© Federico Kulekdjian

c.Federico Kulekdji

肯尼思·弗兰普顿(Kenneth Frampton)认为，构造不仅是“建筑技术的一种展示，而且是它的表现潜力。构造学获得了一种真正的艺术特征，以至于它相当于一种建筑诗学…建筑不可避免的地域性具有景观和视觉这样的构造性和触觉性，尽管所有这些属性都没有否认它的空间性。”

Kenneth Frampton considers Tectonics not only as a "mere disclosure of the construction technique, but, rather, its expressive potential. Tectonics acquires a truly artistic character to the extent that it amounts to a poetics of construction... The inevitable ground nature of a building has a character so tectonic and tactile as scenic and visual, although none of these attributes denies its spatiality. "

由于建筑学科在现代传统中所起的基础性作用，我们认为有必要发展一个思维过程，能够将形成学科问题的许多特定因素联系起来。

Supported on the foundational role that the discipline of architecture has within the modern tradition, we understood that it was necessary to develop a thought process capable of relating the many particular factors that shape the problem of the discipline.

肯尼斯·弗兰普顿在引用施马索的观点时，提出了强调空间的构造问题，他认为建筑是人类对空间的感觉的逐步展开，并将建筑视为一切建筑形式的指导原则，与科学意义上的宇宙时空模型相吻合，科学影响空间的形成方式，被过去半个世纪的速度和机械发明的经验所强化。从那以后，肯尼思·弗兰普顿在他的“构造文化研究”一书中说：“如果不特别强调建筑的空间运动，我们就无法在建筑上思考。”

Kenneth Frampton has developed ​​the problem of tectonic construction stressing space when he cites the ideas of Schmarsow, who perceives architecture as the progressive unfolding of man's feeling about space, and identifies it as a guiding principle of all architectural form, coinciding with space-time models of the universe in the scientific sense, where science affects the way that space is conceived, reinforced by the experience of speed and mechanical inventions of the last half century. Since then, Kenneth Frampton says in his book of tectonic culture studies, "we are unable to think architecturally without special emphasis on the spatial movement of the subject in time."

 Courtesy of Ventura Vizi

文图拉·维兹(Ventura Vizi)

对祖莫来说，气氛是一种审美范畴，是一种情感敏感性。在他的作品中，他展示了建筑的身体，材料的和谐，空间的声音，它的温度，内外的张力，隐私的程度和事物的光。

For Zumthor, atmosphere is an aesthetic category, an emotional sensitivity. In his work, he shows the body of architecture, the consonance of materials, the sound of the space, its temperature, the tension between inside and outside, the degrees of privacy and light on things.

Peter Zumthor在他的书“气氛”中说：.。在我的工作中，必须有一个程序、一些兴趣、一些工具。我们不与形式打交道，我们与其他事物一起工作，包括声音、噪音、材料、建筑、解剖学等。从一开始，建筑的主体就是建筑、解剖学、建筑逻辑。

Peter Zumthor says in his book Atmospheres: ... "in my job, there must be a procedure, some interest, some instruments, some tools. We do not work with form, we work with other things, with sound, noise, materials, construction, anatomy, etc. From the start, the body of architecture is construction, anatomy, building logic ... "

塔尔卡大学建筑学院院长Juan Román根据Project Research的思想进行了题为“走向有兴趣的建筑”的研究，并试图证明研究与设计之间的关系的程度，假设专业工作是这两个概念之间的一种不断来回的工作，从而产生了有兴趣的建筑。一旦过了设计阶段，这个过程就会离开项目研究的道路，进入已知的施工阶段，以当地材料建造的条件。

Juan Román, director of the School of Architecture at the University of Talca, conducted research entitled "Towards an architecture with interest", based on the idea of Project Research, and attempts to prove the extent of the relationship between research and design, assuming that professional work is a constant back and forth between the two concepts, resulting in an architecture with interest. Once past the design stage, the process will leave the path of Project Research, to move on to the known construction stage, with the condition of building with local materials.

 Brick Axonometric

砖轴测

在砖房，我们把建筑理解为一种涉及物质的思想结构，能够解决建筑空间中固有的问题，深化设计过程的逻辑性和连贯性。思维过程的客观化及其建构，决定了空间的不同感觉和品质。在这个操作逻辑中，我们致力于建筑结构，这种结构表现为有可能产生建筑空间的秩序。它是关于概念化的构造术语，既涉及重量、应力和材料之间的关系问题，也涉及形状和人类需求的问题。

In Brick House, we have understood construction as a structure of thought that involves matter, and is able to address the issues inherent in architectural space, deepening on the logic and coherence of the design process. The objectification of the thought process and its construction determined the different sensations and qualities of the spaces. Within this operational logic, we worked on architectural structure that manifested as the order with the possibility to generate architectural space. It is about a conceptualization is tectonic terms, involving both the problem of the relationship between weights, stresses, and materials, as well as the shapes and human requirements.

这些构造结构还包括感官、心理和现象学经验，以及它们对情感、行为、表征、象征形态和意义的影响。

These tectonic structures also included sensory, psychological, and phenomenological experiences, and their effects on emotions, behaviors, representations, symbolic configurations and meanings.

房屋的建造是从砖块的选择、钢和混凝土作为材料来解决构造问题而发展起来的。房子的“使用”被理解为家庭性质的行为，如：存在、传达、观察、放松、做饭、吃饭、睡觉等。

The construction of the house was developed from the choice of brick, along with steel and concrete, as the material approach to the problem of tectonics. The "use" of the house was understood as a program resulting from the actions of domestic nature such as: being, convey, observe, relax, cook, eat, sleep, etc ...

 Courtesy of Ventura Vizi

文图拉·维兹(Ventura Vizi)

我们开发了这些用途的相互作用作为一个实验，空间建设是建立新的配置(也是空间)的最终目的，能够建立在一个90平方米的单一家庭住宅和75平方米的场地面积。

We developed the interaction of these uses as an experiment where spatial construction was the ultimate end to establish new configurations (also spatial) capable of being built in a single-family house of 90m2, and a site area of 75 m2.

我们制定了一项计划，在所有地区产生交叉通风，允许来自北方的盛行风在夏季减少温度和湿度，改善舒适条件，减少能源需求。我们还在阿根廷采用了具有良好隔热性能的传统建筑材料，包括带有铝框架和双层玻璃的釉面板。

We have developed a plan that generates cross ventilation in all areas, allowing the prevailing winds from the north to facilitate a decrease in temperature and humidity in the summer, improving comfort conditions, and reducing the energy demand. We have also adopted traditional building materials in Argentina that have good thermal insulation, including glazed panels with aluminum frames and double glazing.

 © Federico Kulekdjian

c.Federico Kulekdji

我们还采用了一种墙系统来保护太阳，它是用陶瓷砖建造的，设计时采用的是Wantimiro Acosta的条款，它由一套板和柱组成，作为建筑物前面的太阳能保护框架，在夏季调节阳光并制造阴影外壳，在阿科斯塔命名为热Aura的建筑物的墙壁上产生风效应。

We have also adopted a wall system to protect from the sun, built out of ceramic bricks and designed according to the terms of Wladimiro Acosta, that consist of a set of slab and studs as a solar protection frame in front of the building,regulating sunlight and creating a shadow enclosure during summer, creating an wind effect on the walls of the building that Acosta denominates Thermal Aura.

Architects Ventura Virzi arquitectos

Location Buenos Aires, Argentina

Category Houses

Project Team Daniel Ventura, Andrés Virzi, Juan Pablo Callegari

Project Area 90.0 m2

Project Year 2011

Photography Federico Kulekdjian, Courtesy of Ventura Vizi