架构师提供的文本描述。大约八年前，当拉古拉建筑师只是一群朋友的共同项目时，我们开始了与PGA高尔夫德卡尔德斯的关系。在赢得比赛后，我们开始在新兴的城市发展ElGolf中联合开发和建造一家四星级酒店。

Text description provided by the architects. About eight years ago, when Lagula Architects was just the common project of a group of friends, we began our relationship with PGA Golf de Caldes. After winning a competition, we began the development and construction in association of a four star hotel in the emerging urban development of El Golf.

乔恩蒙特罗，评审团成员，后来的联合主管酒店建设，当时界定了一些初步的想法，如何建筑的地方应该是。高尔夫球场的概念设计应围绕地中海版的现代运动建筑进行阐述，由GATPAC成员一开始就在当地定义，随后由R组成员进行审查。

Jon Montero, jury member of that competition and later co-director of the hotel construction, at that time defined some initial ideas about how the architecture of that place should be. The conceptual design of the golf course should be articulated around the Mediterranean version of architecture of the modern movement, locally defined at its inception by members of GATPAC, and subsequently reviewed by the members of Group R.

 © Mauricio Fuertes

C.Mauricio Fuertes

在这些条件下，拉维尼亚的房子寻求紧张的平衡。与这些预先定义的正式请求的平衡。对应该是什么以及一个人应该如何生活在一定标准的房子的怀疑中的一种平衡。最后，在高尔夫球场中自然的紧张和巧妙的气氛中，与建筑的平衡，特别是与家的平衡。

With these conditions, the house in La Vinya seeks a tense balance. An equilibrium with these predefined formal requests. A balance with doubt about what should be and how one should live in a house of a certain standard. Finally, a balance with an architectural piece, especially a home, in the tension of nature and artifice that exists in a golf course.

假设前面提到的正式请求带有一定的讽刺意味，房屋试图回忆起源的起源。因此，即使在提到地中海现代化之前，该项目的基础是在其结构要素和出入区域的节奏和可见度中明显体现的某种钯主义。这是通过引入车辆直接在房子，高架在一个庭院。在界定房屋的一般框架内，它既指维琴察建筑，也指“案例研究室”的现代传统。

Assuming the formal requests previously mentioned with a certain irony, the house seeks to recall the origins of the origins. Thus, even before referring to the Mediterranean modernity, the project is based on a certain Palladianism evident in the rhythm and visibility of its structural elements and access area. This is produced by introducing the vehicle directly in the house, elevated over a courtyard. Within the general framework that defines the house, it refers to both Vicenza architectures, as well as the modern tradition of the “case study houses”.

 © Mauricio Fuertes

C.Mauricio Fuertes

同时，房子的正式定义避免了一些白人后现代主义项目的基本结构可修改性的布尔标准。在一般框架下，房屋由其结构、肋骨、柱子、梁和边缘来定义开放或封闭空间。打开或关闭是房子的一部分。这种对边缘的三维使用使我们能够在游泳池上清空房子，产生一个三重的空隙，从而分解上部的体积。

In parallel, the formal definition of the house avoids the almost Boolean criteria of modifiability of the underlying structure of some projects of white postmodernism. Under the general framework, the house is defined by its structure, ribs, pillars, beams, and edges that define open or closed spaces. Open or closed are interchangeably part of the house. This three-dimensional use of the edge allows us to empty the house over the pool, producing a triple void which decomposes the upper volume.

 © Mauricio Fuertes

C.Mauricio Fuertes

该方案的组织也倾向于这种双重起源。该程序在这种类型的住房中转换其常规结构。直接进入是通过上层建筑的公共区域进行的。白色框架定义了这些区域的边缘，而不管它们的遮挡程度、渗透性和封闭性。在它下面，黑暗与地形相连，是卧室的区域。帕拉迪奥再次出现在卧室程序的折变对称的较低层和顺序的服务程序，体积显示在正面。相比之下，空间与外部以及池的布局之间的关系指的是一种现代用途。

The organization of the program also tilts in this double origin. The program inverts its conventional structure in this type of housing. Direct access is produced through the public areas of the house on the upper level. A white frame defines the edges of these areas regardless of their degree of occlusion, permeability, and enclosure. Under it, dark and in connection with the terrain, is the bedroom area. Palladio again comes up in the inflected symmetry of the bedroom program on the lower level and in the order of the service program, volumetrically shown on the facade. By contrast, the relation of the spaces with the exterior and the layout of the pool refer to a modern use.

为了在人造自然景观中设计这样的项目，我们使用土地艺术的机制。就像地中海地区的唐纳德·贾德(DonaldJudd)一样，这座建筑构成了景观的框架。具有讽刺意味的是，一个超大的烟囱斜靠在詹姆斯·特雷尔(JamesTurrell)设计的天空上。

To design a project of this kind in a landscape of artificial nature, we use mechanisms of land art. As in a Mediterranean, massive, and textured version of Donald Judd, the building frames the landscape. An oversize chimney leans out ironically over what could be a framed sky by James Turrell.

高尔夫球场的人造物质性反映在房子地下室的挡土墙上。在使用强度时，石材的质地使上部体积光滑，在常规单层中完成。在这种家庭中增加传统的纹理梯度使我们能够改变正常的感觉，改变像平滑、透明和反射这样的词的含义。

The artificial materiality of the golf course is reflected in the retaining walls of the basement of the house. Intensity in the use of the texture of stone makes the upper volume smooth, finished in a conventional monolayer. Increasing the conventional gradient of textures in homes of this kind allows us to modify the normal perception, changing the meaning of words like smooth, transparent, and reflective.

Architects Lagula Arquitectes

Location Caldes de Malavella, Spain

Category Houses

Project Area 400.0 m2

Project Year 2011

Photography Mauricio Fuertes, Marc Torra