© Jerónimo Zúñiga

(Jeróimo Zúiga)

架构师提供的文本描述。当一场婚姻决定在农村定居时，这个项目就开始了。在地形上的一座由竹子和砖石组成的小房子里，他们的居民决心建立他们的梦想。这段婚姻，谁热切地决定放弃他们的大部分家具，材料和生活方式，搬到了这里。不久，他们自己用来填补自己生命空间的需求开始超越幻想，去探索大自然。此时，我们被要求解释这个问题。

Text description provided by the architects. The project began when a matrimony decided to settle in the countryside. In a little house of bamboo and masonry upon the terrain, their habitants were determined to build their dreams. this marriage, who eagerly decided to renounce to most of their furniture, stuff and life style, moved here. Soon, their own needs that used to fill their vital spaces began to exceed the illusion to explore nature. At this moment, we were required to interpret the problem.

我们决定创建尽可能简单的形状，通过解决体系结构需求，可以共存，而不会与已经构建的元素混淆。这本书是面向日出，在那里的观点是指向一个鼓舞人心的距离。这种性格是垂直于建筑元素，让我们之间的关系微妙的两个教化，几乎没有接触，但始终注视着对方。

We decided to create the simplest possible shape that, by solving the architectonic requirements, would coexist without confounding with the element already built. The volume is oriented to the sunrise, where the views are directed towards an inspiring distance. This disposition is perpendicular to the built element, allowing us a delicate relationship between the two edifications, almost without touching, but always watching each other.

 © Jerónimo Zúñiga

(Jeróimo Zúiga)

房子里必须展示画家爱德华多·金曼(Eduardo Kingman)的作品。因此，创建画廊的必要性变得至关重要。我们生成一个包络，通过解决体系结构的需求将成为一个自然的画布。

The house had to showcase the work of the master painter Eduardo Kingman. Therefore, the need to create a gallery became essential. We generate an enveloping that by solving the architectonic requirements would become a natural canvas.

该地区的地面为苍花(沉积火山岩)，它有稳定的地基和大量的经济粘土。在工地附近，可以看到无数的小砖厂。在这里，砖块被堆放，这样它们就不会变形，并且便于运输到烤箱。这种未完成材料的形象，如此强大，如此神奇，因为它不可能保留下来，成为画廊的墙壁。

The ground in the region is cangahua (sedimentary volcanic rock), which presupposes stable foundations and plenty of economical clay. In the vicinity of the site, an infinity of small brick factories are seen. Here, the bricks are stacked so that they don’t become deformed and for ease of transport to the oven. This image of the unfinished material, so powerful and so magical due to the impossibility of its retention, become the walls of the gallery.

 © Jerónimo Zúñiga

(Jeróimo Zúiga)

粘土砌体意味着创造盒子。这些折叠墙包含建筑要求。先前存在的体积是从内部恢复，以容纳一个卧室和最亲密的地区的住宅。然后，新卷庇护了社会领域：做饭，吃饭，休息。这样，粘土褶皱就变成了画廊和内部的陈列柜，玻璃褶皱变成了环境和外部的展示物。

The clay masonry meant the creation of boxes. These folded walls contain the architectonic requirements. The preexisting volume is rehabilitated from within to house a bedroom and the most intimate areas of the dwelling. Then, the new volume shelters the social areas: to cook, eat, rest. In this way, the clay folds turn into constant showcases for the gallery and the interior, and the glass folds become showcases for the surroundings and the exterior.

砖工说：土地劳动，靴子好，帽子好。所以，我们不得不把墙从地基上分解到屋顶。在钢筋混凝土基座上，粘土与地面隔离开来。这个元件容纳所需的电力和液压装置，避免它们通过土坯。

The brick workers tell: land work, good boots and good hat. So, we had to resolve the wall from the foundation up to the roof. Over a reinforced concrete plinth the clay is isolated from the ground. This element houses the required electric and hydraulic installations, avoiding their passage through the adobe.

 © Jerónimo Zúñiga

(Jeróimo Zúiga)

排砖定位的问题是缺乏束缚。为了解决这一问题，我们提出了一种边缘和墙端的加固系统，它包括将adobes组合成{灰格拉尔}，并将它们限制在金属板内。

The problem with rowlock brick positioning is the lack of bondage. To resolve this, we think up a reinforcement system for the edges and wall ends that consisted of grouping the adobes into {ashlars} and confining them within metallic platens.

在完成边缘和端部后，通过将水平的钢肋连接到烟灰缸的板上，完成墙的排。墙是垂直连接的钢缆，这些钢缆连接的基座与墙的加冕。最后，砖覆盖树脂，以保护他们不被分离。

Having finished the edges and ends, the wall is completed row by row by placing horizontal steel ribs attached to the platens of the ashlars. The wall is connected vertically with steel cables that join the plinth with the coronation of the wall. Finally, the bricks are covered with resin to protect them from becoming detached.

必须解决墙壁问题，石油管道回收管柱的价格较低，必须计算金属轮廓。无论如何，技术，我们的贸易的基本工具，使我们能够实现我们的主要目标：创造一个空间产生的空间，因为光洗澡粘土墙。

The walls had to be resolved,  the pillars being recycled tubes of the oil pipeline were less  expensive, and the metallic outlines  had to be calculated. In any case, the technique, fundamental tool of our trade, permitted us to achieve our main goal: to create the atmosphere of a space produced as light bathes the clay walls.

Architects Chaquiñán

Location Tumbaco, Ecuador

Category Houses

Architect in Charge Jorge Ramón Giacometti, Elena de Oleza Llobet

Area 230.0 sqm

Project Year 2013

Photographs Jerónimo Zúñiga