架构师提供的文本描述。AG SOB(根特城市发展公司)的雄心壮志不仅仅是开发新的城市地区，而是以广泛的姿态重新规划现有的城市结构。他们的Kavel项目是一项在非常规原则下精确实施小型住房的实践。该公司在市区范围内寻找机会，如有需要，可自行或分两、三、七或八组兴建新居。然而，他们并不是自己管理一切。相反，他们提供网站给一个年轻的或其他合适的家庭，从许多候选人中挑选，作为一个软件包，与选定的建筑师，以高度有利的条件。这笔交易还受到严格的融资条件和项目要求的约束：在几乎不可能的预算中，需要高级别的可持续性。

Text description provided by the architects. The ambitions of AG SOB (Ghent Urban Development Corporation) go further than developing new urban districts and redrawing, in broad gestures, the existing urban fabric. Their Kavel project is an exercise in the precise implementation of small-scale housing following unconventional principles. The corporation seeks opportunities within the urban fabric – arising if necessary through demolition – to build new homes, either individually or in groups ranging from two or three to seven or eight. However, they do not manage everything themselves. Instead, they offer the site to a young or otherwise suitable family, selected from a number of candidates, as a package complete with a selected architect, on highly advantageous terms. The deal is also bound by stringent conditions for financing and program requirements: a high grade of sustainability is required on a practically impossible budget.

 © Filip Dujardin

c.Filip Dujardin

关于预算微薄、任意选择程序和项目的模范作用-作为实际例子或仅作为例外例子-仍有许多话要说。但最重要的是大胆。有勇气以新的方式处理物业发展，可能是帮助物业发展走出(真实或指称)困境的唯一方法。四个情节，确切地说是四个家庭，宣称自己。画了四座房子。乍一看，四个相同的房子，但没有一个完全相同。不仅情节不同，家庭也不一样。实际上，它们可能是四种不同的问题。和其他任务一样，他们之间没有任何关系。或者他们有。

Much remains to be said about the meagre budgets, about the arbitrary selection process and about the exemplary role of the projects – as real examples or only as exceptional examples. But it is the boldness that matters. Having the courage to approach property development in a new way is probably the only way to help property development out of its (real or alleged) predicament. Four plots, or to be precise four families, declare themselves. Four houses are drawn. At first sight four identical houses, but none of them is exactly the same. Not only are the plots different but the families too. Actually, they may be really  four different problem situations. Like any other assignment, they have nothing to do with one another. Or maybe they do.

 © Filip Dujardin

c.Filip Dujardin

这些房子的一个共同点是，它们是按部分而不是按计划设计的。正如许多初步研究一样，这当然是对每一所房子采取的做法。不仅是家庭必须为这些项目提出申请，建筑师也是如此。候选建筑师首先收到一个要设计的假想项目。这项运动符合城市内部场地发展的实际参数：狭窄但深，当然还有多层。

One thing these houses have in common is that they were designed in section rather than in plan. That is certainly the approach taken to each of these houses, as it was for many preliminary studies. It was not only the families that had to put in an application for these projects; so did the architects. The candidate architects first received an imaginary project to design. The exercise conformed to the real parameters of developing on inner city sites: narrow but deep, and of course multiple floors.

 Floor Plan

按段设计实际上是这种类型的站点的结果。从白天的家庭生活到睡觉，住宅的活动总是垂直组织起来的。这带来的主要问题是如何将日光带到较低的楼层。

Designing by section is actually a consequence of this type of site. The activity of dwelling is always organized vertically, from daytime domesticity to sleeping. The main problem this poses is how to bring daylight down to the lower floors.

 © Filip Dujardin

c.Filip Dujardin

房屋共有的另一个方面是试图处理形势的需求，而不仅仅是狭隘而深入的计划。这四所房屋中有两所面临着更多的违规行为。在一种情况下，相邻房产的墙壁迫使地块几乎缩小到一定程度；而在另一种情况下，地块是如此不规则，以致于房屋获得了可以被描述为第三面的东西。

Another aspect that the houses share is the attempt to deal with the demands of the situation; but not just with the narrow, deep plan. Two of the four houses were faced with additional irregularities. In one case, the walls of the adjacent properties force the plot to taper practically to a point; in the other, the plot is so irregular that the house gains what could be described as a third facade.

 Floor Plan

四栋房子有一个特殊的经济，但总是假设有可能影响最终细节，早在最初的壳设计。一栋房子是做不到的。W屋是一堆简单的房间。房子是纯白色的。明确的设计目标永远是出发点，而不是目标本身。但是，只有在目标明确的情况下，偏离这些目标才是可行的。在W屋的情况下，堆叠的房间得益于白色。采用的堆叠高度使住宅的深度减半成为可能。这个形状被一个全高的花园围栏包围着，它遵循给定的地块轮廓，但为前花园和后花园留出了空间，建造的体积在中间。

Four houses have a special economy; but always assuming the possibility of influencing the eventual detailing as early as the initial shell design. A single house cannot do that. House W is a simple stack of rooms. The house is pure white. Defined design aims are always points of departure, never targets in their own right. But deviations from those aims are only feasible when they are unambiguous. In the case of House W, the stacked rooms benefit from the whiteness. The adopted stacking height makes it possible to halve the depth of the dwelling. This shape is surrounded by a full-height garden fence, which follows the given plot contours but leaves room for a front garden and a back garden, with the built volume in the middle.

 © Filip Dujardin

c.Filip Dujardin

M屋是一系列房屋中的第一座，这是壳的重要性的一种锻炼；*在一切都能合二为一的问题上。所有的砖块都被拉出来了。但是，当某些东西不完全适合时，可能会做出意想不到的选择；不适合的东西不会被迫适应。一种横梁，位于沿着阶梯线的墙壁上的铺展支撑上，其本身的位置是：一切都有轻微的变化。细微的变化使它在视觉上很有趣。这激发了在另一种情况下，允许木梁简单地躺在横向混凝土梁上并允许它们之间的阳光照射的决定。

House M was the first in a series of houses which were an exercise in the materiality of the shell;* in how everything could fit together. Every brick bond was drawn. But when something did not fit exactly, an unexpected choice might be made; something that did not fit was not forced to fit. A beam to be positioned on a spread support on a wall that follows a stepped line, positions itself as it is: everything is slightly shifted. The slight shift is what makes it visually interesting. This inspires the decision, in another situation, to allow wooden beams to simply lie on a transverse concrete beam and admit sunlight between them.

 Floor Plan

A屋继续这项工作。壳本身提供颜色。房子M有时有粉红色的扩散光，有时有淡黄的。大型实用砖的兵马俑颜色每次都略有不同，就像天然材料的颜色一样。房子A交替几乎不变的颜色语调混凝土块，木梁和地板，和白色的墙壁。光的纯粹作用在这里是至高无上的。混凝土块吸收。墙壁反射。木横梁加的颜色刚好够多。

House A continues the exercise. The shell itself provides colour. House M sometimes has a pinkish diffused light and sometimes yellowish. The terracotta colour of the large utility bricks is slightly different every time, like shades of natural materials. House A alternates the practically constant colour intonation of concrete blocks with wooden beams and floors, and white walls. The pure play of light is paramount here. Concrete blocks absorb. The walls reflect. The wooden beams add just enough colour.

 © Filip Dujardin

c.Filip Dujardin

T屋是Kavel合奏中的四所房子之一，它必须处理一个因相邻的聚会墙而变得奇怪的变细的地方，到达花园底部的一个点。豪斯T是在合奏的右边(左边的房子也是一个前景，但后来改变了)。在每一层连续的楼层上撤退的后墙和与右侧房屋的联排墙断开的屋顶，除W楼外，还可构成该部分最明确的设计实施方式。这种设计让光线渗透到任何地方，从而使逐渐变细的图样变得更有优势。

House T is one of four houses in a Kavel ensemble which have to deal with a bizarrely tapering site due to the adjacent party walls, reaching a point at the bottom of the garden. House T is at the right side of the ensemble (the house at the left side was also a prospect, but this changed later). A rear wall which retreats on each successive storey and a roof disconnected from the party wall of the house on the right may form, apart from House W, the most explicit implementation of designing in the section. This design lets the light penetrate everywhere, so turning the tapering plot shape to advantage.

这些房子中的每一间都是一种主题，或者说是一种方式-如果只是为了这些房子与街道的联系，那就更好了。每扇前门都后退，为第二个前门留出空间，形成一个门廊，游客可以在那里等待，直到门打开。或者这可能是个日志？街道上的正面是不透明的，而第二条正面则是开放的。尽管从街道的正面后退，它与街道有稍微好的视觉接触，虽然没有任何的隐私损失。房屋M和A使逻辑更加明确。W屋几乎代表着前面的花园。房子T把这个主题从屋顶转移到后面的正面下面。

Cutaways are a motif, or an approach, that appears in each of these houses – if only for the sake of how the houses relate to the street. Each front door retreats, leaving room for a second front, forming a porch where a visitor can wait until the door opens. Or it could be a loggia? While the facade on the line of the street is opaque, the second facade line is open. Despite being set back from the street facade, it has slightly better visual contact with the street; although without any loss of privacy. Houses M and A make the loggia more explicit. House W almost suggests a front garden. House T transfers this motif over the roof to beneath the rear facade.

 © Filip Dujardin

c.Filip Dujardin

尽管存在着不可能的经济状况，但这些房屋仍在探索某种野蛮行为的边缘，但也有一定的精确性-就像煤炭和钻石在化学上是一样的。虽然可持续性(低能耗)是存在的，但它以水泥在砖墙中的方式存在：是不可或缺的，但几乎不讲故事。可持续性从来不是一个故事。这是一种应有的经济形式，无可争辩，但没有讨论。

Despite the impossible financial conditions, the houses explore the margins of a certain brutalism, but with a certain precision – in the same way as coal and diamond are chemically the same. Although sustainability (low energy consumption) is present, it is present in the way cement is in a brick wall: indispensible, but scarcely telling a story. Sustainability is never a story. It is a form of economy as it should be, incontrovertible but not discussed.

房子和城市的关系。住在城市里是什么样的。生活是什么样的。这就是它的意义所在。四项提案中没有一项与此无关。

The way the houses relate to the city. What living in the city is like. What living is like. That’s what it is about. Not one of the four proposals isn’t about that.