Guna House | Pezo von Ellrichshausen

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Architects: Pezo von Ellrichshausen
Location: Llacolén, Concepción, Biobío, Chile
Architect In Charge: Mauricio Pezo, Sofia von Ellrichshausen
Area: 410.0 sqm
Year: 2014
Photographs: Courtesy of Pezo von Ellrichshausen

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Collaborators: Diogo Porto, Joao Quintela, Lena Johansen, Cecilia Madero
Builder: Pablo Vasquez
Structure: Luis Mendieta
Building Services: Marcelo Valenzuela, Carlos Martinez, Miguel Bonifetti
Client: Pablo Vasquez, Maria Paz Calderon
Plot Surface: 3.063 m2
Design Phase: 2010

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 From the architect. Hemmed in between a steeply sloping hillside and a wood of eucalyptus trees, the narrow plot of land compels one to cross the garden to arrive, descending, at the small bay of a lagoon. Overlooking the landscape, a monolithic prism of concrete attempts to articulate the contradictions of the topography with a square top floor measuring 20m on each side balanced on top of a compact bottom floor measuring 8.5m on each side.

引自建筑师。别墅坐落在一个陡峭的山坡上,周围有一片桉树林。因为别墅的场址很狭窄,所以要进入别墅的话,必须要穿过一个位于环礁湖旁的下降的花园。纵览周围的环境,一个整块的混凝土棱柱建筑试图利用它边长20米的正方形的顶楼缓和地势的矛盾,别墅紧凑的底部楼层是边长8.5米的正方形,边长20米的正方形在别墅顶部保持着平衡。

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The upper floor contains a central patio with the same size as the bottom floor, therefore all the suspended rooms are exposed to the outside by the four sides of their section. This upper floor, a dogmatic piano nobile that compensates for the inconvenience of the diagonally set natural terrain slope, is based on a grid of four modules per side. The middle rooms on each side face the central patio, while those at the corners are articulated by circulations that occupy a subsidiary module.

别墅的上部楼层中有一个位于中部的天井,天井的大小和下部楼层的大小一样。因此,别墅所有的房间都设置在别墅上部楼层的四个边上,围绕着中部的天井。别墅上层楼面的天井弥补了对角分布的天然斜坡地形带来的不便,别墅的上层楼面修建在位于四个边的网格模块上。每个边中间的房间都面对着中部的天井,而位于角落的房间则按围绕着中部天井形成的循环铰接着。

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Overhead apertures in the centre of each enclosed space and at the ends of the circulation paths reinforce the vertical dimension of the layout, and also amplify the shimmering of the pond water. Less formal, the bottom floor house the more day-to-day functions of the domestic realm; its square plan divided into four equal quadrants is cut back in the north corner, a subtraction that serves as a visual and functional short cut between the upper patio and the edge of the lagoon.

每个封闭空间中部的天花板开口都位于循环路径的尽头,这样的设计加强了建筑布局的垂直距离,同样使池塘中的水显得更加的波光粼粼。别墅底部楼层的房间不是那么正规,这些房间拥有更多供家庭使用的日常功能。等分成四个象限的方形平面被削减掉了北面的角来作为上层露台和泻湖边缘之间视线与功能上的捷径。

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As in Matila Ghyka’s description of a landscape as a ‘crystallization of a conflict of forces’, the entire structure is a stony mass in apparent repose. The four walls of the patio act as Vierendeel girders resting in balance on the podium. Almost as if they were diffusing the stress, the concrete surfaces have the coarse texture of fine formwork boards with a diluted black patina.

Matila Ghyka描述这个建筑为“力量冲突的结晶”,整个结构像一块平静的巨石。天井的四片墙的作用相当于平衡于矮墙上的空腹梁。混凝土表面就像是在扩散压力一样,有模板的粗糙肌理和淡淡的黑色氧化。

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