架构师提供的文本描述。决定论本身就是一个由不同方面组成的奇妙组合。它试图理解它否认的景观，解释它所排斥的世界，带来它所害怕的自然，并在建筑构图中概括这一切。

Text description provided by the architects. The hortus conclusus unites within itself a marvellous assemblage of disparate aspects. It seeks to understand the landscape it denies, explain the world it excludes, bring in the nature it fears and summarise all this in an architectural composition.

 Courtesy of Studio Mumbai

孟买工作室提供

封闭花园，RobAben，SaskiadeWit

The Enclosed Garden, Rob Aben, Saskia de Wit

2005年，孟买及其腹地发生了严重的洪水，这标志着它在该地区现存的泵房上的高水位标志。使用它来登记房屋的基准面后，在高水平线上方两英尺处铺设桩基础，并浇铸一块板。中央的填土是从挖井出来的，在一个院子里，房子越来越大了。

The severe flood of Mumbai and its hinterland in 2005 had marked its high-water mark on a pump-house that was extant to the site. Aftet using it to register the datum for the house, pile foundations were put in and a slab was cast two feet above the high-water line. The central fill came from the excavation for the well, and around a court, the house grew.

 Courtesy of Studio Mumbai

孟买工作室提供

建筑的语言和逻辑分为三个主要的建筑动作。第一种是两块不同的地块，宽度以一英尺为单位，由地面上的石砌庭院隔开，由上层的铜屋顶平面连接起来。这两个街区在上层是独立的个人空间，一个是单独的卧室和浴室空间，另一个是额外的研究空间。

The language and logic of the building are located in three primary architectural moves. The first is the creation of two distinct blocks, varying in width by a foot, separated by the stone-paved courtyard on the ground, and united by the cupric roof plane at the upper level. The two blocks function as discrete personal spaces on the upper level, one is a singular space of bedroom and bath, the other has an additional study.

在地面层面，室内家庭房间成为主要生活空间的附属物，没有其他更多私人空间所展示的围堵。这一主要空间实际上是房子的甲板，俯瞰景观和庭院，创造了一个景观的同时，每一个不同的规模和通道。上层铜覆盖的私人空间处于相互紧张的位置，同时保证亲密和孤立，这对国内内部来说是必不可少的。

At the ground level, an indoor family room becomes an adjunct to the main living space which does not have the containment that the other more private spaces exhibit. This main space functions literally as the deck of the house, overlooking the landscape and the courtyard, creating a simultaneity of vistas, each of a different scale and access. The copper-covered private spaces at the upper level are positioned in mutual tension, with the guarantee of simultaneous intimacy and isolation, so essential to the domestic interior.

 Courtesy of Studio Mumbai

孟买工作室提供

这一空间策略还允许在房屋上下空间之间进行不同程度的交流，包括视觉交流和其他交流。在喀拉拉邦，远离孟买，沿着印度半岛的西海岸(在许多其他地区)，庭院是传统房屋的中心。

This spatial strategy also allows for varying levels of communication, visual and otherwise, between the upper and lower spaces of the house. In Kerala, further south from Mumbai along the west coast of the Indian peninsula (as in many other regions), the courtyard was the center of the traditional house.

由柱子两旁的庭院构成的中央房间叫做纳卢克托(Naalukettu)。但是，整个结构，包括中央大厅和四周的四翼，也通常被称为纳卢克托(Naalukettu)。这种把庭院作为房子本身的提法，为这座房子的设计发展提供了线索，因为它从一个拥抱的结构发展到一个开放的结构。

The central room formed by the courtyard flanked by pillars was called the naalukettu. But the entire structure, comprising the central hall and the four wings around was also commonly referred to as the naalukettu. This reference to the courtyard as the house itself, holds a clue to the development of the design for this house, as it evolved from being an embracing structure, to one which opened out.

 Courtesy of Studio Mumbai

孟买工作室提供

第二个明确的举措是通过一系列的物质姿态来实现光的分层，每个手势都调整到光的方向，以及改变隐私程度的需要。这是与筛分装置由精细的网框的传统制作的木材，凹槽玻璃扩散的光线和绿色植物，暗示缺席的城市，滑动和折叠的木制窗户，所有这些都允许有一定程度的隐居。

The second definitive move is the layering of light through a series of material gestures, each one tuned to the direction that light takes and the need for changing degrees of privacy. This is articulated with screening devices made of fine netting framed in traditionally crafted wood, fluted glass which diffuses the light and greenery and hints at the absent city, and sliding and folding wooden windows, all of which allow for degrees of seclusion.

墙壁是用青瓷色的传统灰泥做成的，光滑的像人的皮肤一样光滑，像中国古代的釉一样开裂，给人一个零碎的陶瓷容器的短暂外观，呈直线状，并覆盖着一个风化铜的盖子。连续铜屋面形成了房屋的二次基准面，成为潜在的占用面和覆盖面。

The walls are finished in a celadon-coloured traditional plaster, smooth like human skin, and crackled like the ancient Chinese glaze, giving the transitory appearance of a fragmented ceramic container, rectilinear and encased with a lid of weathered copper. The continuous copper roof plane forms a secondary datum for the house, becoming a surface of potential occupation and cover.

最后一种是水的元素，无论是季风雨的形式，它在物质和情绪上的无情行动，还是在房子外面的井、溪流和水池的形式。解决地面季节性“焦虑”的方式是，在庭院内以连续线性的方式铺路，并在房子周围形成一个松散的环形，在雨水到达最近的出口点时出现波浪状。

The last is the inclusion of the element of water, whether in the form of the monsoon rain which is relentless in its action on material and mood, or in the form of the well, the stream and the pool beyond the house. The seasonal ‘anxiety’ of the ground is addressed in the manner in which the paving is worked out within the courtyard in a continuous linear fashion and in a loose ring around the house, with undulations registering the flow of rainwater as it reaches for the nearest point of exit.

这座建筑的入口是一个不存在的地方.坐在第一个铜制容器下面，它变成了一个停顿的空间。在这所房子里，它的角作为容器和筛子，对撤退、通过和排斥仪式的探索再次受到考验。最后一种姿态是把这块巨大的石头作为主人母亲的礼物，留给时间来接管，因为时间不可避免地会接过它。

The entrance portal of the building is a non-place. Sitting beneath the first upper copper-wrapped container, it becomes a space of pause. In this house, with its hortus conclusus acting both as container and sieve, the exploration of the rites of retreat, passage and exclusion are tested again. The final gesture was housing the massive rock which came as a gift from the owner’s mother, leaving it for time to take over, as time inevitably will.