The hill in front of the glen

说明：
THE HILL IN FRON OF THE GLEN The idea that originated this project came from the subtle murmurs whispered by an environment like this, which were carefully listened to, and from the client's search for protection and shelter. How can one feel protected? and in any case, what can be done when feeling vulnerable? This question was accompanied by an image or perhaps a memory: that of a frightened child covering himself with a light bed sheet as he looks out to make sure he sees what is going on around him. Pulling a bed sheet to cover up is a very elemental act that alludes to the most basic part of the self; a bed sheet hides, protects, wraps, and creates a space underneath so safe and intimate that it is able to keep away any spirit, ghost, or demon that may be surrounding the room. At the same time, it generates a continuity in the beautiful living surface around the land, forming a new hill in a place already surrounded by many of them. Architecture should be in this case an accent mark on the words of a poem, a comma, or in any case a question mark, but it should never be the poem itself. The poem is already given by the pines, the oaks, the sweet acacia, the fireflies, the road, the fence, the neighbor's water well, the earth, the orchard, and the nightingale. Such accents marks in the poem were four concrete walls that emerged surprisingly from the landscape; two of them bear the land of this new hill that appeared by raising the bed sheet, and two others frame the drive to escort guests on their way into the house. This path is wide enough to walk it comfortably alone but too narrow to do it accompanied. Visitors are cast into a solitary pilgrimage that leads to an old tree with such a significant presence that it was necessary to distort the linearity of one of the walls with a gentle curve to make it possible to pass next to it...so close that it is even possible to graze it as we walk by. After crossing the tree threshold, going down a few solid pearled stone steps, and opening a heavy steel door, a concrete vault stands there. It supports the loads of the green bed sheet that rests on it and gives a sensation of being inside a cold, dark, but strangely cozy cave. Concrete was chosen as the main material because of a dream of this new rock melting while inevitably interacting with the forest, changing colors... grays that turned to greens, blacks and yellows that were gradually incorporated into the environment. The flooring would emphasize the aroma of wood perceived when you are surrounded by pine trees, giving balance to the cold temperature of the concrete. Finally, steel took place because, with time and rainfall, it acquires the look of tree bark. As for the spatial organization, the public areas are completely exposed to the wooded ravine on the left side of the house; the private areas on the right side open more timidly to a courtyard that allows to see the sky and the top of some trees but shuts down a bit from the outside. It was important to have the least possible references to elements that would connect to a specific moment in time, so the refrigerator and appliances were hidden, the lighting was arranged very discreetly, and only the four main materials were included: stone, wood, concrete, and steel. It was very important for the client to preserve the rough and primitive atmosphere of the mountains. (Chinese) 峡谷前面的小山 引发这个项目的想法来自于这样环境所发出的微妙的杂音，我们仔细聆听了 这些杂音，也来自于客户对保护和庇护的寻求。 在任何情况下，当一个人感到脆弱时，可以做些什么? 这个问题伴随着一个图像或也许是一个记忆:一个受惊的孩子用轻薄的床单 遮住自己，他向外看， 以确保他看到周围发生的事情。 拉着床单遮盖是非常基本的行为，暗指自我最基本的部分;床单隐藏、保护 、包裹，在下面创造出安全和亲密的空间，能够阻挡可能在房间周围的任何 精神、幽灵或恶魔。 同时，它在土地周围的美丽生活表面产生了连续性，在一个已经被许多小山 包围的地方形成了一个新的小山。 在这种情况下，建筑应该是一首诗词上的重音符号，一个逗号，或者在任何 情况下，是个问号，但它绝不应该是诗词本身。 诗已经被松树、橡树、甜刺槐、萤火虫、道路、篱笆、邻居的水井、大地、 果园和夜莺所赋予。 诗中这样的重音符号是四面混凝土墙，它们出人意料地从风景中出现;其中 两面承担着这个通过掀开床单而出现的新山的土地，另外两面则框住了车道 ，在客人进屋的路上护送他们。 这条路足够宽，可以独自舒适地行走，但太窄了，无法做到陪伴。 游客们被投进了一条孤独的朝圣之路，通往一棵老树，这棵树的存在感如此 之强，以至于有必要用柔和的曲线来扭曲其中一面墙的线性，使之有可能从 它旁边通过............. 如此之近，甚至有可能在我们 走过时放牧它。 穿过树的门槛，走过几个坚实的珍珠石台阶，打开一扇厚重的钢门，一个混 凝土拱顶矗立在那里。 它支撑着搁置在上面的绿色床单的负荷，给人一种身处寒冷、黑暗但奇怪的 舒适洞穴内的感觉。 选择混凝土作为主要材料，是因为梦想着这种新的岩石在融化的同时不可避 免地与森林互动，改变颜色............. 灰色变成绿色，黑色和黄色，逐渐融入 环境。 地板将强调当你被松树包围时感受到的木头的香气，给混凝土的低温以平衡 。 最后，出现了钢材，因为随着时间和雨水的流逝，它获得了树皮的外观。 至于空间组织，公共区域完全暴露在房子左侧的森林峡谷中;右侧的私人区 域更胆小地开放到庭院， 可以看到天空和部分树木的顶部，但从外面看却有 点闭塞。 重要的是，要尽可能少地引用能与特定时间相联系的元素，因此冰箱和电器 被隐藏起来，照明安排非常谨慎，而且只包括四种主要材料:石头、木材、 混凝土和钢材。 对客户来说，保留山区的粗糙和原始的气氛非常重要。

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