当老房子的记忆回来时，在新的房子里，我们去了一个不动的童年的土地：像远古一样静止不动。加斯顿·巴哈。

“When memories of older homes return, in the new house we go to the land of immobile childhood: immobile like the immemorial”. Gaston Bachelard.

 © Gustavo Sosa Pinilla

c.Gustavo Sosa Pinilla

宽阔的展厅、院子、大厅堂、地下室和阁楼，是业主们对自己的家园的现象学形象的一部分。在过去的这些梦想之上，我们建造了现在。新房子矗立在那座失踪的房子之上。

Wide galleries, yards, large halls, basements and attics, were part of the phenomenological images of the owners about their natal home. Above these dreams of the past we build the present. The new house stands its bases over the missing one.

这所房子是为一个有两个小孩的年轻家庭准备的。它位于布宜诺斯艾利斯的一个乡村俱乐部。土地在南边有美丽的树木，它们被假装是被保护和最大化的。

The house is for a young family with two small children. It’s located in a country club in Buenos Aires. The land counts with beautiful trees on the southern limit, which are pretended to be conserved and maximized.

 © Gustavo Sosa Pinilla

c.Gustavo Sosa Pinilla

该方案由客户建议的两个不同领域组成：“一个正式和有组织的领域”，包括传统节目和一个“非正式和有趣的区域”，其中包括一个游戏室和一个接待朋友的地方。

The program is composed of two different areas suggested by the clients: “one formal and organized” that would embrace traditional programs and an “informal and playful area” that would include a playroom and a place to receive friends.

我们在“卡萨合唱”中找到了实现这些形象的起点-然而，我们回到过去，寻找这一类型学的起源：罗马穹窿。然后，我们让他们服从于具体的条件：土地，务实的关系，风俗习惯和他们的生活方式。

We found in the “casa chorizo” a starting point to materialize those imagesHowever, we travel back in time looking for the origin of this typology: the roman domus. Then, we subordinate them to concrete conditions: the land, the pragmatic relations, customs and their lifestyle.

 © Gustavo Sosa Pinilla

c.Gustavo Sosa Pinilla

其结果是在中央院子周围建起了一座有画廊的房子。它是房子真正的心脏，但是它的静态院子变成了动态的…。它会被打败。

The result is a house around a central yard with galleries. It Is the true heart of the house, but the static yard of the domus becomes dynamic…it beats.

定义它的物质-曾经是无限的-被雾化在三个立体的盒子里，它们在阳光和树木下自由舞蹈，里面包含着“有序的程序”：存在、吃饭和睡觉。从而促进了近-远、开-近、内-外、短-高的拓扑关系.

The mass that defines it –once limitless- is atomized in three stereotomic boxes that dance free under sunlight and trees, embracing inside them “the ordered programs”: To be, to eat and to sleep. Promoting, thus, the topological relations near-far, open-close, inside-out, short-tall.

构造木廊不仅仅是一个过渡空间和防晒霜；它是各部分之间的连接；它是室内-室外的。它主办“更非正式的节目”，逐渐揭示空间，打破道路，为院子提供规模，实现回忆的流动。

The tectonic wood-gallery is more than a transition space and a sun screen; It is the articulation between parts; It is indoor-outdoor. It hosts the “more informal programs”, gradually revealing spaces, breaking the path, providing scale to the yard, realizing the flow of reminiscences.