架构师提供的文本描述。克罗地亚奥帕蒂亚里维埃拉的腹地点缀着别墅(建于一个半世纪内)。它们的上边、前边除了入口外什么都没有，我们只能想象它们的宽敞程度。它们的规模和与海湾的关系完全取决于海岸坡度(也许是由于假定某种隐藏的东西使奥帕蒂亚腹地的空间框架具有吸引力而引起的紧张)。

Text description provided by the architects. The hinterland of the Opatija Riviera in Croatia is dotted with villas (built within a century and a half). Their upper, front side reveals nothing but entrances beyond which we can only imagine their spaciousness. Their scale and relation to the bay are entirely dependent on the seafront slope (perhaps, it is the tension arising from the assumption of something hidden what gives the spatial frame of Opatija’s hinterland its appeal).

 © Sandro Lendler

桑德罗·伦德勒(Sandro Lendler)

虽然鸟巢和洞穴在类型上和形态上都与周围的空间整体相符，但它是通过支配和屈从于景观的辩证法来发展它的“隐藏的”一面的。因此，房子和它渲染的地方并不仅仅是由建造它们的斜坡构成的(就像奥帕蒂亚的大多数别墅一样)。相反，它通过放置地面(景观)，并在其上放置一个上方的物体，作为一个移位的水平，积极地建造景观并与之交织在一起。因此，房屋由一个坚固的混凝土掩体(睡眠区)组成，在其上放置一个钢制的空间网格结构，并将其伸长为一个17米长的控制台。尽管它是在一个功能简化的注册表中建造的，只有两个结构元素，而且它显然被划分为睡眠和生活区，但这所房子创造了一种奇妙的、不断变化的体验和空间。这是通过简单的错位上层相对于下一段，并将其刻在包裹的深度。

Although the Nest and Cave remains typologically and morphologically true to the surrounding space as a whole, it develops its "hidden" side through the dialectics of domination over and subordination to the landscape. So, the house and the place it renders are not structured solely by the slope onto which they are built (as it is the case with most villas in Opatija). Instead, it actively constructs the landscape and intertwines with it by laying down the ground level (landscape) and by placing on it an upper Object which hovers above as a displaced level. Therefore, the house consists of an entrenched concrete bunker (the sleeping area) on which a steel spatial grid structure is placed and which elongates into a 17 meter long console. Despite it being constructed within a reductive registry of functions, with only two structural elements and with its apparent division into the sleeping and living area, the house creates a wondrous, ever shifting experience and interspaces. This is achieved by a simple dislocation of the upper segment in relation to the lower one and by inscribing it into the depth of the parcel.

 © Sandro Lendler

桑德罗·伦德勒(Sandro Lendler)

错位的上部及其肥厚的控制台，通过交替的阴影和隐藏与开放和好客的表现，典型的紧张的地中海房屋：太阳和阴影的战斗。鸟巢和洞穴房子变成了对其遗产的重新诠释，通过投射物体(阴影)和打开身体中的空白(景观)实现了完整的形式。控制台留下一个阴影(取决于一天中的时间)，它给起居区域(作者所称的“房子的心脏”)以体积，并且通过交替其轴线的交点(太阳的角度允许它)，它在周围移动，从而不断地创造房子的另一个亲密区域。通过它的开窗面向远离道路和周围的结构，并通过仔细的框架的景观渗透和规定的深度或平面的内部，视觉(和静态)主导白色形状(铝覆盖的钢网格)邀请里面的Kvarner湾。

The dislocated upper part and its hypertrophic console express, by alternating the shadow and the hidden with openness and hospitality, the quintessential tension of a Mediterranean house: the battle of the sun and the shadow. The Nest and Cave house becomes a reinterpretation of its heritage by achieving a full form via projecting the Object (the shadow) and opening the void in the body (landscape). The console leaves behind a shadow which (depending on the time of day) gives volume to the living area (“the heart of the house”, as the author calls it) and, by alternating the intersection of its axes (as much as the angle of the sun will allow it), it shifts around thus constantly creating yet another intimate area of the house. Through its fenestration facing away from the road and surrounding structures and by carefully framing the landscape that penetrates and dictates the depth or flatness of the interior, the visually (and statically) dominant white shape (the aluminum covered steel grid) invites the Kvarner Bay inside.

 © Sandro Lendler

桑德罗·伦德勒(Sandro Lendler)

建筑师伊迪斯·图拉托(Idis Turato)不得不面对这样一个占主导地位的景观，他试图用巴克敏斯特·富勒(Buckminster Fuller)的话解释他存在的理由：“(…)主要问题是如何控制被封闭的空间；以及随后如何发展对封闭空间的选择性控制(.)“如何同时捕捉宽度，使亲密感，同时在无遮挡的视野面前不断地站在边缘？

Idis Turato, the architect, having to face such a dominant landscape, attempts to explain his raison d'être behind it in the words of Buckminster Fuller,: “(…) The main question is how to control the space compassed; and subsequently how to develop selective control of compassed space (...)“ How to simultaneously capture broadness, enable intimacy, while continuously standing on the edge in front of unobstructed views?

 section 01

section 01

物体支配着景观，而景观创造了物体的内在性-在框架和正在被框架的东西之间的一个连续的交换，房子在边缘。它严格的几何和雕塑属性(建筑师的控制)为未来的叙事提供了必要的基础(它的变化取决于观点)。它们还能精确地保持空间关系，以确保发生意外事件的可能性(例如，包围的线性自由)。

The Object dominates over the landscape, while the landscape creates the interiority of the object - a continuous interchange between the frame and what is being framed, the House on the Edge. Its strict geometry and sculptural attributes (the architect's control) provide a necessary foundation for a future narrative (its alternations depending on the viewpoint). They also maintain spatial relations just accurately enough to assure a possibility of an unforeseen event (such as freedom in linearity of enfilade).

 © Sandro Lendler

桑德罗·伦德勒(Sandro Lendler)

房子的景色和房子的景色经常发生包容和排斥的冲突。在某人的巢穴和洞穴下面，我们可以观察到景观和房子(另一个地方)之间的雕塑关系。另一方面，当我们置身其中时，我们就成了见证受控景观框架所带来的潜意识美的受益者-精心规划的轴线和角度成功地将“最初的资源与最终的产品”分离开来。对一个空间框架的控制允许一个“充满激情的思想不确定性”，不管我们是观察者还是使用者，以及我们讲的是什么故事。

The view of the house and the view from the house are in a constant clash of inclusion and exclusion. Beneath someone's nest and cave we are able to observe the sculptural relationship between the landscape and the house (the other place). On the other hand, when being inside it, we become beneficiaries of witnessing the subliminal beauty enabled by the controlled landscape frames- carefully planned axes and angles successfully separate the "initial resources from the final product". The control over a spatial frame allows for a "passionate uncertainties of thought", regardless of whether we are the observers or the users and of which story we are telling.

 exploded diagram

爆炸图