架构师提供的文本描述。对于这个家的概念，我们问自己，我们能够建造一些东西，同时保持对自然环境的最大尊重，避免谈论可持续性、替代能源或生态，以此作为现代性和政治正确性的幌子。也许这最终是一个充分利用特定自然环境的质量，保持对赋予我们的自然品质的最大尊重，并对它们产生最小影响的问题。我们认为，一个很好的开始方法可能是调整建筑的体积线以适应现有的森林，让种植园来选择它将经历的方式。作为这个过程的起点，我们找出了在森林中一起工作的树木群，而我们敢于把它们之外的所有东西称为“反森林”或建筑敏感的空洞，而不必移除任何树木。我们在这个空隙上产生了一个平面几何图形，以避免树干，并从现有的地面水平和由附例允许的屋顶平面的斜坡上取高。这个操作似乎是这个过程中非常复杂的一部分，迫使我们进行了大量的测试，直到找到了在最终体积度量的每一点都满足所有参数的解决方案。出现的是一个非笛卡尔几何学与一个面的体积，适应地形条件和规划要求，激发我们解决这个家园在一个令人兴奋的空间简要。几何学将定义和发现体验空间的方式及其与外部景观的关系，这是森林与严格规则之间令人惊讶、富有成效的关系。

Text description provided by the architects. For the concept of this home, we asked ourselves wheather we were capable of building something while maintaining the utmost respect for the natural surroundings, avoiding speaking about sustainability, alternative energy or ecology as a veneer for modernity and political correctness. Perhaps it was ultimately a question of making the most of the qualities of the given natural environment, maintaining the utmost respect for the natural qualities afforded to us, and having a minimum impact on them. We thought that a good way to start might be to adapt the volumetric line of the building to the existing forest, leaving the plantation to choose the way it would be experienced. As the starting point for this process, we identified the clusters of trees that work together in the forest while we dared to call everything that lies outside them the “anti-forest” or construction-susceptible void, without having to remove any trees. We generated a flat geometry on top of this void to avoid the trunks and take the heights from the existing ground level and the slopes of the roof planes permitted by the by-laws. This operation appeared to be an immensely complex part of the process, and forced us to do numerous tests until to arrived at the solution that met all the parameters at every point of the final volumetrics. What appeared was a non-Cartesian geometry with a faceted volume that adapted to the topographic conditions and the planning requirements, inciting us to resolve the brief for this home in an exciting space. The geometry is what will define and discover the ways of experiencing the spaces and their relationships with the outside landscape, a surprising, fruitful relationship between a forest and strict regulations.

 © Roland Halbe

罗兰·哈贝

业主的个人情况阻止了对这套住宅的配置和使用的常规使用。我们必须创造空间，以适应时间和程序的主人的特质。因此，我们逐渐确定了由此产生的几何学所提供的可能性，分析了我们所谓的“专用手指”中的空间，每个手指都包含一个特定的程序，具有特定的空间分辨率。在分配上的高度差异促使我们采取一种理解房子半层台阶的方法，这使得我们能够控制内部的划分为一座两座住宅。另一方面，我们把家庭的探视室(两根手指)与游戏室(一根手指)和主入口处都设在最高层，有一个独立的入口。本书的其余部分是随着我们的下降而不断发展的隐私，首先是起居室/酒吧和投影室/演播室(一根手指)，紧接着是较低层的休闲节目，有一个室内恒温游泳池(一个手指)，另一个带有厨房-就餐-一般用途室(一根手指)和一个有盖的大型户外露台(一根手指)。下降到最后一层，我们发现主卧室的浴室(一个手指)，一个健身房/一般用途的房间和桑拿(一个手指)。

The personal circumstances of the owner prevent a conventional use of the configuration and usage of this home. We had to generate spaces that would adapt in time and programmes to the owner’s idiosyncrasies. We thus gradually define the possibilities afforded by the resulting geometry, analysing the space in what we call “specialised fingers”, each one of which houses a specific programme, with a particularised spatial resolution. The height differences on the allotment impel us towards a way of understanding the house in half-storey steps that allows us to control the division of the interior into two dwellings in one. On the other hand, we have located the family’s visiting rooms (two fingers) associated with a games room (one finger) and the main entrance to the house all on the highest level with an independent entrance. The rest of the volume follows a successive development of privacy as we descent, first with the living room/bar and the projection room/studio (one finger) and on the immediately lower level, a leisure programme with a heated indoor pool (one finger), another with a kitchen-dining-general purpose room (one finger) and a large covered outdoor terrace (one finger). Descending to the final level we discover the main bedroom with its bathrooms (one finger), a gym/general purpose room and the sauna (one finger).

 © Roland Halbe

罗兰·哈贝

一旦进入这个美丽的景观，我们想要充分利用它的特点，并打开最大的影响，它的几何，光和空间条件。从这个角度来看，房子的围封已逐渐改变了它的玻璃和石头皮，根据树木的接近，他们提供遮荫的能力，他们的存在和节目类型的每一个专门的手指。因此，为了使所有房间与外部直接、亲密地接触，定义破碎体积的皮肤在其组成部分上蚀刻了不同密度的透明、不透明或屏幕图案，森林对这一入侵其领土宁静的奇怪物体的影响。在屋内，地板、墙壁和流动的琥珀树脂天花板吸收木质石板，使森林的抽象存在进入并模糊外部/内部空间，就好像我们的内部空间在它存在之前就是化石一样。一个奇怪的特征沿着楼上滑动，反映了业主的收藏家行为。

Once inside this fabulous landscape, we want to make the most of its features and open up to the maximum influence of its geometric, light and spatial conditions. From this perspective, the envelopment of the house had gradually transformed its glass and stone skins according to the proximity of the trees, their ability to provide shade, their presence and the type of programme in each specialised finger. So in order to bring all the rooms into direct, intimate contact with the exterior, the skins that define the broken volume have etched transparencies, opacities or screenprints with differing densities on its components, the influence of the forest on this strange object that has invaded the tranquillity of its territory. Inside the home, the floors, walls and flowing ceilings of amber resin absorb wooden slats that allow the abstract presence of the forest to enter and blur the outside/inside divisions as if our interior space were a fossil even before it existed. A strange feature slides along the upper floors, a reflection of the owner’s collector behaviour.