该计划设计了两个独立的重复在一个小的三角形遗址，位于巴兰科，一个历史悠久的温泉区在利马市在20世纪20年代。

The scheme designs two independent duplexes within a small triangular site, located in Barranco, a historic and ancient spa district in the city of Lima during the nineteen twenties.

 © Gonzalo Cáceres

冈萨洛·卡塞雷斯

这份简报的特殊性，是第一个由雕塑露台连接的现有联排别墅的一部分。第二套复式公寓位于第一套公寓的顶上，它必须与街道独立相连，但也要有通往露台的通道。

The brief’s particularity had the first duplex to be part of an existing townhouse connected by a patio of sculptures. The second duplex located on top of the first one had to have an independent connection to the street but also with access to the patio.

网站的几何学，对感兴趣点的看法，以及双方业主对亲密的特殊要求，但也独立，在那里的挑战和触发，使项目的目标达到一个非常精确的解决方案。

The site’s geometry, the views towards points of interest and the special requirement from both owners for closeness, but also independence, where challenges and triggers that set the project’s goal to arrive to a very precise solution.

 © Gonzalo Cáceres

冈萨洛·卡塞雷斯

这样，第一套复式公寓、录音室和钢琴室就成了天井的延伸，穿过双高空间，延伸到一个俯瞰大海的阁楼空间，直到施工时刻，客户都不知道。

In this manner the first duplex, the studio and the piano room become the extension of the patio through the double height space that extends into a loft space with views to the sea, unbeknownst to the clients up until the moment of construction.

第二套复式公寓是一套公寓，顶层有社交区，利用了更有表现力的更高的天花板：五边形的蹄形屋顶，它是从规划的几何学角度发展而来的。公寓俯瞰大海，望到主干道上最高的树线和巴兰科的主广场。每个窗口的设置都有利于这些选定的视图，而忽略了所有其他视图。

The second duplex is a flat, with social areas on the top floor, taking advantage of the more expressive higher ceilings: five-sided hoof roof that grows from the geometry of the plan. The flat looks at the sea, to the tallest tree line on the main avenue and the main square of Barranco. Each window is arranged favouring these selected views and ignoring all others.

与巴兰科保护区的关系，以及用土坯和昆查建造的建筑，这不是模仿20世纪20年代建筑的语言，而是由立面上的固体和空洞所占的比例来完成的，在这种情况下，建筑的跨度反映了内部与周围选定的感兴趣点之间的联系。

The relation with the conservation area of Barranco, with constructions built with adobe and quincha, it’s not done by imitating the language of the architecture of the nineteen twenties, but by the proportions of the solids and voids on the façade, where the spans respond to the connections of the interior with the views to the chosen points of interest around the site.