© Cristóbal Palma

(克里斯特·帕尔马)

架构师提供的文本描述。从小山上台阶的数量，一棵老柏树的高度让人想起佩特所描述的，再到将讲台设置成海平面以上的一个完整数字的精确尺度，都是解释其轮廓形式的决定性匹配因素。但是造房子的原因总是别人的，总是一样的。

Text description provided by the architects. From the number of steps on the path up the hill, the height of an old cypress reminiscent those described by Pater, to the precise dimension that sets the podium a whole number above sea level, serve as decisive matches to explain the format of its silhouette. But the reasons that model a house are always others, always the same ones.

 © Cristóbal Palma

(克里斯特·帕尔马)

在两种统一的格式，一个大计划和另一个集中的格式中，我们把相同的单元布局了十二次：一个正方形图被不对称地分成四部分。有时中央，有时横向和其他对角线，每个单位保持一个不同的关系，各部分。最后，下面的作品将涉及到工作室的繁重工作。

Within two unified formats, that of a large plan and another concentrated one, we layout the same unit twelve times: a square figure divided asymmetrically into four pieces. Sometimes central, sometimes laterally and others diagonally, each unit keeps a different relationship between the parts. Eventually, the pieces below will deal with the heavy work of the studio.

 © Cristóbal Palma

(克里斯特·帕尔马)

上面的部分和几乎非物质的日常生活一样，总是从空气中设计结构，以便稍后在其他地方产生它们。在这两个事实世界之间，家庭生活被保留下来，反过来又被一间大的白天房间和一对堆叠的房间控制着过夜。客厅的地板向西倾斜。通过将线格保持在一个单一的水平上，框架的递进序列使它们的深度相对。进入起居室就等于跳入跳台下面的全部人数。在街道另一边的一面镜子上，一个人来到了工作室。进入塔楼是一种盲目。在这里，变成木板的柏树被锁在一个连续的螺旋中，带着灰色的忧郁，在攀爬的时候逐渐返回视野。

The pieces above with the almost immaterial daily routines, always devising constructions from the air to produce them later elsewhere. Between these two factual worlds, domestic life is reserved, in turn regulated by a large day room and a pair of stacked rooms for the night. The living room floor slopes towards the west. By keeping the lintels on a single horizon, the progressive sequence of frames makes their depth relative. Entering the living room is equivalent to diving under the platform of the whole number. Against a mirror that shows inside what was on the other side of the street, one arrives at the studio. To enter the tower is a form of blindness. Here, the cypress turned into board becomes locked in a continuous spiral, which with a gray melancholy, gradually returns the view while climbing.

 © Cristóbal Palma

(克里斯特·帕尔马)

该结构为整体规则混凝土沉淀物，外露骨料。只是纹路上的细微变化标志着领奖台和塔台之间的差别。在里面，所有的墙壁都被涂上油漆的木板覆盖着，几乎没有厚，而且被支撑窗户的镀锌钢框架刺穿了。

The construction is a monolithic and regular concrete sediment with exposed aggregate. Only a slight change in the grain marks the difference between the podium and the tower. Inside, all the walls are covered by painted wood panels, barely thick and pierced by the galvanized steel frames that hold the windows.

 Axonometrica © Pezo von Ellrichshausen

[医]埃里希豪森(Pezo Von Ellrichshausen)

请在此观看克里斯托巴尔·帕尔马(Cristobal Palma)先前发表的“Cien House”视频。

Watch here the previously published video of Cien House, by Cristobal Palma.