凝土、木材、钢铁和混合系统组成的结构。简单，合理，高效，经济有效的建筑，庆祝热带，这些设计为迈阿密的未来建筑提供了可行和创新的替代方案。

The Glass Pavilion Typology and Tropical Modernism The glass pavilion typology and the principles of Tropical Modernism also provided direction. Thanks to a booming concrete industry in Miami’s backyard, Miami-Dade County has developed an almost relentless adherence to building in concrete, such that the idea of building in anything else would seem absurd. There is an unfounded, albeit pervasive, belief that the costs associated with building a residential project in steel and glass would be exorbitant; that there isn’t enough skilled labor on hand to build such projects, and so on. Ironically, we have old models from South Florida’s Tropical Modernists - dating back to the 1950s and ‘60s - of structures made of concrete, wood, steel, and hybrid systems. Simple, rational, efficient, cost-effective buildings that celebrate the tropics, these designs lend feasible and innovative alternatives for Miami’s future buildings.

 Courtesy of Brillhart Architecture

布里哈特建筑

南佛罗里达的建筑师-比如阿尔弗雷德·布朗宁·帕克(Alfred Browning Parker)、鲁菲斯·尼姆斯(Rufis Nims)、罗伯特·布拉德福德·布朗(Robert Bradford Browne)、马克·汉普顿(Mark Hamilton)、保罗·鲁道夫(Paul Rudolf)和拉尔夫·特维切尔(Ralph Twitchell)、威廉·摩根(William Morgan)、唐纳德·辛格(Donald Singer)、吉恩·利迪(GeneLeidi)在一个乐观和实验的时代，这些建筑师将建筑传统与被动系统、新技术和创新建筑技术结合起来。对建筑方法的强调是其工作的核心，并成为热带地区可持续设计的典范。

South Florida’s postwar architects - such as Alfred Browning Parker, Rufis Nims, Robert Bradford Browne, Mark Hampton, Paul Rudolf and Ralph Twitchell, William Morgan, Donald Singer, Gene Leedy, and others - gave birth to a tropical modern school of thought and developed their own regional interpretations of the International Style by turning to local landscape, climate and materials to inform their designs. In an era of optimism and experimentation, these architects married building traditions with passive systems, new technologies, and innovative construction techniques. Emphasis on construction methodology was central to their work and became a model for sustainable design in the tropics.

作为我们研究的一部分，我们分析了南佛罗里达战后建造的四个住宅的原始建筑文件。首先绘制设计意图，然后进行新构造的轴测学(如上图、左所示)，分解材料选择和系统(体系结构)组件。作为模型，这四个项目展示了难以置信的材料和建筑系统。作为一个可视化的工具包，它们为我们在这个项目中提供了巨大的资源。

As part of our research, we analyzed the original construction documents from four residences built during South Florida’s Post-war period. First diagramming the design intent, we then made newly constructed axonometrics (shown above, left) that break down the material selections and systematic (architectonic) assemblies. As models, these four projects display an incredible range of materials and building systems. As a visual tool-kit, they served as a tremendous resource for us on this project.

 Axonometric

建筑与细节钢和玻璃上层建筑回溯到南佛罗里达战后建筑的乐观和实验，我们寻求替代混凝土和混凝土的选择，而不是探索钢和玻璃作为上层建筑。结果，我们浪费了更少的材料，简化了装配，减少了建造成本和时间，同时也增加了交叉通风，增强了生活在景观中的感觉。

CONSTRUCTION AND DETAILS Steel and Glass Superstructure Harking back to the optimism and experimentation of South Florida’s postwar architecture, we sought an alternative to the use of concrete and concrete only, instead exploring steel and glass as the superstructure. As a result, we wasted fewer materials, simplified the assembly, and reduced the cost and time of construction, all the while allowing for increased cross ventilation and a heightened sense of living within the landscape.

 © Claudia Uribe

克劳迪娅·乌里韦

玻璃和绝缘，随着今天在玻璃和绝缘的热质量的进步，我们能够使用热带现代概念与目前佛罗里达州建筑规范的要求。为了满足和/或超过要求的R-值，我们包括了所有六面绝缘(愤世石和刚性绝缘)；以及9/16“厚的热玻璃。我们还必须在此过程中设计新的组件。其中之一，新的代码刚刚提出了要求，以绝缘地板，如果上升。因为这是一个新的要求-我们必须开发一个全新的地板细节-创造一个三明治与胶合板之下和之上的一层刚性绝缘。同时，为了在屋顶上实现R值，并容纳一个轻微的斜率，我们设计了一个类似但相反的概念-在屋顶上安装锥形刚性隔热层，下面是一层胶合板，然后是一层柏木。(R值是建筑和建筑行业使用的热阻的量度.)它表示为材料的厚度除以热导率。屋面保温设计的R值越高，其效果就越好。)

Glass and Insulation With today’s advances in thermal qualities of glass and insulation  we were able to use the Tropical modern concepts alongside current Florida Building Code requirements. To meet and/or exceed the required R-Values, we included insulation on all six sides (icynene and rigid insulation); as well as 9/16″ thick thermal glass. We also had to design new assemblies in the process. For one, the new code just came out with requirements to insulate the floor if elevated. As this is a new requirement — we had to develop an entirely new floor detail – creating a sandwich with plywood underneath and on top of a layer of rigid insulation. Meanwhile, in order to achieve the R-Value on the roof and accommodate a slight slope, we designed a similar but inverse concept –  installing tapered rigid insulation on the roof, with a layer of plywood underneath followed by icynine below. (The R-value is a measure of thermal resistance used in the building and construction industry. It is expressed as the thickness of the material divided by the thermal conductivity. The higher thenumber, the better the building insulation’s effectiveness.  The design for the roof insulation resulted in a R-Value that exceeded what was required.)

 Courtesy of Brillhart Architecture

布里哈特建筑

Architects Brillhart Architecture

Location Miami, United States

Category Houses

Area 1500.0 ft2

Project Year 2014

Photographs Bruce Buck, Claudia Uribe, Stefani Fachini

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