Introduction

Shantih是个避难所。她是由多重对立和决斗的身份组成的。她谦逊而周密，精心制作，有时重复。她大，大声，明亮，同时也阴郁，诡异神秘和忧郁。她的两只手臂围在一起，紧紧抓住这片土地，从她身边向无边的大海倾斜。

Shantih is a refuge. She is composed of multiple contrasting and duelling identities. She is modest and elaborate, finely crafted and at times repetitive. She is big, loud and bright while also somber, eerily mysterious and pensive. Her two arms wrap around and hold onto the land sloping away from her towards the infinite sea.

 © Greg Richardson Photography

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客户/简报

Client/Brief

Shantih是位于新斯科舍省皇后县的一个海滨小镇Hunts Point的一座小型海滩别墅，该地区以其茂盛的自然景观而闻名。这些客户在附近的哈利法克斯市(Halifax)建起了自己的主要住所，要求他们的新海滨别墅要与这片富丽堂皇的景观相结合，同时要保持一条通往道路的朴素的公共外墙。地产中央的天然草盆长期以来一直是他们年幼的孙子们的游乐场，所以农舍需要在前景中庆祝田园。海滨别墅需要从繁忙的城市生活中得到安静的休息，为被动的内部/外部联系提供多种机会，同时也是客户日益壮大的大家庭的聚会场所。

Shantih is a small beach house located in Hunts Point, a small beach town in Queen’s County, Nova Scotia, an area known for its lush, natural landscapes. The clients, who make their primary home in the nearby city of Halifax, required that their new beach house engage this rich landscape, while maintaining a modest public façade toward the road. The natural grassy bowl in the middle of the property had long been a playground for their young grandchildren and so the cottage was required to celebrate the field in the foreground. The beach house would need to provide a quiet respite from the busy city life, offering multiple opportunities for passive interior/exterior connections, while also acting as a gathering venue for the clients’ ever-growing extended family.

 © Greg Richardson Photography

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Shantih的位置、形式和实质都与它所建立的猎人点景观有着内在的联系。

Shantih’s siting, form and materiality are all intrinsically linked to the Hunts Point landscape on which it is built.

 © Greg Richardson Photography

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建筑物的选址是两个当地自然景观特征的结果；一个自然的碗位于物业的中央和一个明显美丽的弯曲海滩毗邻的财产。海滩和天然草盆构成了最鲜明的特点，站在陆地(微观)和空中的角度(宏观)。平房的展翅符合这两种土地的特点，舒适地窝在一个隐蔽的私人区域为客户服务。

The building siting is a consequence of two local natural landscaping features; a natural bowl situated in the middle of the property and a distinctly beautiful curved beach adjacent to the property. The beach and the natural grassy bowl make for the most distinct features standing on the land (micro) and from an aerial perspective (macro). The spread wings of the cottage conform to both land features, nestling comfortably into a sheltered, private area for the clients.

 © Greg Richardson Photography

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经济棚屋顶的灵感来源于沿着新斯科舍海岸线的当地渔棚和棚户区。屋顶的低端面向主干道和公共领域，作为一种谦逊的姿态，在叙事介绍中提供了一个舒适的人类尺度元素。

The economical shed roof is inspired by the form of local fishing sheds and shanties spread along the Nova Scotia coastline. The low-end of the roof faces towards the main road and public realm as a modest gesture, providing for a comfortable element of human scale at the narratives introduction.

 © Greg Richardson Photography

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建筑物的外部皮肤是由浅染的东部白色雪松瓦，细水平板条，暴露的杨树肥皂，不锈钢烟囱和一个清脆的白色翼型太阳。从新不伦瑞克附近的工厂采购的东部白雪松是当地设计白雪松的主食，几乎不需要维修，因为木瓦有它们自己天然产生的保护油。

The buildings’ exterior skin is composed of lightly stained eastern white cedar shingles, fine horizontal slats, exposed poplar soffits, stainless steel chimneys and a crisp white aerofoil brise soleil. The eastern white cedar, sourced from nearby mills in New Brunswick, is a staple of the regions design vernacular and requires little to no maintenance, as the wood shingles have their own naturally occurring protective oils.

 © Greg Richardson Photography

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根据客户的要求，海滩别墅的后面(街道)是地平线上方的一条长而低的水平害羞线，而私人的正面(海洋)是高大、自豪的，对西方的日光和海景开放。长而无窗的北面旨在节省建筑物的能源消耗，并在盛行的东北风中制造一道屏障。第二视图指向建筑物东侧(上午)的车道和外部游泳池。一扇薄薄的条形窗户，将建筑物的两端连接在一起。

As per the requirements of the client, the rear (street) of the beach house is a long and low horizontal shy line just above the horizon, while the private façade (ocean) is tall, proud and open to the western daylight and ocean view. The long windowless north face aims to economize the building’s energy use and create a barrier from the prevailing north-east winds. Secondary views point towards the driveway and exterior pool on the eastern (morning) side of the building. A thin strip window, running the length of the building, ties the ends of the building together.

 © Greg Richardson Photography

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最重要的是，Shantih有意识地利用该地区的当地技能、人才和物质语言。建筑施工是节约使用包层和框架技术，是众所周知的，易于适应现代词汇。

Above all else, Shantih is consciously designed to utilize the local skill, talent and material language of the region. Building construction is economized by using cladding and framing techniques that are well known and easy to adapt in a modern vocabulary.

 © Greg Richardson Photography

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海滨别墅的内部结构由两翼组成，两侧是中央的大房间。一个交叉纹理的主要入口吸引游客沿着一条长长的走廊(三个压缩区中的第一个)，然后进入由2‘深的工程木梁支撑的主空间。这间大房间包括厨房、餐厅和客厅，里面有一个6英尺长的煤气壁炉。从这间大房间里，一个完全可折叠的玻璃系统(NanaWall)将一个外部屏蔽门廊变成了主要的室内社交区，创造了一个不间断的大型夏季空间。

The interior composition of the beach house comprises two wings flanking a central great room. A cross-grained main entry pulls visitors along a long corridor (the first of 3 compression zones) before entering the main space which is supported by 2’ deep engineered wood beams. The great room includes a kitchen, dining and living room, which houses a 6 foot long gas fireplace. From the great room a fully collapsible glazing system (Nanawall) morphs an exterior screened porch into the primary interior social zone, creating an uninterrupted large summer space.

 © Greg Richardson Photography

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主空间与走廊相连(剩下的2个压缩区)，它们要么通向南翼，要么通向北翼，要么通向沉睡的翅膀。南翼包括所有主要住宅单元，而北翼则包含其余客房。主卧室的机翼有180度的海景，车道和相邻的树线。混凝土地板，裸露的木材和当地制造的磨坊构成了建筑内部的空间调色板。

The main space is adjoined by corridors (the remaining 2 compression zones), which lead to either the south or north wings, or the sleeping wings. The south wing encompasses all of the primary dwelling units while the north wing houses the remaining guest rooms. The master bedroom wing is wrapped with a 180 degree view of the sea, the driveway and the adjacent tree-line. Concrete floors, exposed wood and locally fabricated millwork make up the space palette of the buildings interior.

Shantih的入口和内部走廊引导用户通过游行叙事。Shantih有着漫长的黑暗走廊，压缩的空间和声音的变化，由有目的对比组成，试图在主要的生活空间中建造新月。Shantih提供了一部意味深长的戏剧-第一次看到那深不可测的景色的喜悦。房子的光，空间和声音与黑暗，限制和孤独的不同对比，建立了这种叙事。

Shantih’s entry and interior corridors guide the user through a processional narrative. With long dark corridors, compressed spaces and acoustic variation, Shantih is composed of purposeful contrasts in an attempt to build crescendos in the main living spaces. Shantih provides an intended drama – the joy of seeing the unfathomable view again for the first time repeatedly. The houses varying contrasts of light, space and sound with darkness, confinement and solitude builds that narrative.