架构师提供的文本描述。多伦多的一个五口之家需要一座新的四季小屋来取代他们现有的1950年的结构。其目标是与宁静的湖泊社区的乡村特色融为一体，并提供一个清洁的现代环境，使景观融为一体，捕捉到一种“小屋”的感觉。

Text description provided by the architects. A Toronto family of five required a new four-season cottage to replace their existing 1950's structure. The goal was to blend with the rural character of the quiet lake community and provide a clean modern environment that engages the landscape and captures a 'cottage' feel.

 © Ben Rahn/A-Frame

C.Ben Rahn/A-框架

该网站位于清澈湖在塞金镇，安大略省。这片土地有一个很大的正面和一个现有的码头。主要向东方向，在早晨收集温暖和直接光线。这座建筑物静静地坐落在远离水的树木后面。

The site is located on Clear Lake in Seguin Township, Ontario. The lot has a large frontage and an existing dock. The orientation is predominately to the east collecting warmth and direct light in the morning. The building sits quietly behind trees away from the water.

 © Ben Rahn/A-Frame

C.Ben Rahn/A-框架

除了他们的直接程序需求，还有两个相关的和令人信服的目标，客户想要实现。首先，他们想要现代设计的所有好处：干净的线条，丰富的自然光，与户外的联系；但他们也希望与周围环境的特征和谦逊相结合。第二，虽然他们要求提供一个过冬设施，但他们不想失去与他们在没有绝缘的锡顶住宅中所欣赏的土地的联系。

Outside of their direct program requirements there were two related and compelling goals the clients wanted to achieve. First they wanted all the benefits of modern design: clean lines, abundant natural light, connection with the outdoors; but they also wanted to blend contextually with the character and humility of the surroundings. Secondly, although they requested a winterized facility, they did not want to lose the connection with the land they had come to appreciate in their uninsulated, tin roofed dwelling.

 © Ben Rahn/A-Frame

C.Ben Rahn/A-框架

决定使用一个尖顶倾斜的屋顶。这可以实现一种模糊的现代乡土感觉，有利于雪和水的脱落。称为“营地”(就像营地周围的帐篷)。这种方法提供了定义外部空间的有趣机会。为了满足预算，我们采用了一个独特而合理的屋顶系统-“大顶”，一个支撑着巨大的臀部屋顶的帐篷杆，把下面的书放在里面。

It was decided a peaked sloped roof would be used. This could achieve an ambiguously modern vernacular feel and was beneficial for snow and water shedding. Termed the 'Campsite' [like tents around a campsite]. This approach yielded interesting opportunities to define exterior spaces. To meet the budget a singular and rational peaked roof system was employed- 'the Bigtop' a single tent pole supporting a giant hip roof housed the volumes below.

 © Ben Rahn/A-Frame

C.Ben Rahn/A-框架

该节目被合并成4个逻辑群体：大师套房，卧室，实用/Den和生活空间。我们按要求的隐私程度安排了这些群众；从北到南。然后确定了哪些空间有森林景观，哪些空间有湖泊景观。群众被安排成框架外部空间和捕捉一个模糊不清的室内/室外条件。该计划被合理化为一个矩形，然后倾斜到一个梯形的形状，以最大限度地暴露在湖面上。

The program was consolidated into 4 logical masses: Master Suite, Bedrooms, Utility/Den and Living Space. These masses we arranged in terms of degree of Privacy required; north to south. It was then determined which spaces would have forest views and which would have lake views. The masses were arranged to frame exterior spaces and capture an ambiguous indoor/outdoor condition. The plan was rationalized as a rectangle then skewed to a trapezoidal shape to maximize the lake front exposure.

 © Ben Rahn/A-Frame

C.Ben Rahn/A-框架

由此产生的建筑形式表达了典型的“房子”质量。屋顶和墙壁合并成一个单一的流线形式。这种形式捕捉到了室外空间，创造了一个内外空间的连续体。沿着森林边聚集的部分通过一个开放的阁楼空间连接在上面。这间卧室/公共设施酒吧被视为一个染色松木板条‘黑匣子’，是外部的重要性的延伸。

The resulting formal expression of the building expressed an archetypal 'house' quality. Roof and walls merge in a singular streamline form. This form captures within it outdoor spaces creating a spatial continuum inside and out. The massing along the forest side became connected above by an open loft space. This bedroom /utility bar is treated as a stained pine slat ‘Black Box’ and is an extension of the materiality of the exterior.

 © Ben Rahn/A-Frame

C.Ben Rahn/A-框架

穿透建筑物的信封，暴露道格拉斯杉木屋顶和墙壁结构捕捉室外空间，并创造了一个空间连续体-一个孔隙的内部到外面。从客户对斯堪的纳维亚捕鱼棚屋的喜爱出发，用松木涂上柏油的雪松，这座建筑是用黑色波纹金属包裹的，这是北美对这种海岸线美学的一种成本效益高的诠释。其结果无疑是现代的，但也是原始的和工业化的。这种“高低”材料调色板和不同类型的方法是解除“设计”空间的宝贵性质的一种策略。

Punctures to the building envelope, and exposure of the Douglas Fir roof and wall structure capture outdoor space, and create a spatial continuum – a porosity of inside to out. Taking cues from the client’s fondness for Scandinavian fishing shacks, with their pine tar-painted cedar, the building is clad in black corrugated metal, a cost effective North American interpretation of this shoreline aesthetic. The result is decidedly modern, but raw and industrial too. This approach to a ‘high and low’ material palette and divergent typologies is a strategy to disarm the precious nature of ‘designed’ space.

内部是详细对比外部黑色包层。内部材料调色板的Sapelle窗框，后板混凝土地板，和道格拉斯杉木胶合板作为一个视觉对比点的黑暗，纹理的外部完成。这种概念解读强化了斯堪的纳维亚人的影响。道格拉斯杉木胶合板是根据客户的喜好选择非干墙内壳。道格拉斯杉木框架的外露区域要么开放到上面(早晨露台)，要么涂上烟色波纹丙烯酸(到达空间)。沿着森林边的房间支持一个上层开放的阁楼空间。这间卧室/公共设施酒吧被视为一个染色橡木‘黑匣子’，是外部象征外壳的重要性的延伸。屏蔽门廊有一个双折叠式隔断，打开它的小屋内部。50%的玻璃信封可以留在‘开放’屏蔽的位置，允许小屋暴露在微风，香味，声学，和阴影播放捕捉自然的感觉现场。

The interior is detailed to contrast the exterior black cladding. The interior material palette of Sapelle window frames, retroplate concrete floors, and Douglas Fir plywood works as a visual counterpoint to the dark, textured exterior finish. This conceptual reading reinforces the Scandinavian influence. Douglas Fir plywood was selected based on the client’s preference for a non-drywall interior shell. Exposed areas of Douglas Fir framing are either open to above (morning terrace) or clad with smoke tinted corrugated acrylic (arrival spaces). The rooms along the forest side support an upper open loft space. This bedroom /utility bar is treated as a stained oak ‘Black Box’ and is an extension of the materiality of the exterior – signifying enclosure. The screened porch has a bi-folding partition opening it to the cottage interior. 50% of the glazed envelope can be left in the ‘open’ screened position allowing for the cottage to be exposed to breeze, fragrances, acoustics, and shadow play – capturing the natural feel of the site.