Courtesy of Henry Stephens, Nick Roberts, and Jack Davies

亨利？斯蒂芬斯，尼克？罗伯茨，杰克？戴维斯。

澳大利亚最早的定居者遇到了他们认为是严酷和广阔的景观-“他们没有看到无限空间的景观是崇高的”(Malouf，2010)。伊丽莎白·法雷利(Elizabeth Farrelly)认为，这已经导致了国民心理上的自我延续状态-在这种状态下，直接走向占领这片土地的方法是，沿着地面向外扩散，无止境地向外扩散。这一观点自相矛盾地表明，一方面是对边疆的冒险探索，另一方面是保守人士不愿意在这片土地上占有一席之地-去深入挖掘。

Australia's earliest settlers encountered a landscape they perceived to be harsh and expansive - 'they did not see the landscape of infinite space as sublime' (Malouf, 2010). Elizabeth Farrelly suggests this has led to a self-perpetuating condition in the national psyche - one where the immediate move towards occupation of this landscape is through an endless proliferation outward, along the ground plane. This notion paradoxically suggests both an adventurous exploration of the frontier, and a conservative lack of willingness to make a place within the landscape – to dig in.

 Courtesy of Henry Stephens, Nick Roberts, and Jack Davies

亨利？斯蒂芬斯，尼克？罗伯茨，杰克？戴维斯。

沃尔特·伯里·格里芬(Walter Burley Griffin)1912年关于堪培拉的总体规划是基于这样一种观念，即城市规划中的现代主义观念可以与地形的特殊性相协调，这意味着对澳大利亚景观的占领是很少有人向往的。

Walter Burley Griffin's 1912 masterplan for Canberra was predicated on the notion that modernist tropes in urban planning could be reconciled with the particularities of topography, suggesting an occupation of the Australian landscape rarely aspired to.

 Courtesy of Henry Stephens, Nick Roberts, and Jack Davies

亨利？斯蒂芬斯，尼克？罗伯茨，杰克？戴维斯。

从形式上讲，这个小屋是由一个分裂的庭院形式锚定的，正面半部沉入地下，形成了一个加厚的、可占用的平台，私人空间在此基础上休息，而辅助项目则辐射出整个场地。作为对地面的回应而增强的形式的概念是对二次阅读的奖励；整个站点不断变化的空间条件抵制将建筑简化为理想化的对象。

Formally, the lodge is anchored by a split courtyard form, the frontal half sunk down into the earth forming a thickened, occupiable plinth on which the private volumes rest, while ancillary programs radiate out across the site. The notion of form augmented as a response to ground rewards a secondary reading; the constantly changing spatial conditions across the site resists the architecture being reduced to an idealized object. 

 Courtesy of Henry Stephens, Nick Roberts, and Jack Davies

亨利？斯蒂芬斯，尼克？罗伯茨，杰克？戴维斯。

从外部看，这座建筑既包围了景观，又被它所包围。挡土墙将游客吸引到一个编排好的入口处，在一系列中间空间中将他们拉过地球-在上面不断变化的天气条件下，压缩了地下的古老性质。

Externally, the building both enfolds the landscape and is subsumed by it. Retaining walls draw visitors into a choreographed entry sequence, pulling them through the earth in a series of intermediary spaces - compressing the archaic nature of the subterranean with shifting weather conditions above. 

 Courtesy of Henry Stephens, Nick Roberts, and Jack Davies

亨利？斯蒂芬斯，尼克？罗伯茨，杰克？戴维斯。

从环境角度来看，流体地形与线性定义的交集是同等考虑的；水的收集与人类的循环模式是一致的。这些活动最终形成了一系列精心设置的水拘留区，专门用于净水、灌溉和防止洪水和侵蚀，具体取决于它们在整个地点的位置。

Environmentally, the intersection of fluid topography and linear definition is equally considered; water collection aligns with human circulation patterns. These culminate in a series of carefully placed water detention areas, dedicated to purifying water, irrigation, and the prevention of flooding and erosion, depending on their location across the site. 

 Courtesy of Henry Stephens, Nick Roberts, and Jack Davies

亨利？斯蒂芬斯，尼克？罗伯茨，杰克？戴维斯。

从物质上看，这座建筑表明，澳大利亚人接受了澳大利亚景观固有的敌意，使用了混凝土、本地木材和可回收金属板材的调色板，这些材料将持续并记录太阳、雨水和火灾的周期性模式。这种自然开垦的尝试受到欢迎，只会巩固其在景观中的地位。

Materially, the building suggests an acceptance of the Australian landscape's inherent hostility, utilizing a palette of concrete, local timber and recycled metal sheeting that will endure and record the cyclical patterns of sun, rain, and fire. This attempted reclamation by nature is welcomed, only serving to consolidate its place within the landscape. 

 Courtesy of Henry Stephens, Nick Roberts, and Jack Davies

亨利？斯蒂芬斯，尼克？罗伯茨，杰克？戴维斯。

在内部，对庭院形式的操作允许一个程序化的组织，协调到亲密的休息空间和适合公众集会的巨大深度。再加上外界对地形的认识，这些不断变化的模式在内部发生，鼓励居民在这个地方寻找出路-这是对游牧的土著居民居住方式的一种姿态，在那里，建筑形式被占领，就像土地形式一样。

Internally, manipulation of the courtyard form allows a programmatic organisation attuned to both intimate spaces of repose and a monumental depth suitable for public assembly. Coupled with an awareness of the topography outside, these ever-changing patterns occurring internally, encourage inhabitants to find their way through the site – a gesture toward the nomadic Aboriginal mode of dwelling where built-form is occupied like land-form. 

 floor plan

建筑师参考资料：Malouf，D和Farrelly，E.景观和住宅，全国广播电台，2010年11月7日

Architects' Reference: Malouf, D, and Farrelly, E. Landscape and Dwelling, broadcast for Radio National, 7 November 2010