架构师提供的文本描述。黑盒

Text description provided by the architects. Black Box

DI-VA的房子，其名字是一个游戏的业主的名字，占据了以前的一个空的空间，在住宅克罗瓦-鲁西区的里昂。

The DI-VA house, whose name is a play on the owners' names, occupies a previously empty space in the residential Croix-Rousse district of Lyon.

考虑到正面的狭小和建筑正对面的事实，建筑师们决定采用柔道式的策略。房子避开了直接的对抗，利用景观中的缝隙来优化景观和氛围。它完全是预制的，在不到一周的时间内就建成了。它的突然出现使邻居们有点吃惊，他们的反应参差不齐。但是，尽管它的颜色和形式不妥协，但这座建筑并没有表现出任何侵略性。相反，它在周围的拓扑结构中占有相当和谐的位置，具有很大程度的自由裁量权。

Given the narrowness of the frontage, and the fact that there is a building directly opposite, the architects decided to adopt a judo-type strategy. The house turns away from direct confrontation, and exploits chinks in the landscape in order to optimise the views and ambiances. Entirely prefabricated, it was constructed in less than a week. Its sudden appearance came as something of a surprise to the neighbours, whose reactions were mixed. But in spite of its uncompromising colour and form, the building does not express any aggressiveness. On the contrary, it takes its place quite harmoniously in the surrounding topology, with tranquillity and a considerable degree of discretion.

 Courtesy of Tectoniques

受构造因素的影响

充满挑战的空间

A challenging space

迪-VA占地200平方米，已经废弃了几年.南部是19世纪建造的密集、均匀的地区，北面则是一组建筑，高度和间距杂乱无章，体现了一种更“现代”的精神。这条街(HenriGorjus街)性格迥异，但有两种广泛的风格，而DI-VA标志着两者之间的一个临界点。在南面，建筑物是对齐的，而且是传统的；在北侧，与DI-VA并列的是一座独立的房子，它可以追溯到20世纪70年代，从街道向后，周围是树木，这标志着一个更开放、结构更少的区域的开始。

DI-VA occupies a site of 200 m2 that had been abandoned for some years. To the south there is a dense, homogeneous area that was constructed in the 19th century, and, to the north, a group of buildings, miscellaneous in height and spacing, that express a more "modern" spirit. The street (Rue Henri Gorjus) is disparate in character, but there are two broad styles, and DI-VA marks a cutoff point between them. On the southern side, the buildings are aligned, and traditional in character; on the northern side, juxtaposing DI-VA, there is a detached house dating from the 1970s, set back from the street and surrounded by trees, which signals the start of a section that is more open and less structured.

 Courtesy of Tectoniques

受构造因素的影响

尽管直辖区的规模并不大，但它在两个时期和两个城市主义愿景之间扮演着调解人的角色。它附属于一座建筑，它结束了传统排列的无窗山墙的建筑序列，而它的主要立面，在另一边，可以俯瞰街道对比鲜明的部分。这种不对称通过对主入口的微妙处理而更加突出。在预制的钢门和房子的主体之间有一个空间，将公共和私人领域分开，从而增强了这座装饰建筑的效果。

Despite its unimposing dimensions, DI-VA plays the role of a mediator between two periods, and two visions of urbanism. It is attached to a building that terminates the classical sequence of lined-up buildings with windowless gables, while its main facade, on the other side, looks out over the contrasting part of the street. And this asymmetry is accentuated by the subtle treatment of the main entrance. There is a space between the prefinished steel door and the main body of the house, separating the public and private domains, which enhances the effect made by this decentred edifice.

 Courtesy of Tectoniques

受构造因素的影响

Di-VA是一个简单的体积，有四层相同的楼层，每层60平方米.南边的山墙附在隔壁的房子上。面对街道的立面几乎没有开口：它是安静而抽象的，除了一个木制格子后面的垂直玻璃条，它允许光线进入楼梯，暗示着内心的生活，但没有透露出来。也有嵌入的水平开口，将光和空气带到底层，但无法从外部探测到。

DI-VA is a simple volume, with four identical floors of 60 m2 each. The southern gable is attached to the house next door. The facade that faces the street has practically no openings: it is silent and abstract, apart from a vertical strip of glass behind a wooden lattice that admits light into the staircase and gives a hint of inner life, but without divulging it. There are also inset horizontal openings that bring light and air to the ground floor, but are undetectable from the outside.

 Courtesy of Tectoniques

受构造因素的影响

北面是最裸露的，从街上可以看到。公共生活空间有两个垂直柱状的图片窗口，最大限度地提高能见度，包括邻近的雪松。

The northern facade is the most exposed, being perceptible from the street. The communal living spaces have two vertical columns of picture windows that maximise visibility, including that of the neighbouring cedars.

从街道上看不见的西面，通向花园，花园被一堵美观的墙包围着。它被卧室和其他私人空间所忽视。总之，西面与东方形成鲜明对比。前者是透明的，后者是不透明的。

The western facade, which cannot be seen from the street, opens onto the garden, which is bounded by an aesthetically coordinated wall. It is overlooked by the bedrooms and other private spaces. The western facade, in sum, stands in contrast with the eastern. The former is transparent, the latter opaque.

 Courtesy of Tectoniques

受构造因素的影响

慢慢来，建设迅速

Slow deliberation, swift construction

作为预制和“干式建筑”的拥护者，建筑师们建议在整个过程中都要使用木材。除了其生态优势，这意味着建设过程是快速的，并很好地适应了有限的经营环境。墙面、隔墙和地板均采用交叉层压板。它是一种材料，其性能类似于钢筋混凝土，除了它可以纯机械的方式，以“干”的方式组装。不同的元素是由奥地利的Binderholz公司以宏观成分的形式生产的，是用松木制成的，颜色轻，均匀，颗粒不突出，结少。这些宏组件是由专门研究这一技术的Arbosphère公司交付给装配的.需要注意的是，装配过程本身只需5天，即比设计阶段少得多。

As champions of prefabrication and "dry construction", the architects proposed that wood should be used throughout. Besides its ecological advantages, this meant that the construction process was rapid, and well suited to the constrained context of the operation. Cross-laminated wood was used for the walls, partitions and floors. It is a material whose properties resemble those of reinforced concrete, except that it can be assembled in a purely mechanical way, in "dry" mode. The different elements were produced by the Austrian firm Binderholz in the form of macro-components, in pine, which is light in colour and homogeneous, with an unobtrusive grain and few knots. The macro-components were delivered ready for assembly by Arbosphère, which specialises in this technique. And it might be noted that the assembly process itself took just five days, i.e. a lot less than the design phase.

 Courtesy of Tectoniques

受构造因素的影响

为了最大限度地减少能源消耗，同时最大限度地提高舒适性，设计采用160毫米特斯帕Météon面板，为墙壁和屋顶提供外部绝缘。外框是落叶松，地板是灰烬。总之，所有的组件都是由木材或木制品制成的.

In order to minimise energy consumption, while maximising comfort, the design included external insulation for the walls and roof, using 160 mm Trespa Météon panels. The outer frame is in larch, the floors in ash. In sum, all the components are made of wood, or wood-based products.

 Courtesy of Tectoniques

受构造因素的影响

这房子是为一对夫妇三个孩子，但将适应其他可能性。居住空间是故意简单和紧凑的，安排在一个中央核心，其中包括服务网络和便利设施(厕所，淋浴，厨房)。起居室和厨房在一楼，通过露台通向花园。公共生活空间在一楼。二楼是为父母准备的，有卧室、办公室和浴室。三楼有三间儿童卧室和一间浴室。还有一个屋顶的太阳甲板。

The house is intended for a couple with three children, but would be adaptable to other possibilities. The living spaces are deliberately simple and compact, arranged around a central core that contains the service networks and amenities (toilets, showers, kitchen). The living room and kitchen are on the ground floor, which opens onto the garden, via a terrace. The communal living space is on the first floor. The second floor is for the parents, with a bedroom, office and bathroom. On the third floor there are the three children's bedrooms, and a bathroom. There is also a rooftop sun deck.

 Courtesy of Tectoniques

受构造因素的影响

不同层次的住宅隔间被楼梯的渗透性抵消，楼梯的细长立柱使楼梯在空中飘浮，而不影响四层之间的垂直连续性，或街道与花园之间的水平透明度。而在一楼安装的玻璃正面燃木炉，没有任何环绕或支撑结构，进一步强调了这种连续性。

The compartmentalisation of the house in terms of the different levels is counterbalanced by the permeability of the staircase, whose slender uprights make the steps seem to float in the air without interrupting the vertical continuity between the four levels, or the horizontal transparency between the street and the garden. And the glass-fronted wood-burning stove on the first floor, installed without any surround or supporting structure, further emphasises this continuity.

 Courtesy of Tectoniques

受构造因素的影响

Di-VA包含不同的生物气候系统.有自然通风，利用建筑物的三重方向。高水平的绝缘和系统的太阳能保护确保了热舒适，特别是在夏季。地板下的采暖使用的是地面耦合式热交换器，由燃烧木材的炉子作为后盾。

DI-VA incorporates different bioclimatic systems. There is natural ventilation that makes use of the building's triple orientation. The high level of insulation and systematic solar protection ensure thermal comfort, notably in the summer. And there is under-floor heating using a ground-coupled heat exchanger, backed up by the wood-burning stove.

 4th and 5th floor plans

四楼及五楼图则

外面黑暗，内部光明

Dark on the outside, light on the inside

房子的外面是黑暗的，里面的光线。它光滑，紧致的皮肤覆盖了柔软，自然的内部。这是一个典型的建筑形式：保护外部，培育内部。

The outside of the house is dark, the inside light. Its smooth, taut skin covers a soft, natural interior. This is an archetypical architectural formulation: protective outside, nurturing inside.

风格是一致的。所有的内部，包括天花板和隔断，都是由交叉层合松木板组成的.既没有油漆也没有单板。在外面，黑色的胶木面板覆盖整个音量，同时保持它们的轻盈，就像披风一样。这一对比的解释是建设性的选择内部结构，包覆和绝缘在外面。这是一种审美愿望的结果，阴阳在两个世界之间的交汇中创造了图形效果。当日光最弱时，外部黑暗与内部发出的木头色调的光混合在一起，并刺激它们。每一个都丰富了对方，软化和温暖它。因此，使用单一的材料，没有装饰效果或过度，使地方为这样的建筑。

The style is consistent. All of the interior, including the ceilings and partitions, is composed of cross-laminated pine panels. There is neither paint nor veneer. On the outside, black bakelite-look panels cover the entire volume, while preserving their lightness, like a cape. This contrast is explained by the constructive choice of an internal structure, clad and insulated on the outside. It is the result of an aesthetic aspiration, where yin and yang create graphic effects in an articulation between two worlds. When daylight is at its weakest, the outer darkness mingles with, and stimulates, the wood-toned light that emanates from the interior. Each enriches the other, softening and warming it. Thus the use of a single material, without decorative effects or excess, gives pride of place to architecture as such.

 Courtesy of Tectoniques

受构造因素的影响