架构师提供的文本描述。D房是一个单一的家庭住宅与一个综合工作室-画廊。它建在陡峭的斜坡上，编织成它周围的环境，同时也暗示着更遥远的山景。一方面，它嵌入在郊区的定居点，另一方面，它是一个南面葡萄园的终点。这种矛盾心理是由以前存在的沿着东侧的天然石墙，延伸到开阔的景观中来强调的。这道墙的有机曲线-整个西坡的一条线特征-私人车道的石边，以及蜿蜒的道路，决定了具体的情况。通过这种方式，我们设想D屋是一种连接现有元素的连接点，它延伸到陡峭的斜坡上。

Text description provided by the architects. House D is a single-family dwelling with an integrated studio-gallery. Built on a steep slope, it weaves itself into its immediate surroundings and at the same time alludes to the more distant mountain landscape. On the one hand, it is embedded in the suburban settlement, on the other, it stands out as the end point of a southward-facing vineyard. This ambivalence is emphasized by the previously existing natural stone wall that runs along the eastern side, reaching out into the open landscape. The organic curve of this wall – a line characteristic for the entire western slope – the stone border of the private driveway, and the snaking path of the road define the specific situation. In this way, we conceived House D as a kind of joint that extends past the steep slope to connect the existing elements.

 © Mateo Piazza

(Mateo Piazza)

房屋的结构-即部分和/或平面图-是由于场地的不寻常性质造成的。在南侧，房屋沿着整个建筑线延伸，形成一个四层堆叠的体积(近似高度差：12米)。否则，计划的圆形轮廓抽象地跟随属性线。室内空间的构造是对特定地形情况的人为反映。所有的景观都是精心设计的，以尽可能多地捕捉周围仍然完整的景观，同时也屏蔽了邻近的、不那么吸引人的街区。螺旋形的循环过程表现在盘旋的屋顶结构(一种蜿蜒的木结构)，它遵循北向中庭的曲线，向上蜿蜒，在卧室的立面上短暂支撑着，然后继续以逐渐变细的珀戈拉的形式进入葡萄园。

The structure of the house – that is, the section and/or the floor plan – results from the unusual nature of the site. On the south side, the house extends along the entire length of the building line, forming a four-story stacked volume (approximate height difference: 12 m). Otherwise, the rounded contour of the plan abstractly follows the property line. The structuring of the interior spaces is an artificial reflection of the specific topographic situation. All views are choreographed to capture as much of the still intact surrounding landscape as possible while blocking out the immediate, less attractive neighborhood. The spiral course of circulation manifests itself in the hovering roof structure (a snaking timber construction) that follows the curve of the northward-facing atrium, winds upward, is briefly supported by the bedroom façade, and then continues off into the vineyard as a tapering pergola.

 © Mateo Piazza

(Mateo Piazza)

四层楼，每层都有自己的特点，决定了空间的连续性。较低层的房子半公开，中立色调的工作室画廊与公平的脸混凝土墙和自然照明从侧灯和牧师窗口在斜坡侧。这座房子的入口处经过一条宽的、半室内的、半室外的混凝土楼梯，通往这所房子的女士的领地：一个两层高的工作室图书馆和毗邻的工作区，墙上有一面玻璃墙俯瞰着画廊。在画廊四分圈形的空隙周围聚集着儿童卧室、一间客房、以及浴室和公共设施室。颜色和材料在总体上发挥着特别重要的作用，并计划与艺术家曼弗雷德·阿洛瓦·梅尔(ManfredAloisMayr)进行鼓舞人心的合作。

Four floors, each with its own character, determine the spatial continuum. The lower level houses the semi-public, neutrally toned studio-gallery with fair-faced concrete walls and natural illumination from a side light and clerestory windows on the slope side. The entrance to the house leads via a wide, half-indoor, half-outdoor, concrete staircase to the domain of the lady of the house: a two-story-high studio library and adjacent work area with a glass wall looking down onto the gallery. Grouped around the quarter-circle-shaped void of the gallery are the children’s bedrooms, a guestroom, and the bath- and utility rooms. Colors and materials in general play an especially important role and were planned in an inspiring collaboration with the artist Manfred Alois Mayr from Bolzano.

 © Mateo Piazza

(Mateo Piazza)

沿着垂直的承重混凝土板，另一个楼梯通向房屋的主层。在这里，我们发现该建筑唯一的大面积互联水平空间与两个直接相邻的梯田。在这层楼里，房子水平地打开，包围着一种中庭，里面有相连的起居室、餐厅、厨房和主卧室。低的房间高度(2.44米)和黑色的木板形天花板(像正面一样)促使眼睛向外看。天花板下面有一扇1.5米高的丝带窗，穿过房子的一半，可以看到180°的山脉全景。上层-封闭在一个孤立的木箱-是一个私人空间，一种舒适的家庭房间。

Along the vertical, load-bearing concrete slab, another staircase leads up to the main level of the house. Here we find the building’s only large-area interconnected level space with two directly adjacent terraces. On this floor the house opens out horizontally, encloses a kind of atrium with connected living and dining room areas, a kitchen, and the master bedroom. The low room height (2.44 m) and the black wooden slat ceiling (like the façade) impel the eye outward. A one-and-a-half meter high ribbon window directly below the ceiling cuts through half of the house, affording a 180° panoramic view of the mountains. The upper level – enclosed in an isolated wooden box – is a private space, a kind of cozy family room.

 © Mateo Piazza

(Mateo Piazza)

房屋建筑：混凝土用于地下区域和竖向承重板；木材为所有可见体积从一楼向上。所有外立面和中庭水平的墙壁都被一个燃烧的橡木覆盖。室内房间的气氛强烈地取决于使用的材料：蜡橡木，劈开的天然石板，白面混凝土(有时带有吹嘘的表面)，黑色的水磨石地板，深绿色的玻璃马赛克砖，剑麻墙…。

On the construction of the house: concrete was used for the underground areas and the vertical load-bearing slabs; timber for all the visible volumes from the first floor upward. All outer façades and the atrium-level walls are covered with a flamed oak cladding. The atmosphere of the interior rooms is strongly determined by the materials used: waxed oak, split natural stone slabs, fair-faced concrete (sometimes with a boasted surface), black terrazzo flooring, bottle-green glass mosaic tiles, sisal walls …