架构师提供的文本描述。在黑山的一个小镇布德瓦附近的一个小地方，这个住宅的一般区域里几乎没有周末的房子。住宅位于圆形剧场内，与其他建筑物相距较远。设计决定受到太阳射线的轨迹、地中海风(“bura”和Shiroko)、海景和声音以及周围植物和树木的气味的影响。

Text description provided by the architects. There are few weekend-houses in the general area of this residence in a small place near Budva, a town in Montenegro. The residence is located in an amphitheatric ally within reasonable distance from the rest of the buildings. The design decisions were influenced by the trajectories of sun rays, the Mediterranean winds ("bura" and shiroko"), the view and sounds of the sea, and the odor of the surrounding plants and trees.

 © Ana Kostic

(Ana Kostic)

塑造建筑的空间实验的主要动机是对深度知觉(空间维度)的操纵，从而直接体验到现象学的神秘概念。在这方面，该项目正在探索Kojin Karatani的“视差”概念。

The main motivation for the spatial experiments shaping the building was the manipulation of depth perception (dimensionality of space) allowing the enigmatic notion of phenomenology to be directly experienced. In this regard, the project is exploring Kojin Karatani's notion of "parallax".

 © Ana Kostic

(Ana Kostic)

从视差的概念，每次当我们从不同的天使观察“事物”(房子)，我们认为它的维度是不同的。这种不可通约性是由于内部所包含的空间与外部皮肤所封闭的空间之间的关系所致。内外、封闭和封闭之间的不可通约性，是建立在我们对现实的基本现象学经验的基础上的，因为现实是我们面对的一个空间。因此，当我们从内部观察自然(由窗户构成的视野)时，我们总是与“事物”本身(从大自然的崇高方面)保持距离。在这种情况下，当我们打开窗户时，外部现实的直接影响创造了一个最小的冲击，使我们处于被大自然的接近所淹没的境地。根据这些方面，该住宅的定位和设计方式，使形式方面总是防止完整的经验空间。这种经验的制约体现在两个方面。

From the notion of parallax, each time when we observe "the thing" (the house) from different angels, we perceive its dimensions to be different. This incommensurability results from the relation between the contained space of the inside and the enclosure by the outward skin. The incommensurability between inside and outside, enclosed and enclosure, is based on our elementary phenomenological experience of reality as a space that confronts us. For this reason, when we observe nature from the inside (view framed by the window) we are always distanced from "the thing" itself (from the sublime aspects of nature). In this context, when we open the window, the direct impact of the external reality creates a minimal shock putting us in the position being overwhelmed by nature's proximity. According to these aspects, this residence is positioned and designed in such manner so that formal aspects always prevent the complete experience of space. This constraint of experience is reflected in two aspects.

 © Ana Kostic

(Ana Kostic)

一方面，该项目质疑观察者对他/她对空间的看法的期望。当接近住宅时，只留下一个空间的两个维度(环绕空间的混凝土正面)。这一概念的二维框架是辅助的建筑过程的正面(挂墙的住宅)。混凝土墙是用模板建造的，木头被烧焦，以便在表面留下木制的印记。在这个同时建造挡土墙的过程中，建造了一个住宅的简写(信封)。这样，立面的形式体验影响了我们所有的感官，从而隐藏了空间的空间维度。

On the one hand the project questions the observer's expectations concerning his/her perception of space. When approaching the residence, one is left with only two dimensions of a space (concrete facade enclosing the space). This notion of the two-dimensional frame is assisted by the construction process of the facade (suspended walls of the residence). Concrete walls were constructed by formwork which wood was burned in order to leave wooden imprint on the surface. In this process of constructing retaining walls at the same time was created a skim (envelope) of the residence. In this way, the formal experience of the facade affects all our senses and thus conceals the spatial dimension of space.

 © Ana Kostic

(Ana Kostic)

另一方面，住宅是由一个限制内部空间的具体信封构成的，但同时也打开了对该空间的更深层次理解的范围。这是存在于门窗的位置在正面。通过这一开口，工程的主体积部分受到白色圆角墙(儿童友好设计)的限制，面临作为住宅空间框架的围护结构和砖墙的粗糙和粗糙。换句话说，内壁的平整度与外部表面的粗糙度相反，这样，所选材料的外部硬度就会抵抗表面处理的内部柔软性。

On the other hand, the residence is framed by a concrete envelope which limits the inside space, but at the same time opens the scope to a deeper comprehension of that space. This is present in the position of doors and windows within the facade. Through this openings the main volume of the project, partially restricted by white walls with rounded edges (child friendly design), is confronted with the harshness and the roughness of an envelope and masonry wall which is spatial frame of the residence. In other words, smoothness of the inside walls opposes roughness of outer surfaces, in that way outer hardness of selected materials resists interior softness of surface treatment.

 © Ana Kostic

(Ana Kostic)

脱脂(信封)和体积之间的差距表明，内外从来没有完全覆盖整个空间。这表明，在内外关系中始终存在着“第三维度”。该项目试验了这与场地属性之间的关系。从这个意义上说，居地与250岁橄榄的关系、方位、形式感情及其与地形的关系，都是已经存在的措施。换句话说，住宅的设计是为了突出一些已经被封闭在多个空间中的空间品质。

The gap between skim (envelope) and volume indicates that inside and outside do never fully cover the entire space. This indicates that there is always the "third dimension" in the relation between outside and inside. The project experiments with this in its relation to the properties of the site. In this sense, the relationship between the residence and 250 years old olive threes, orientation, formal affection, and its relation to the topography fulfill the measure which already existed on site. In other words, the residence is designed in order to highlight some spatial qualities which are already enclosed in the multiple dimensions of the place.

 First Floor Plan

一层平面图