架构师提供的文本描述。这所独居独立的房子位于Palmela附近的一个农田平原上。它的设计受到两个因素的制约：一是愿意青睐与外部空间的关系，其中乡村景观和审美成分丰富；二是渴望创造一种利用强大的地域建筑传统的当代方法。

Text description provided by the architects. This single-family detached house is located in an agrarian plain near Palmela. Two factors have conditioned its design: the willingness to favor the relationship with external spaces, in which rural landscape and aesthetic components abound, and the desire to create a contemporary approach that leverages the strong regional architectural traditions.

 © Thorsten Humpel

托尔斯滕·胡佩尔

其结果是一种创新的结构，在这种结构中，对罗马宫的记忆进行了明智的回顾。不仅通过保持公共空间和私人空间之间的亲密关系和隔离，而且还通过检索古代特有的元素，例如用于分隔这些地区和允许雨水回收的内爆，以及使用有装饰的藤本植物。与这些传统结构元素相联系的具体的当代生活和建筑项目，具有极大的平衡和敏感性，这进一步加强了非常轻微的罗马风格和伊斯兰传统的庭院：大的玻璃表面，允许宽，宏伟和宁静的视野，同时提供精心设计的光源，将内部空间分解为透明；从现代和理性主义设计中继承而来的微妙而流畅的空间循环，一种以后现代方式交织在一起的不同语言的结合，融合了建筑学、景观建筑学、图形设计和设备设计等相关学科。

The result is an innovative construction, in which the memory of the Roman House is wisely reviewed. Not only through the preservation of intimacy and separation between public and private spaces, but also by retrieving elements specific to antiquity, such as the impluvium, which is used to divide these areas and to allow the recovery of rainwater, and the usage of trellised vine covered pergolas. To these traditional structural elements were associated specific contemporary living and architecture items with great balance and sensitivity, which were further enhanced by the very slight Roman stylobate and the patios of Islamic tradition: large glazed surfaces which allow wide, magnificent and restful views, simultaneously providing carefully designed light sources, which dissolve the interior spaces into transparencies; the subtle and fluid spatial circulation, which is inherited from modern and rationalistic design; a conjugation of different languages intertwined in a postmodern way, which blends related disciplines such as architecture, landscape architecture, graphical and equipment design.

 © Thorsten Humpel

托尔斯滕·胡佩尔

从126平方米的总面积开始，客户最初认为是一种L形的类型，这是一个传统的起点，在其主要结构上通常受到尊重，尽管在某种程度上被视觉和景观元素稀释了：入口，面向北(一个邻居的地块充满了各种树种的不具特色的树林)是明智的，几乎是盲目的。从大门上可以看到一个纵向的视觉轴，它穿过房子，通向圣弗朗西斯科大道，到达南方。一个前厅，具有多种观点，是在一个走廊和一个玻璃洞口的确切交汇处，通过它可以看到一个软木橡树树林，从而确定了一个新的形式和视觉轴(让人想起古代的红宝石和德乌马纳斯的记忆)。

Starting from a gross area of 126 m2, the client initially considered an L-shaped typology, a traditional starting point which was generally respected in its main configuration, although somehow diluted by the visual and landscape components: the entrance, facing north (where a neighbor plot is filled with uncharacteristic groves of various tree species) is, wisely, almost blind. From the main door, a longitudinal visual axis is perceived, which goes through the house and leads to the Serra de São Francisco, to the South. A vestibule, with multiple viewpoints, is at the exact intersection of a corridor and a glass opening, through which a cork oak grove can be visualized, thus determining a new formal and visual axis (bringing to mind the memory of the ancient cardus and decumanus).

 © Thorsten Humpel

托尔斯滕·胡佩尔

大客厅的宽玻璃窗朝着决定性的景观元素打开，那就是圣弗朗西斯科的Serra de S o Francisco。一个悬挂壁炉，由简单的雕塑线条，对话与平屋顶支撑柱，并加强客厅。露台、厨房、浴室和洗澡间都位于这个公共区域，它受到垂直玻璃窗的启发，人们可以透过这些玻璃窗，在西边欣赏到巨大而保存完好的橄榄林的壮观景色。建筑的另一部分位于东侧，垂直的布置定义了结构“L”(由一座古老的民居所确认)，开放的内爆位于形成上述公共和私人居住区之间的一个角度。

The wide glazed windows in the large living room open towards the determinant landscape element, which is the Serra de São Francisco. A suspended fireplace, of simple sculptural lines, dialogues with the flat roof-supporting pillar, and enhances the living room. Patio, kitchen, bathroom and scullery are located in this public area, which is enlightened by vertical glass windows through which one can enjoy, to the west, the dramatic view of the vast and preserved olive grove. The other part of the construction is located towards the eastern side, in a perpendicular disposition that defines the structural “L” (confirmed by a vernacular ancient adjacent house), with the open impluvium situated in the angle creating the above mentioned division between public and private living areas.

 © Thorsten Humpel

托尔斯滕·胡佩尔

这一区域还分为另外三个部分，分别是女儿的房间和浴室，主房间和相邻的浴室，在更远的部分，书房，其巨大的窗户朝南和内爆。古罗马文具厂，作为帕特家族的一部分，已经成为一种驾驶舱，它原来的工作区功能是通过对所有主轴的视觉控制来增强的，从入口到内爆，到起居室，再到圣弗朗西斯科大道，再到大橄榄园。女儿的房间有一扇面向东方的窗户，那是一片美丽的橡树林，主房间和相邻浴室的窗户也通向那里。女儿的浴室是通过一个天蓝色的玻璃天窗照亮的，这个天窗构成了上面天空的框架。瓷砖上的涂层创造了一个令人惊讶的图形图案，它从一个简单的折线模块开始，在曲折的网格中无限展开。这一视觉和图形展示也可以在主卧室的浴缸中找到，它还通过这种令人耳目一新的内爆带来的光效应得到了加强，这种光的效果遍布天花板和墙壁。卧室门的打开就提供了一个不同寻常的、几乎无穷无尽的视觉轴，从响亮的内爆到露台-露台上覆盖着手工制作的瓷砖(与室内一样)，一直延伸到橄榄林。

This area is further divided in three other parts, respectively the daughter's room and bathroom, the main room and adjacent bathroom and, at the farther end, the study, with its vast windows facing south and the impluvium. The ancient Roman scriptorium, quarters of the pater familias, has become a sort of cockpit, in the measure that its original function of working area is augmented with the visual control of all the main axes, which span from the entrance and impluvium to the living room, to the Serra de São Francisco and to the large olive grove. The daughter's room has a window facing east, where the lovely oak grove is located, to which the windows of the main room and adjacent bathroom also lead. The daughter’s bathroom is illuminated through a zenithal glass skylight that frames the sky above. The coating on tiles creates a surprising graphic pattern that starts from a simple broken line module, and infinitely unfolds in zigzag grids.This visual and graphical show, which can also be found in the main bedroom bath, is reinforced by the light effects that the refreshing impluvium provides, spreading across ceilings and walls. The mere opening of the bedroom door provides an unusual and almost endless visual axis that goes from the resounding impluvium to the terraces-patios covered in handmade tiles (the same as in the interior areas), all the way to the olive grove.

 © Thorsten Humpel

托尔斯滕·胡佩尔

这房子可以被认为是一个参考，在衡量，它代表了一个正式的和概念创新的整体。它结合了当代生活的特定语言和对传统文化元素的绝对尊重，既有博学的，也有流行的。在不屈服于历史主义的情况下，它应该被看作是一种文化榜样：生活、景观、文化传统、当代多元化和建筑和谐地融合在一起，非常小心和敏感。

This house can be considered a reference, in the measure that it represents a formal and conceptually innovative ensemble. It combines the specific languages of contemporary living with an absolute respect for traditional cultural elements, both erudite and popular. Without yielding in any way to historicism, it should be seen as a cultural role model: life, landscape, cultural tradition, contemporary plurality and architecture blend harmoniously with great care and sensitivity.

 © Thorsten Humpel

托尔斯滕·胡佩尔