© Andrew Lee

(C)李国祥

架构师提供的文本描述。该遗址位于Mallaig以南三英里处，俯瞰莫拉尔的白沙，以朗姆岛、埃格岛、穆克岛和美人岛为风景背景。中距离的两条交通要道，即西高地铁路和通往岛屿的道路，沿海岸线的等高线行驶，使斜坡的位置和基准面都被限制在两者之间。使这一地区易于进入的努力留下了它的痕迹，因为多余的挖掘被倾倒在邻近的土地上，现在大部分被茂密的植被和树木所覆盖，这些植被和树木构成了地块的前景。

Text description provided by the architects. The site is located three miles South of Mallaig, overlooking the White Sands of Morar, with the Small Isles of Rum, Eigg, Muck, and Canna as a scenic backdrop. Two traffic arteries in the middle distance, the West Highland Railway and the Road to the Isles, follow the contours of the coast, leaving the sloped site confined between the two, in both position and datum. The endeavor of making the area accessible has left its traces, as excess excavations have been dumped on adjacent land, now mostly overgrown by dense vegetation and trees which form the foreground of the plot.

 © Andrew Lee

(C)李国祥

为了解决场地条件，度假屋由两个堆叠的卷和垂直的焦点组成。悬臂式一楼与远处的景物建立了明显的联系，而下面的底层则能清晰地看到现场的结构。

To address the site conditions, the holiday house consists of two stacked volumes with perpendicular focal points. The cantilevered first floor establishes a distinct connection to the distant scenery, while the ground floor below creates a focused view of the fabric of the immediate site.

 Ground Floor Plan

为了在遗址的天然土壤上找到这座住宅，在入口处已经沉入了底层。这使住宅在从现场狭窄的通道接近时，呈现出单层体积的外观。两个长的外挡土墙，在全玻璃屋檐的两边，把周围的地面塑造成一个缓缓向建筑物倾斜的地方，使这些地方美丽的植被成为卧室的焦点。

In order to found the dwelling on the site's natural soil, the ground floor has been sunk at entrance level. This gives the dwelling the appearance of a single storey volume when approached from the site's narrow access track. Two long external retaining walls, at either side of the fully glazed eaves, mould the surrounding ground to slope gently towards the building, making the sites luscious vegetation the focus for the bedrooms.

 © Andrew Lee

(C)李国祥

在包括所有公共空间的一楼，开口的位置颠倒。屋檐是完全封闭的，把游客的视野推向了遥远的风景。这就产生了一种矛盾：通过消除私人卧室和场地之间的界限，底层成为一个公共空间，而将具有主导边界的上一层私有化，深远的景观就成为公共空间的固有部分。

On the first floor, that comprises all public spaces, the position of the openings is reversed. The eaves are fully closed, pushing the visitors view towards the far reaching scenery. This creates a contradiction: by eliminating the boundary between private bedrooms and site, the lower floor becomes a public space, while privatising the upper floor with dominant boundaries, the far reaching landscape becomes an inherent part of the public spaces.

 First Floor Plan

一层平面图

建筑物的外部以同样的原则处理。有双斜屋顶的建筑是一种普遍理解的乡村类型。这座建筑被剥夺了它的陈规定型属性，一楼展示在凹进的底层地台上，这使得白话形式本身成为唯一的焦点。因此，这座建筑的使用问题仍未得到旁观者的回答，随着茂密的植被重新覆盖该遗址，人工和自然之间的对比进一步突显出来。

The exterior of the building is treated with the same principle. A building with a dual pitched roof is an universally understood rural typology. This building is stripped of it's stereotypical attributes and the first floor is displayed on the recessed ground floor plinth, allowing the vernacular form itself to become the only focus. As a result, the question of the building's use remains unanswered to onlookers, with the contrast between artificial and natural further emphasised as the dense vegetation reclaims the site.

 © Andrew Lee

(C)李国祥

这座建筑被一个木雨幕所保护。随着下水管和排水沟的消除，雨水被控制，就像卧室窗户上的窗帘一样。通过玻璃墙和屋顶灯进入建筑物的光线量，使建筑的气氛保持多样化，内部保持越暗，外部就越占主导地位。

The building is protected by a timber rain screen. With down pipes and gutters eliminated, rainwater runs controlled as a curtain set back from the bedroom windows. The amount of light entering the building through the glazed walls and roof lights, acts to keep the atmosphere of the building diverse, with the outside becoming more dominant the darker the inside is kept.

 © Andrew Lee

(C)李国祥

所有的墙壁，无论是在里面和外面，都是白色的清洗，并继续通过绝缘信封，否定了内部空间的结束。这种材料的缺乏提供了一个空白的画布在内部，赋予优势的自然光，因为它是投射在所有墙壁，镜子从连续漆混凝土地板。在外部挡土墙上，建筑物的形状在一天中一直被塑造成一个不断变化的影子。

All walls, both inside and outside, are white washed and continue past the insulated envelope negating the end of the interior space. This absence of materials provides a blank canvas on the interior, giving dominance to natural light as it is projected across all walls, mirrored from the continuous lacquered concrete floor. On the exterior retaining walls, the form of the building is cast as an ever changing shadow throughout the course of the day.

 © Andrew Lee

(C)李国祥

度假屋与永久住宅本质上是不同的，因为住宿期限是确定的。这座建筑抓住了一个地方的一部分，同时创造了自己的环境的交汇点。

A holiday house essentially differs from a permanent residence as the period of stay is defined. This building captures that intersection of being part of a place and creating its own environment at the same time.

住在一个地方需要多少建筑？

How much building is required to inhabit a place?

Architects Dualchas Architects

Location Morar, United Kingdom

Category Houses

Architect in Charge Daniel Bär

Area 150.0 sqm

Project Year 2014