© Federica Bottoli

费德里卡·博托利(Federica Bottoli)

架构师提供的文本描述。这个地方鼓舞人心，充满了建议和参考。它可以通过一个由建造路堤而形成的狭窄斜坡到达。在物业的后面，土地变得越来越陡峭，在那里你会遇到第一个高堤坝，这决定了财产的南部。在第一和第三非常高的墙之上的第二个堤坝，它决定了向北的属性以及平坦和倾斜区域的交替。看看这片土地，你马上就会明白，这幅图像与在一连串的墙壁、草甸、树林和山丘中建造的景观相吻合，以绘制出通往平原的斜坡。

Text description provided by the architects. This place is inspiring, full of suggestions and references. It can be reached through a narrow slope derived from the construction of an embankment. At the rear of the property, the land becomes more and more steep, where you will encounter a first high embankment that defines the property to the south. A second embankment just above the first and the third very high wall that defines the property to the north and an alternation of flat and sloping areas. Looking at the territory you understand immediately that this image coincides with the construction of the landscape in a succession of walls and meadows, woods and hills to draw up the slope to the plain.

 © Federica Bottoli

费德里卡·博托利(Federica Bottoli)

这个项目的理念将与第一个形象相比较，可能是最强的。该项目是根据通过使用不同材料分配的基本卷的组成而形成的，其任务是代表不同的居住地点。石墙、灰泥和木材是描述体积组成、不同空间和地方的存在的材料。在有倾斜地面的房屋底部，它被定义为与地下室或拓扑概念相吻合，其中石头是衡量房屋与斜坡之间的联系的。石基是解释的元素，也是领土延续的标志。它不代表在房子里的特权，它是服务区域，但它告诉我们关于一段房子的设计。

The idea of the project will compare with the first image, probably the strongest. The project takes shape from the composition of elementary volumes that are assigned through the use of different materials, which has the task of representing the various places of living. Walls of stone, plaster and wood are the materials that describe the composition of volumes, the presence of different spaces and places. At the bottom of the house with sloping ground, It is defined to coincide with a basement or topological idea where the stone are measures the connection between house and slope. The stone basement becomes an element of interpretation and also the signs of continuity with the territory. It does not represent a privileged place in the house, it is the service areas, but it tells us about yhe design of a section of the house.

 Floor Plan

住宅拒绝任何对自然世界的模仿态度，其构图也不例外地与我们纠缠在国内建筑的问题上。墙壁和窗户代表着它的连接，以及将客厅的体积与其中一个房间连接起来的倾斜屋顶。不同材料的使用与这两个地方的表现相吻合，在室内空间的构成上不同，在体积构图中也有其他描述。房子的公共空间是白色的，中性的和雕刻的体积，标志着明亮和黑暗的阴影，打开窗户和标志。卧室的体积，覆盖着橡木，是一个温暖和欢迎的地方，平静和熟悉。

The house refuse any mimetic attitudes to natural world, the composition is no exception to grapple with us the issues of domestic architecture. The wall and window represents its connection as well as the sloping roof that connects the volume of the living area with one of the rooms. The use of different materials coincides with the representation of these two places, distinct in the composition of the interior spaces and otherwise described in volumetric composition. The public spaces of the house are built with white, neutral and carved volumes, marked by light and dark shades with the opening of windows and logge. The volume of the bedrooms, covered with oak, is a warm and welcoming place, peaceful and familiar.

 © Federica Bottoli

费德里卡·博托利(Federica Bottoli)

这一立体体积，几乎阴影较少，代表了一种基本的结构描述的流动软光在表面。与生活区不同的是，确定地下室的石头被划分为由粉刷的部分组成的部分，这些部分产生了砖块和白色的效果。这些空间的故事来源于景观和房屋空间之间的移情关系。它是在一系列的空间关系中定义的，这些关系是由一个叙事原则联系起来的，这个原则将不同的生活区和睡眠区域联系在一起，以一系列的墙壁和阈值来衡量。

This stereometric volume, almost shadow less, represents a basic configuration described by the flow of the soft light on the surface. Unlike living area, the stone which define the basement, is divided into a composition of whitewashed parts which give a blok and white effect. The story of these spaces was born from a relationship of empathy between the places of the landscape and the spaces of the house. It is defined in a series of spatial relationships linked by a narrative principle that binds the different living areas and the sleeping area measured in a sequence of walls and thresholds.

 Floor Plan

通过建造与起居室、餐厅和音乐室相关的大露台，房子也与景观的关系是开放的。工作室有一个专为阅读和沉思而设的小庭院，但最能代表室内其他空间走向自然的地方是小屋，然后是游泳池。这是同时开放，但涵盖。它的建造有一个长的房间和足够深的舒适和特点是一个大的水平开放，画一个全景的景观，只有两米高，这是一个全景的景观。

The house is also open in its relationship with the landscape through the construction of large terraces placed in relationship with the living room, the dining room and the music room. The studio has a small courtyard dedicated to reading and contemplation, but the place that best represents the passage of other volumes of the interior to the nature is the lodge and then the pool. This is at the same time open but covered. It is built with a long room and deep enough to be comfortably and characterized by a large horizontal opening that draws a panoramic view of the landscape, just two meters high, which draws a panoramic view of the landscape.

 © Federica Bottoli

费德里卡·博托利(Federica Bottoli)

房屋与自然的关系和内部与外部的关系是在无缝地绘制门框，沿台阶和圆木的钢滑槽天花板和地板。然后窗户完全隐藏在墙上，向外看，你可以看到砖石和玻璃上的洞。内部空间的简单性成为解读和解读景观的主题，这似乎就是这座房子的特征，它的建造目的，空间进入它的情感的表现，花时间思考的真空情感，以及它与自然和景观的无限变化的关系。

The relationship with nature and the relationship between the interior and exterior of the house are designed in a seamless drawing the frames of the doors along the terraces and loggia of the steel sliding recessed ceiling and floor. The window is then completely hidden in the wall and looking out you can see the hole in the masonry and glass. The simplicity of the space within becomes the theme with which to read and interpret the landscape and this seems to be the character of this house, the purpose for which it was built, the representation of the emotion that space arouses entering it, the vacuum emotional who takes a moment to reason and its relationship with the infinite variation of nature and landscape.

如果该项目对其赖以生存的土地漠不关心，就会留下贫瘠和贫乏的结果，其根源有两方面，一方面是自治的“建筑对象”的文化，剥夺了一切物质或文化上的依赖；另一方面，该部分缺乏工作，它揭示了一种理解项目的方式-不是作为一个整体，具有空间维度，而是作为一种基于严格几何练习的平面图的发展，这是对现代性的简化或误解的结果，通过这种方法，使用图作为工具将获得一个实质性的条件。该部分不再像起点那样被使用，这降低了在项目过程中欣赏或生成能够丰富其内容并与景观或城市建立空间联系的地形的能力。

If the project is indifferent in respect to the land on which it rests, it leaves a sterile and poor result, and has its origin in two causes on one hand, the culture of the autonomous ‘architectural object’, stripped of all physical or cultural dependence; and on the other hand, the absence of work from the section, which reveals a way of understanding the project not as a whole, with a spatial dimension, but rather as a development on floor plan, based on a strictly geometrical exercise, the result of a simplification or misinterpretation of modernity by which the diagram of uses would acquire, as tool, a substantial condition. The section is no longer used as much as starting point, and this reduces the capacity to appreciate or to generate, in the project process, topographies that are able to enrich it and to create spatial connections with the landscape or the city.

 © Federica Bottoli

费德里卡·博托利(Federica Bottoli)

在维琴察的C屋项目中，拓朴具有工具性。它不仅有助于缓和所需篇幅的简要，并产生内部部分和空间，但它也成为一种手段，建立与现实的地方。一个水平、自然、重量和依附于石灰石墙壁的地方是景观的精髓。石灰石墙与建筑物融为一体，使房子的建筑与景观相连。

In the project for House C in Vicenza, topography has an instrumental character. It not only helps to moderate the presence of the volumes required in brief and to generate interior sections and spaces, but it also becomes a means to establish a relationship with reality of the place. A place where horizontality, naturalness, weight and attachment to the walls of lime stone are the essence of the landscape. The wall of lime stone blend into the building to the point that the architecture of the house is connected with the landscape.

因此，不能把它与自然混为一谈，但我们必须努力创造出人与自然之间的简洁关系。维琴察的C宫位于贝里科山丘上，这是一个自然美景的地方，农舍的永恒建筑是紧凑而精确的，与自然环境建立一种相互尊重的关系的想法是相同的，尽管它仍然表达了他们的建筑条件。使用清洁的形式和体积，如屋顶的形式和体积，或基于农业建筑类型，使我们得以保持一种似乎只占主导地位的方法。

For this reason it mustn't be confused with nature but we must try to creative concise relationship between the artificial and natural forms. House C in Vicenza, on Berico hills, a place of great natural beauty, where the timeless architecture of the farmhouses, are compact and precise, shares this idea of establishing a respectful relationship with the natural environment, haven though it still expressing their architectural condition. The use of clean forms and volumes, such as those of the roofs, or based on agrarian building types, has allowed us to keep an approach that only apparently seems to dominate this site.

 © Federica Bottoli

费德里卡·博托利(Federica Bottoli)

Architects Vittorio Longheu

Location Vicenza, Italy

Category Houses

Architect in Charge Francesco Durante, Paolo De Biasi, Elisabetta Roman

Photographs Federica Bottoli