© Nick Kane

尼克·凯恩

架构师提供的文本描述。安格利路两旁有大量维多利亚式梯田的红砖房屋。花园从房屋向后延伸到遗址后面的Dodder河。高高的花岗岩瓦砾墙包围着他们。背地空间本身就有一种宁静的特征。这是一个迷宫般的石头花园围场。这个地区被洪水淹没。当地人估计，底层门把下面的任何东西都是脆弱的。

Text description provided by the architects. Anglesey Road is lined with substantial Victorian terraced redbrick houses. Gardens stretch back from the houses to the River Dodder at the back of the site. High granite rubble walls enclose them. The back land space has a serene character of its own. It is a maze of stony garden enclosures. The area is given to flooding. Locals estimate that anything below the ground floor door handles is vulnerable.

 © Nick Kane

尼克·凯恩

这所房子的设计开始于与客户的对话，讨论加州建筑师克雷格·埃尔伍德的作品中一个持久的主题。他准备了大量的设计基于玻璃桁架的想法，超越一个石头外壳。桁架将包括一个亭子和石头围护将被组织成房间和庭院。这一安排汇集了米斯·范德罗所探索的两种房子类型：一种是向大自然敞开大门的法恩斯沃思之家，另一种是一个封闭的、回望自身的世界-庭院之家(Courtyard House)。

The design for this house began with a conversation with the client about a persistent theme in the work of the Californian architect Craig Ellwood. He prepared a significant number of designs based on the idea of a glazed truss surmounting a stone enclosure. The truss would contain a pavilion and the stone enclosure would be organised into rooms and courtyards. This arrangement brings together the two house types explored by Mies Van der Rohe; The Farnsworth House, a vitrine opening out to nature and The Courtyard House, an enclosed world looking back into itself.

 © Nick Kane

尼克·凯恩

这种部门组织形式的美妙之处在于它将两个相反的原则并列在一起。石制围护结构由地面和承重墙组成，玻璃桁架是框架结构。石围是封闭的和内向的，属于花园的墙壁。琉璃亭向四面八方的地平线开放。

The beauty of this form of sectional organisation is that it juxtaposes two opposite principles. The stone enclosure is built up from the ground with load bearing walls; the glazed truss is a frame. The stone enclosure is cloistered and inward looking, belonging among the garden walls. The glazed pavilion is open out to views to the horizon on all sides.

 © Nick Kane

尼克·凯恩

现有的花园墙壁在现场是由粗糙的花岗岩瓦砾墙。我们选择用同样的花岗岩建造新的墙壁，但是用不同的方式来表达它。在一些地方，它是粗糙面树脂粘灰，在另一些地方，它被安排成一个开放的屏幕。这个亭子是由一个钢的室内德尔桁架，这是玻璃两层。第一种是由外部百叶窗保护的滑动门和固定的屏风，第二种是用天然亚麻布层压成玻璃的单一固定玻璃。我们不喜欢用修辞来表达桁架，而是让玻璃层表现出一种玻璃般的品质。

The existing garden walls on the site are made from rough granite rubble walling. We chose to make the new walls from the same granite but to articulate it in different ways. In some places it is rough-faced resin bonded ashlar, in others it is arranged into an openwork screen. The pavilion is made from a steel Virendeel truss that is glazed in two layers. The first is sliding doors and fixed screens protected by external blinds, the second is single fixed glazing with natural linen laminated into the glass. We preferred not to rhetorically express the truss but to allow the layers of glass to express a vitreous quality.

 © Nick Kane

尼克·凯恩

我们的意图是，上下空间的光质量会以微妙的方式不同。在一楼，占主导地位的灯光是从高墙上进来的。这将通过遮挡天窗来增强，允许不时出现强烈的几何阴影。在上层，多层玻璃与亚麻布和百叶窗应产生一个更柔和的光线与模糊的轮廓。

Our intention was that the quality of light in the upper and lower spaces would differ in subtle ways. On the Ground Floor the dominant light would be sidelight brought in off high walls. This would be enhanced by baffled skylight allowing the possibility of strong geometric shadows from time to time. On the upper floor the multiple layers of glass with linen and blinds should produce a softer light with fuzzier outlines.

 © Nick Kane

尼克·凯恩

整个高高的展馆被移交给了一个扩大的主卧室套房，供家长使用。里面有书房、卧室、浴室和小客厅。底层设有从走廊进入的客人卧室。大厅和楼梯构成平面图的中心，空间向四面八方延伸。当你进入建筑物时，你会被邀请向外向不同的方向光移动。从上面的展馆借来的光从上面照亮了走廊的空间。楼梯可以理解为一个风车，周围的计划形式的建筑物。石墙是以“L”形状建造的，以便自我支撑。他们互相联系。这创造了一种特殊的空间布局，你通过在重叠的墙壁之间滑动而从一个空间移动到另一个空间。我们希望这能给人一种发展或发展的感觉。

The whole of the raised pavilion is given over to an extended master bedroom suite for the parents. It contains a study, bedroom, bathroom and small sitting room. The Ground Floor contains guest bedrooms accessed from the hallway. The hall and staircase form the centre of the plan with spaces extending out in all directions. As you enter the building you are invited to move outwards in different directions towards the light. Borrowed light from the upper pavilion illuminates the hallway space from above. The staircase can be read as a pinwheel around which the plan form of the building is organised. The stonewalls are built in ‘L’ shapes in order to be self-bracing. They interlock with each other. This creates a particular spatial arrangement where you move from space to space by sliding between overlapping walls. We hope that this gives a sense of development or unfolding.

这座建筑有一个地下室，形成了一个凸起的桥墩。这已被用来创造一个防洪水平，并保护较低的地板免受水浸。我们使用网站的斜坡，让我们在一端通过停车场水平访问。这种安排使我们能够在底层创造出各种各样的天花板高度。地下室设有斯诺克客房、植物房、储藏室和公用室，以及为短期客人和大家庭提供的半自主卧铺。这个房间是由庭院里的牧师点亮的。

The building has a basement, which forms a raised plinth. This has been used to create a flood-proof level and to protect the lower floor from flooding. We use the slope of the site to give us level access at one end through the carport. This arrangement allows us to create a variety of ceiling heights within the Ground Floor. The basement contains a snooker room, plant room, storage and utility rooms and a semi-autonomous bed-sit for short-term guests and the extended family. This room is lit by clerestory from a courtyard.

房子里的宜居房间都是用开着的窗户自然通风的。在上一层，滑动门在玻璃/亚麻布屏风后面打开。空气在屏幕之间流通，百叶窗在各层之间流通，减少了热量的增加。

The habitable rooms in the house are all naturally ventilated using opening windows. On the upper floor, the sliding doors open behind the glass/linen screens. Air circulates between the screens and the inclusion of blinds, between the layers, cut out heat-gain.

我们为这座房子设计的外形、材质和亮度都是为了在都柏林特有的阴天、阵雨、海洋环境中工作。绿玻璃和水晶灰色花岗岩墙是想象在层云下的日子，从来没有完全干。

The form, material palette and luminosity that we designed for this house are intended to work in that cloudy, showery, maritime environment particular to Dublin. The green glass and crystalline grey granite walls were imagined under Stratus clouds on days that never quite dry out.

Architects Niall McLaughlin Architects

Location Dublin, Ireland

Category Houses

Area 490.0 m2

Project Year 2009

Photographs Níall McLaughlin Architects, Nick Kane