© Gustavo Sosa Pinilla

c.Gustavo Sosa Pinilla

凝视的方向建立了景观，形成了时间和空间的消失岩浆，占领了自己的领地片刻，观看的行为就像建筑，它从不天真和天真，总是有一个文化维度来支撑它，一个时间偏见来识别它，它充当了一种选择和组装的机制，很快就变成了记忆，存在的水库，也就是当景观变得主观和可操作，关系和唤起。每一片风景都在流逝，或者更确切地说，投射的凝视会让我们确信自己是景观中短暂的乘客，这种信念给了我们在交通中的无处不在和暂时性。每一处风景都是易腐的，就像凝视的载体。正是因为这个原因，我们才能在瞬间将风景展现给我们深深的人性。

The direction of the gaze builds the landscape, of the evanescent magma of time and space, capturing its own territory for a moment, the act of looking is like building, it is never naive and innocent, there is always a cultural dimension that supports it, a time bias that identifies it, it serves as a mechanism for selection and assembly, which soon turns to memory, the reservoir of existence, and that is when the landscape becomes subjective and manipulable, relational and evocative. Every landscape is passing, or rather, the projected gaze returns us the assurance of being ourselves momentary passengers in the landscape, this conviction gives us ubiquity and temporality in traffic. Every landscape is perishable, like the carrier of the gaze. Precisely for this reason, the landscape is revealed to us in an instant as deeply human.

 © Gustavo Sosa Pinilla

c.Gustavo Sosa Pinilla

穿越景观，这座房子的项目试图发展这一论点，诱导其居民与周围环境的日常交流。他们是一对通常住在布宜诺斯艾利斯的夫妇，但他们慢慢地想离开他们在城市的住所，在山村的宁静中安顿下来。

Traversing the landscape, the project for this house attempts to develop this argument, inducing a daily communion of its inhabitants with the surrounding environment. They are a couple who usually lives in Buenos Aires, but who slowly want to leave their residence in the city and settle in the peace and quiet of the mountain village.

 © Cristian Nanzer

克里斯蒂安·南泽

该项目的布局围绕乌里多尔科山的主要存在，在塞拉德普尼拉山麓。这些观点和取向使我们确定了它的位置和重要性。基本上，一个厚重的环形混凝土棱镜，在倾斜的地形上可以容纳两层，下层或地下室有一个双开车库，作为烧烤和游泳池区的延伸，还有一个独立的客房。下楼作为基座，同时提高了房屋主要区域的位置。基座上方是一堵墙，内有厨房、浴室、更衣室、服务庭院和正门，采用的是一种乡村技术，它交替使用暴露混凝土和旋风混凝土、地下室和服务墙框架，并容纳主房。在厚壁上是一个轻钢结构，它解决了工程的基本调整问题，这取决于剖面的优化：纵向1.50m，横向1.20m。它包含在自然铝框架中，定义了客厅、餐厅和主卧室的周长，它们与景观直接相关，这种景观无处不在，并根据全年光线颜色的变化而产生大气变化。为了加强房屋与周围光线的关系，倾斜的屋顶总是通过周边木工从混凝土墙中分离出来，而在窗户和墙壁之上延伸，形成一个独立的平面，形成一个向西北方向的走廊和另一侧的屋檐。

The layout of the project takes place around the dominant presence of Uritorco hill, in the foothills of the Sierra de Punilla. The views and orientations led us to define its siting and materiality. Basically, a heavy prism of cyclopean concrete, which on the sloping terrain accommodates two floors, the lower or basement contains a double open garage that serves as an extension to the grill and pool area, together with an independent guest room. The lower floor is composed as a base, at the same time raising the position of the main areas of the house. Above the base is a wall with all the domestic services: kitchen, bathrooms, dressing room, service courtyard and main entrance, built with a rustic technique that alternates exposed concrete and cyclopean concrete, the basement and the services wall frame and accommodate the main rooms. Over the heavy walls is a light steel structure, which addresses the basic modulation of the project, dependent on the optimization of the profiles: 1.50m in the longitudinal direction, 1.20m in the transverse direction. Enclosed in natural aluminum frames, it defines the perimeter of the living room, dining room, and master bedroom, these are placed in direct relationship with the landscape, which is pervasive and produces atmosphere variations according to the changing color of light throughout the day and year. To enhance the relationship of the house with the ambient light, the sloping roof is always separated from the concrete walls through a perimeter carpentry, while extended above windows and walls, forming a separate plane which gives rise to a gallery to the northwest and eaves on the other sides.

 © Gustavo Sosa Pinilla

c.Gustavo Sosa Pinilla

为了提高大型玻璃板的安全性和遮阳性能，设计了厚重的金属百叶窗，配合金属结构，提供了与混凝土饰面的质朴性和不完全性相对比的一致性和一定的微妙性。

To confer security and shade for the large glass panels, sliding shutters were designed with heavyweight metal, which together with the metal structure, provide consistency and a certain subtlety that contrasts with the rusticity and imperfection of the concrete finishes.

在入口处，混凝土墙与“Palo a pique”技术相结合，这在山区建造围栏时很常见，但所有这些树干都是从倒下的树上挖出来的，或者是被河水涨潮冲走的树木。没有砍掉一棵树，这是当地导游和朋友巴纳巴斯·莱尔(BarnabasLeal)承担的一项任务。

At the entrance, concrete walls are combined with a "palo a pique" technique, common in the construction of pens in the mountains, with the exception that all those trunks were extracted from fallen trees, or trees washed away by the high tides of the rivers. Without chopping a single tree, this was a task undertaken by a local guide and friend: Barnabas Leal.

 © Gustavo Sosa Pinilla

c.Gustavo Sosa Pinilla

在里面的主要空白中，有两件由艺术家Hernán Dompé雕刻而成的雕塑，它们以几何形式强化了空间，类似于室外粗糙的景观。

In the main void inside, there are two sculptures by artist Hernán Dompé, which intensify the space with their geometry, the analogy of the outdoor rough landscape.

最后，我们可以说，遏制、物质和正式紧缩的某些原则界定了这项工作，并期望时间允许将其合并，而不对其场地进行侵略或步履，直到这一时刻到来时，作为一项奖励，当它将被忽视时，它将成为主办它的景观的另一个组成部分。

Finally, we can say that certain principles of containment, material, and formal austerity defined this work, with the expectation that time will allow to amalgamate it without aggression or stridency to its site, until such time comes, as an award, when it will go unnoticed, to become one more component of the landscape that hosts it.

 Ground Floor Plan

Architects Estudio M + N

Location Capilla del Monte, Argentina

Category Houses

Project Architect Cristian Nanzer

Project Area 292.0 m2

Project Year 2007

Photography Gustavo Sosa Pinilla, Cristian Nanzer