Architects: Joeb Moore - Partners Project: Spiral House Location: Connecticut, United States Photography: Jeff Goldberg / ESTO

建筑师：Joeb Moore

Situated along the Connecticut shoreline of Long Island Sound, the Spiral House seeks to engage, enhance and reflect the surrounding coastal climate and its atmospherics of light, air, and water. Formally and spatially, the house is a direct and pragmatic response to the strict environmental and local zoning restrictions and regulations imposed on the building and site.

螺旋屋位于康涅狄格州长岛海峡的海岸线上，旨在接触、增强和反映周围的沿海气候及其光、空气和水的大气。在形式和空间上，房屋是对严格的环境和地方分区限制和条例施加于建筑和现场的直接和务实的反应。

Conceptually, the “house” is the resultant form and operation of an interface and tension between two systems of geometry, one projective (fixed) and the other, radial (dynamic). Through an overlapping system of spatial and geometric progression, growth, and interference, the social-spatial roles of public and private, interior and exterior, house and landscape are intimately connected and entwined. Yet they are also left curiously open-ended and indeterminate, much like the water itself.

在概念上，“房子”是两个几何系统之间的界面和张力的结果形式和操作，一个是射影的(固定的)，另一个是径向的(动态的)。通过一个空间和几何发展、生长和干涉的重叠系统，公共和私人、内部和外部、房屋和景观的社会空间角色是紧密相连和交织在一起的。然而，它们也是奇怪的开放和不确定的，就像水本身一样。

The coastal landscape is one of mist, reflection, and indistinctness. Sometimes fierce and turbulent, and sometimes, calm and gentle. Things appear to constantly change, fade or drift away. We sought material and formal operations that might mirror and even celebrate this atmospheric ontology of the sea and its operatic arrangements of light, air, and water. We selected cedar wood siding, large panel glass window/door systems to promote extraordinary views of Long Island Sound and concrete for its durability and resistance to coastal New England storm surges. The contrast between the spiral wood structure, its vertical wood-fin skin, against the concrete plinth and ramp, and the 11’ tall transparent/reflective glass curtain wall system sandwiched between all combine to produce a rich and complex range of shifting perceptual effects that again mirror and re-present the house within the context of the coastal surroundings and atmosphere.

海岸景观是一种薄雾、反射和模糊的景观。有时激烈和动荡，有时，平静和温柔。事物似乎在不断地变化、褪色或消失。我们寻找物质和正式的操作，可以镜像甚至庆祝海洋的大气本体论及其光、空气和水的操作安排。我们选择了雪松木墙板，大面板玻璃窗/门系统，以促进对长岛声音和混凝土的非凡看法，因为它的耐用性和抵抗海岸新英格兰风暴潮。螺旋木结构、垂直木鳍皮与混凝土桥墩和坡道之间的对比，以及夹在中间的11英尺高的透明/反光玻璃幕墙系统，结合在一起，产生了丰富而复杂的变化感知效果，在沿海环境和大气的背景下再次反映和再现了这座房子。

An example of this strategy at the micro-tectonic level, where we blur the perceptual boundary between building and environment, is the vertical cedar batten/louver system designed for the skin of the wood structure of the building. A system of 3/4” x 3-1/2” vertical red-cedar wood fins with stainless steel clips and trim emerged as a material/tectonic detail and formal/spatial device to unify the disparate parts and elevations of the building but also as a technique to accentuate and amplify the temporal, diaphanous, ”moiré” effects of sky, water, and building to produce both literal and phenomenological transparency. It is an extraordinary and constantly changing experience on the site, a spatial-temporal kaleidoscope that has its center in the house itself.

在微观构造层面上，我们模糊了建筑和环境之间的知觉边界，这就是这种战略的一个例子，就是为建筑的木质结构设计的垂直雪松板条/百叶窗系统。一个由3/4“x3-1/2”垂直红杉木鳍和不锈钢夹子组成的系统，作为一种材料/构造细节和形式/空间装置，统一了建筑的不同部分和高度，同时也是一种强调和放大天空、水和建筑的时间、透明、“莫伊”效应的技术，以产生字面和现象学的透明度。这是一个不寻常的，不断变化的经验，在现场，一个时空万花筒，它的中心在房子本身。