架构师提供的文本描述。房子的形状重申了三根树枝倒在地上的随机设置，一根落在另一根地上，铺在一层树叶的地毯上，或者聚集在那里生火。形式组合保持了这种随机性，同时添加了含有生长和增加体积的数据的遗传物质。无论从形式上还是从触觉的角度来看，树木、灌木林，特别是木材，都被认为是在房子里产生表现力的元素。

Text description provided by the architects. The shape of the house reiterates the random setting of three brushwood sticks fallen to the ground, one on top of the other, atop a carpet of leaves, or perhaps gathered there to start a fire. The formal composition maintains this randomness while adding the genetic material containing data for the growth and addition of volumes. The tree, the brushwood and especially the wood, with its materiality, are all regarded as generating expressive elements in the house, both formally and from a tactile point of view.

该设计试图捕捉尽可能多的森林景观，并充分利用房子的设置在纤细的树干之间。与此同时，房子试图保护森林周围的树木，因为建筑蔓延到整个地形。这种向多个方向的扩展在内部得到补偿，设计在内部楼梯周围真正成为“整体”。楼梯吸引了使用者的注意力，有时甚至很努力地将它引向周围的大自然。

The design attempts to catch as many views of the forest as possible and take the most advantage of the house's setting in between slender tree trunks. At the same time, the house seeks to protect the forest by going around the trees as the construction spreads out across the terrain. This expansion into multiple directions is compensated on the inside, where the design truly becomes "whole" again around the interior staircase. The staircase focuses the users attention, at times even strenuously directing it towards the surrounding nature.

 © Andrei Creangă

C.Andrei Creangă

在支持墙的帮助下，从地形中剔除，建造的体积与地面分离，使其混凝土结构柱裸露，并为车库平台遮挡。就像树的树冠向太阳升起一样，房子的各个层次变成了树叶重叠，漂浮的平台从底部到顶部逐渐开放，在越来越多的露台上暴露在阳光下，这样的环境让主空间从地面上移除，而地面空间不可避免地会被遮住。作为一个必要的问题，每个生活区向森林开放，每一个通道都是由一个开放的或封闭的平台，或由一个灌木丛。

Cut out from the terrain with the aid of supporting walls, the built volume is detached from the ground, leaving its concrete structural pillars uncovered and sheltering the garage platform. Like the crown of the tree rising up towards the sun, the house's levels become leaves overlapping, floating platforms progressively opening up, from the bottom to the top, in terraces that are increasingly more exposed to light, a setting that allows the removal of the main spaces from the ground level which is inevitably shaded. As a matter of necessity, each living area opens up towards the woods, and each access is mediated either by an open or closed terrace, or by a loggia.

 © Andrei Creangă

C.Andrei Creangă

从功能的角度来看，这些空间被划分为易于识别的体积区域，总是围绕着树干旋转-垂直的中空达到三层楼的全部高度，是内部楼梯的家园。因此，楼梯是生活区域的中心功能元素和有序原则，按等级标准划分后，在中间部分再次向后倾斜。同时，指示正面对角线的元素。在直接位于底层的空间中，我们找到了专门为维修人员保留的技术空间和一间单间公寓。中介卷由三个不同的区域组成：主日区和厨房、餐厅和客厅、一间客房和一间带书房、卧室、梳妆台和浴室的工作室。在上面的音量中，我们发现两个不同的区域，也是从楼梯出发的：一个卧室有浴室，主卧室有自己的浴室和衣服。

From a functional point of view, the spaces are grouped into easily identifiable volumetric areas, always revolving around the trunk - the vertical hollow reaching up the full height of the three stories, home to the interior staircase. Thus, the staircase is the central functional element and the ordering principle of the living areas that are kept separate only to fall back in line again at mid-section according to hierarchical criteria. It is at the same time the element that dictates the diagonals on the facade. In the volume situated directly on the ground floor we find the technical spaces and a one-room apartment reserved for the maintenance staff. The intermediary volume comprises of three distinct areas: the main day area and kitchen, the dinning and living rooms, a guest bedroom and a studio with a study, bedroom, dressing and bathroom. In the upper volume we find two distinct areas, also set off from the staircase: a bedroom with a bathroom and the master bedroom with its own bathroom and dressing.

 © Andrei Creangă

C.Andrei Creangă

在主要的白天地区的封面是一张从中间到上方的静止框架中拍摄的森林的2D图像：一种木板、盲表面和玻璃面板的交替，使景观能够参与到房子的生活中。夜间区域和次要空间的上部有窗户，这样可以提供宜人的照明和通风，并且不对家具施加任何限制。

The cover in the main day areas is a 2D image of the woods captured in still frame from the middle upwards: an alternation of wood panelled blind surfaces and glass panels allowing the landscape to take part in the life of the house. The night areas and secondary spaces have windows on the upper sides, which allow for pleasant lighting and ventilation and impose no restrictions on furniture.

 © Andrei Creangă

C.Andrei Creangă

外部水平表面占总建筑百分比的显著比例，这是试图将森林和自然光融入房屋日常生活的结果。在大多数情况下，它们都是裸露的，利用树冠提供的活生生的盖子。它们的重要性既符合建筑标准，也符合任何与维护有关的标准，而费城石灰华与木材的结合则重申了整个秋天笼罩着房子的枯叶的色调。露台和阳台上的玻璃栏杆既支持通往森林的开口，也支持主要体积线的视觉完整性。

The exterior horizontal surfaces make up a significant ratio of the total built percentage, a result of the attempt to integrate the forest and natural light into everyday life in the house. They are in most cases left uncovered, taking advantage of the live cover provided by the crowns of the trees. Their materiality was meant to respond both to architectural criteria as well as to any criteria pertaining to maintenance, while the Philadelphia travertine in combination with the wood reiterates the chromatic tones of the dried leaves that cover the house throughout the autumn. The glass balustrades on the terraces and balconies support both an opening towards the woods as well as the visual integrity of the major volumetric lines.

 © Andrei Creangă

C.Andrei Creangă

在一个如此鼓舞人心和富有表现力的地方，建筑师发现自己处于一个微妙的位置，通过反复而执着的内心呐喊：建筑，房子，体积，森林的霸道沉默，包围和保护它的生态系统。他的决心是窃窃私语。音调变得至关重要，因为内容是无法改变的-毕竟，它是一个21世纪的家园。

On a site that is so inspiring and expressive, the architect finds himself in the delicate position of negotiating the repetitive and obsessive inner cry: BUILT, HOUSE, VOLUME, with the domineering silence of the forest, enveloping and protecting its ecosystem. His resolution is that of a whisper. The tones become vital, as the content cannot be altered - it is, after all, a 21st century home.

 First Floor Plan

一层平面图