架构师提供的文本描述。该项目被选定代表巴西参加2004年10月在秘鲁举行的第四届拉丁美洲建筑双年展。这座房子引用了巴西的现代建筑，并以其复杂的棱柱几何学增加了一个新元素，从而在室内空间中产生了一系列的空间幻象。

Text description provided by the architects. The project was selected to represent Brazil in the IV Latin American Architecture Biennale in October 2004 in Peru. The house makes a series of references to Brazilian modern architecture as well as adding a new element with its complex prismatic geometry, which generates a series of spatial illusions in the interior spaces.

 © Marcelo Nunes

c.马塞洛·努内斯

该项目是巴西和英国所关注的问题的混合体。虽然这座建筑参考了巴西现代主义建筑，但它的形式在不对称的复杂性上更具有当代欧洲的兴趣。巴西元素是实施当地混凝土工程，开放式规划类型，大外向空间，游泳池，户外生活和茂盛的花园植物。混凝土不是用于典型的巴西宏伟的工程姿态或雕塑形式，而是一些更离散的东西。钢筋混凝土结构薄壁连续墙跨越狭长的开窗和车库隔间，但不是表示为梁，而是消失在建筑物的表皮内。斜向混凝土楼梯梁，其角度向下支持悬臂走廊，也消失成一条缠绕丝带线，这是在庭院周围流动。

The project is a hybrid of Brazilian and British concerns. Although the building makes reference to Brazilian modernist architecture, its form takes a more contemporary European interest in asymmetrical complexity. Brazilian elements are the implementation of local concrete engineering, open plan typology, large extrovert spaces, swimming pool, outdoor living and lush garden flora. Concrete is not used in a typical Brazilian grand engineering gesture or sculptural form, but something more discrete. Thin continuous reinforced concrete structural walls bridge over the long slot windows and garage bay, but are not expressed as beams and disappear within the skin of the building. The diagonal concrete stair beam, which angles down to support the cantilevered corridor also disappears into a wrapping ribbon line, which flows around the courtyard.

 Foor Plans

FOOR计划

巴西的稀薄是通过使用木材成型的浇筑混凝土等材料来实现的，而英国的精密则是模块化钢构件结构的副产品。建筑物的表皮反映了这两个部分。钢正面表面包覆，屋顶，排水沟和格栅都是详细的英国方式。其他英国元素是池的结构玻璃，注重细节和使用巴西植物在一个不太正式的自然分层，常见于英国园林。

Brazilian rawness comes through using materials such as timber formed poured concrete whereas British precision is a by-product of modular steel component construction. The building skin reflects these two halves. The steel front facade cladding, roof, gutters and grillwork is all detailed in a British way. Other British elements are the structural glass of the pool, attention to detailing and the use of Brazilian plants in a less formal natural layering common to British landscaping.

 © Marcelo Nunes

c.马塞洛·努内斯

该项目的构想是，在该遗址西侧的一条新公路开通后，在城市残余物的基础上建造了一片土地。空间是由一系列非正交设计决策来定义的.空间在棱柱形内折叠和展开。它形成了一系列的空间扭曲，在这个狭小的地块上制造了一种更大空间的错觉。一系列倾斜的70度墙把眼的眼睛移到更远的平面上，形成一个更大空间的错觉。倾斜的天花板创造了被迫的视角，也扭曲了空间感知。人们习惯于感知和理解正交空间。在一个更复杂的几何学中，眼睛试图理解空间，并不断地被它所挑战。当用户从不同的角度感知相互冲突的信息时，空间变得更丰富。

The project was conceived as a SLICE built on an urban residue leftover after the opening of a new road on the west side of the site. Space is defined by a series of non-orthogonal design decisions. The space folds and unfolds within the prismatic form. It develops a series of spatial distortions, which create an illusion of greater space on this narrow plot. A series of tilted 70deg walls extend the spaces where the eye of the beholder is displaced to further planes achieving an illusion of a larger space. The tilted ceilings create forced perspective also distorting the spatial perception. People are accustomed to perceive and understand orthogonal spaces. In a more complex geometry, the eye tries to understand the space and is constantly defied by it. The space becomes richer as the user perceives conflicting information from different viewpoints.

与其中和线性站点，宝洁-里尔决定与它合作。进入小区后，大部分场地都是一个连续开放的空间，供社会小区和内部庭院使用。这个长空间包含7m连续家具组件，用作餐桌、厨房柜台和花园桌。一个很长的空间会给家庭环境带来意想不到的深度。在这样的空间中，视觉感知往往会使空间看起来更小，但由于场地是非正交的，宽度从3.7增加到4.8m的角度被中和。这种情况造成了幻觉，就好像空间比实际大一样。前入口处、玻璃庭院和卧室三面交叉墙都与预期的垂直度相距20度。这拉长了他们，愚弄眼睛认为网站更宽。主空间的高度，向上流动的楼梯，以及进一步开放空间的开阔的庭院。

Instead of neutralizing the linear site, Procter-Rihl decided to work with it. Entering at the small end, most of the site is a continuous open space for the social areas and inner courtyard. This long space contains the 7m continuous furniture component used as dining table, kitchen counter, and garden table. One long space gives unexpected depth to a domestic environment. In such a space, visual perception tends to tunnel in making the space appear to be smaller, but as the site is non-orthogonal increasing in width from 3.7 to 4.8m perspective is neutralized. This condition creates the illusion as if the space is bigger than it actually is. The three cross walls; front entrance, glass courtyard and bedroom are all angled 20deg off of the expected perpendicular. This elongates them and fools the eye into thinking the site is wider. The height of the main space, the upward flowing stair, and the open courtyard beyond open the space further.

 © Sue Barr

苏·巴尔

上层混凝土天花板向上或向下折叠，定义了不同的空间质量。楼梯在一个非常开阔的高地带到达着陆处。天花板倾斜在前面的走廊上，卧室的门上有一个非常亲密的2.1米的高度。这使走廊进入了一个强制的视角，使房子的私人区域看起来离社会地区更远。打开楼梯，移动到客房/游泳池休息室，天花板继续倾斜，通向游泳池的露台和天空。卧室的天花板从门的最低点折叠起来，打开梳妆台上方的空间，家具碎片到浴室后面。卧室在视觉上被放大，同时与房子前面的公共部分保持一段独立的距离。

The upper floor concrete ceiling folds up or down defining different spatial qualities. The stair arrives at the landing in a very open high zone. The ceiling slopes down in the corridor ahead to a very intimate 2.1m height at the bedroom door. This puts the corridor into a forced perspective, which makes the private area of the house appear further away from the social areas. Turning up the stair and moving to the guest room/pool lounge the ceiling continues a slope up opening out to the pool terrace and sky. The bedroom ceiling folds up from its low point at the door opening the space visually above the dressing unit furniture pieces to the bath beyond. The bedroom is enlarged visually while remaining a separate piece from the front public section of the house.

 © Marcelo Nunes

c.马塞洛·努内斯