架构师提供的文本描述。一次又一次，同样的秃鹫给人的印象是在同一具尸体上盘旋，同样的野马在冬天旅行，在15或20岁的羊群中觅食，在地平线上安静而又渺小。胡安·若泽·赛尔，云层。

Text description provided by the architects. League after league, the same vultures give the impression of hovering over the same carcass, and the same wild horses, traveling in winter, graze in herds of fifteen or twenty, quiet and tiny on the horizon. Juan José Saer, The Clouds.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

每次我看到杰拉多·卡瓦列罗和迈特·费尔南德斯的房子，我都会觉得这个项目是从门开始的，设置了门的位置，寻找进入房子的方法。在米拉弗洛雷斯宫，门垂直于步行或乘车到达的道路，也就是它的一侧，以便更好地瘦身(也许是从西扎大师那里学到了一些东西)。我们可以看到，在一张房子的照片中，西面的景色被放置起来，即使它有相当大的宽度，这扇门仍然是看不见的。作为一个产品，这房子提供给我们作为“一个不透明的包装，回头”，实际上是凸的。

Every time I look at a house by Gerardo Caballero and Maite Fernández I have the impression that the project has started from the door, setting the position of the door, looking for ways to enter the house. In Miraflores House, the door presents itself perpendicular to the path of arrival on foot or by car, that is, on its side, to better slim its figure (perhaps something learned from the master Siza). We can see how in a photograph of the house, the view of the west facade has been placed so that the door remains invisible, even if it has a considerable width. As a product of this, the house is offered to us as "an opaque package, turned back", virtually convex.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

我们穿过门，房子呈L形，两端参差不齐。在最短的一端，面向东，房子提供了与地面平面的牢固接触，而在另一端，更大的，向北，房子突然离开地面，在不稳定的情况下，把它设置在两根细长的柱子上。在佩德雷拉，克洛林多·泰斯塔(ClorindoTesta)似乎也有同样的冲动。在这一端，参观者的路径，直线和无限，穿过服务区，向外延伸通过一个画廊；或树枝事先上升到一个狭窄的侧楼梯，这条楼梯排成一条滑槽进入卧室区域。然而，在短短的一段时间里，旅程本身就被堵住了，在经过主卧室的壁橱后停了下来，最后被浴室的墙壁堵住了。每一次旅行结束前的最后一幅图像也是对比的：北端有水平的外部景观及其在白天和季节中的变化，而另一端则与反复出现的室内图像相反，后者是观众的脸，由浴室的镜子复制而成。

We crossed the door and the house unfolds in an L shape, with uneven ends. In the short end, facing east, the house provides a firm contact with the ground plane, while at the other end, more dilated, oriented north, the house is suddenly off the ground in a bucking the sets it on two slender pillars in an unstable situation. Some of that same impulse seems to register the house by Clorindo Testa in Pedrera. At this end, the path of the visitor, linear and limitless, traverses the service area and stretches outward through a gallery; or branches beforehand ascending up a narrow side staircase that lines up as a chute into the bedroom area. However, in the short end, the journey is closed on itself in a jammed end, stopped after passing the master bedroom closet, to finish off blocked by the bathroom wall. The last image delivered by the end of each journey is also contrasted: the north end, with the horizontal outside landscape and its variations throughout the day and seasons, is opposed to the other end with the repeated image of the interior, with the face of the viewer, duplicated by the bathroom mirror.

经过入口向左拐后，一个残酷的事实出现在我们身上。离我们的头只有几英寸的地方，一个T形的悬臂，由两根横梁组成，这些梁构成了俯瞰庭院的最大窗户的连接线。这个T实际上切断了大厅-图书馆的入口处，定义了起居室的开口，以及向北看的窗口的折叠部分。这个T还产生了房子与地面的耦合，同时确定了它的两个主要方向。它在广袤平原的圆形空间中固定了一个点，就像一个十字路口一样。房子是一个L，它变成了T(他们说Marcelo Villafa e做X)。但是，如果房子通过T梁的这个十字路口连接到地面上几米高的地方，屋顶就会产生一个圆形的运动，就像马的扭动一样，它会激发并动摇房子的平缓形象。

After passing the entrance and turning left, a brutal fact comes upon us. A few inches from our heads cantilevers a T, formed by the meeting of two beams that build the lintel of the largest window overlooking the courtyard. This T moves towards us virtually severing the lobby-library entrance to the house, and defines the opening to the living-dining room, and the folded part of the window looking north. This T also produces a coupling of the house to the ground, while determining its two main directions. It fixes a point in the circular space of the vast plain, as does a crossroads. The house is an L which becomes T (they say Marcelo Villafañe does X). But if the house is connected to the ground by this crossroads of the T beam, a few meters above it, the roof makes a round movement, like the twist of a horse, which excites and destabilizes the appeased image of the house.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

电影院里有一对夫妇建议这座房子。在西北偏北，由希区柯克执掌的凯里·格兰特(Cary Grant)，驻扎在美国中西部的一个十字路口-在荒无人烟的地方-以一种方式在垂直赛跑中自投罗网，而一颗庄稼的尘土威胁着他的头顶，直到格兰特终于逃了出来，躲在玉米地里。这种展开屋顶的圆形运动在院子里的树上有一个坚实的支撑，即使不是在地面上，它也出现在卡瓦列罗的素描和素描中。

There is a couple in cinema that suggests the house. In North by Northwest, by Hitchcock, Cary Grant, stationed at a crossroads in the American midwest -in the middle of nowhere-, hurls himself in a vertical race one way, while a crop duster threatens hovering over his head, until Grant finally manages to escape, hiding in a cornfield. This circular movement that unfolds the roof has a firm support in the tree in the courtyard, which even though it is not on the ground, it does appear in sketches and drawings by Caballero.

如果房子是一匹掉头的马，那么树就是支撑移动的柱子。

If the house is a horse that turns around, the tree is the post that sustains the movement.

“Parar rodeo”被称为对某一特定地方的人群的习惯性。这保证了一个安静和统一的群体。为此，一根垂直的棍子插在地面上，作为动物的参考。我们认为这种垂直树干是景观最初的微弱变化之一。在没有树和无所不在的水平的情况下，一条简单的垂直线获得了一种建立力量，这是合乎逻辑的。这个图像，虽然很弱，(.)在“Palo de DOMA”中有进一步的参考资料。

"Parar rodeo" was called the habituation of the pack to a certain place. This guaranteed a quiet and unified herd. For this purpose, a vertical stick was stuck in the ground that served as a reference to animals. We consider this vertical trunk as one of the first faint changes in the landscape. It is logical that in the absence of trees and the ubiquitous horizontality, a simple vertical line acquires a founding power. This image, though weak, (...) has further references in the "palo de dom

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

这棵树在米拉弗勒斯宫扮演类似的角色，另一棵树，在弗里特戈托的房子。在那里，树也是一个舞蹈的中心，这是建立在现存的墙，从街道的倒角和它的倒影，房子的墙壁折叠在花园。

This tree in Miraflores House plays an analogous role to another tree, the one in Frittegotto house. There, the tree is also at the center of a dance, which is established between the existing wall that chamfers the property from the street and its reflection, the wall of the house that folds over the garden.

同时，米拉弗勒斯宫的树被垂直投射到房子的内部，进入它的水平反方向，主卧室的隔断，和斜的，从它延伸出来的楼梯的平面。类似的操作发生在Cinalli楼，院子里的树与隔开卧室/客厅的墙形成了一层对应的平面。

At the same time, the tree in Miraflores House is projected perpendicularly to the house and penetrates inside transmuting into its horizontal inverse, the partition of the main bedroom, and oblique, the plane of the staircase that unfolds from it. A similar operation occurs in Cinalli House, where the tree in the courtyard builds a plane of correspondence with the wall that divides the bedroom/living room.

 © Gustavo Frittegotto

古斯塔沃·弗里特戈托

米拉弗洛雷斯之家表示，在平原上，要观察花朵，扫描被暂时推迟的最后一条地平线，就必须从土壤中抬起，松开一条：“这些柱子应该有广阔的视野，可以自信地进行监测，并确保在遇有攻击者的情况下进行防御，(.)”/1。

Miraflores House shows that, in the plains, to look at the flowers, to scan the momentarily postponed last and final horizon line, one must be raised, loosened from the soil: "The posts should have broad vision to monitor confidently and to ensure the defense in case of attackers, (...)"/ 1

阿克的案文。鲁道夫·科伦特

Text by Arq. Rodolfo Corrente

Architects Gerardo Caballero Maite Fernandez Arquitectos

Location Funes, Argentina

Category Houses

Project Architects Gerardo Caballero, Maite Fernández, Orlando Alloatti

Project Area 800.0 m2

Project Year 2011

Photographs Gustavo Frittegotto