© Fabián Mena

(法比安·梅纳)

…码间…位于潘普洛尼塔河凉爽的微风和来自安第斯-委内瑞拉地区的Táchira河的热风之间的边境山谷；这是一片南北延伸的草甸，大自然在那里最狂野的条件与甘蔗田之间仍然有细微差别，由此产生了企业家Hacienda los trapicges II，以纪念该地区的帕内拉生产而得名。

…between yards… placed at the frontier valley between the cool breezes of the river Pamplonita and the thermal ones of the river Táchira coming from the Andean-Venezuelan region; the place is a meadow of north-south extension where nature still has a nuance between its wildest condition and the sugar cane fields, giving rise to the entrepreneurship Hacienda Los Trapiches II, named in remembrance of the panela production in the area.

 Planta Habitar

普兰塔惯习

一组几何严谨度为2及其倍数的关系，产生了一种新的国内算法，其中服务空间和仆人空间通过通量收集器进行分离；一种明确双方的存在性的组织原则：[厨房-中性地带]、[服务-辅助卧室]和[书房-主卧室]，形成居住带。这样，就可以得到三个剩余的地带作为一般残余物、一个城市地带[人行道]、一个外部地带[基础设施]和一个随后的地带作为[公共空间的延伸]。

An array of relations with a geometrical rigor of two and its multiples, produces a new domestic arithmetic, in which the separation of served and servant spaces occurs through a flux collector; an organization principle that makes explicit the existence of two sides facing each other as follows: [kitchen – neutral zone], [service - auxiliary bedrooms] and [study - main bedroom], forming this way the inhabiting strip. This way, obtaining the three remaining strips as a general residue, an urban one [sidewalk], an exterior one [infrastructure] and a subsequent one as extension [of public space].

 © Fabián Mena

(法比安·梅纳)

重新定义庭院之间的关系是试图创造七个概念层的房子。室外庭院是作为交换场提出的，是关于外部世界[基础设施]的一种信息收集者，随后的院子是房子[公共空间]的公共延伸，其余的五个院子分布在中心区域，从上面照明，作为室外内部空间的一部分，作为强制传递流通道运行，并将其存在强加于一个盒子[黑匣子]。

Redefine the relationship between yards is an attempt to create seven conceptual layers of the house. The outdoor yard is proposed as an exchange yard, a sort of information collector about the outside world [infrastructure], the subsequent yard is presented as a public extension of the house [public space], the five remaining yards distributed in the central area, illuminate from above and are presented as part of the outdoors internal space, operating as mandatory pass flow channelers and imposing its presence over the one of the box [black boxes].

几何学的结果是需要优化活的表面到一个单一的楼层和周围七码。同时，几乎算术严格的调制提高了地板的严密性，中和了盒子对周围环境的视觉影响。

The geometry is the result of the need to optimize the living surface to a single floor and around the seven yards. At the same time, the almost arithmetic strict modulation enhances the rigor of the floor and neutralizes the visual impact of the box against its immediate environment.

 © Fabián Mena

(法比安·梅纳)

3.30米的总高度与生产某种…的意图相对应水平对称.。从中可以看出，房子打破了普遍的男性标准在其周围，因为地平线的位置正好在中间，约1.65米高。地板被认为是具有同样的物质性和色彩的内屋顶平面，强化了这样一个事实：盒子被它的水平性所支配，它强行打破了周围的垂直平面，将其表现为一座女性的房子。

The total height of 3.30 meters corresponds to the intention of producing some sort of…horizontal symmetry... through which it could be seen that the house breaks with prevailing male standards in its surroundings due to the location of the horizon line being just in the middle, at about 1.65 meters height. The floor, assumed as the inner roof plane that has its same materiality and color, reinforces the fact that the box, dominated by its horizontality, imposes itself breaking the vertical plane surrounding to be displayed as a feminine house.

 © Fabián Mena

(法比安·梅纳)

模仿酒杯[形式-结构-容器]，这些方面被合并成一个盒子作为一个整体，在其中空间体现为水平和垂直平面的顺序。在极端情况下，板由结构严谨的细长钢柱支撑，排列在2x2米的调制阵列内，包含7个内部隔板，没有结构功能[因此可移动]，并体现了混凝土构件。

Emulating the wine glass [form - structure - container], the aspects are merged into a box as a single piece, in which the spaces materialize by the sequence of horizontal and vertical planes. At the extremes, the slab is supported by slender steel columns arranged with geometric rigor within a modulated array of 2 x 2 meters, containing seven interior partitions which have no structural function [therefore removable] and embodying the concrete piece.

 © Fabián Mena

(法比安·梅纳)

材料是由一个暴露的混凝土箱，在里面的垂直和水平面的分离是由细线暗示。7码部分钻从上面的盒子，产生的晶体垂直下降从内部的板条，直到他们被嵌入到地面。通过与混凝土洞穴的对比，木材和天然钢的微妙混合给人一种高贵和明亮的感觉。

The material is given by an exposed concrete box, inside which the separation of vertical and horizontal planes is implied by fine lines. Seven yards partially drill the box from above, giving rise to the crystals which descend vertically from the interior of the slab until they get embedded in the ground. A subtle blend of wood and natural steel gives a tinge of nobility and brightness by contrasting with the concrete cave.

 Secciones 1

Secciones 1

一个由北向空隙组成的盒子，通过它与外部环境、自然光的进入、气候控制和能量收集进行所有的交换。户外大自然的融入是可能的，通过所有的空隙，现在转换成码。

A box perforated by a constellation of north oriented voids, through which all the exchanges with the exterior environment, the entry of natural light, the climate control and the energy harvesting are made. The inclusion of outdoor nature is possible through all the voids now converted to yards.

 © Fabián Mena

(法比安·梅纳)

…我的家人说我从大师那里学到了“项目策划”.从把密斯有的东西…，简单的自我强加的规则，显示出一个明确的意图：连接两种材料，它需要第三种材料；把两种平面连接起来，它需要膨胀，不能使用油漆和“灰色工作”是“白色的工作”。

…family member that “project-planning-in-the-making" I learned from the master ... from putting together the things that Mies had..., simple self-imposed rules that show a clear intention in the doing: to join two materials it is required a third one; to join two flat levels it is required to dilate, the inability to use paints and the “grey work” is “white work”.

如果把室内空间看作一个水平的盒子，穿进五码，多个视觉视角贯穿其中，那么室内空间的体验总是与周围的庭院相关；玻璃上的反射所带来的深度细微差别，就变成了一种有趣的虚假迷宫游戏。在外面，一个中性的盒子会转换，直到它变成一个雾容器。

When viewed as a one level box, pierced by five yards and with multiple visual perspectives that cut across, the experience of the interior space is always in relation to the surrounding yards; its depth nuanced by the reflections on the glass becomes a fun game of false labyrinths. Outside, a neutral box transforms until it materialize itself as a fog container.

 © Fabián Mena

(法比安·梅纳)

Architects XXeStudio

Location Villa del Rosario, Colombia

Category Houses

Architect in Charge Balmor Pereira

Area 412.0 sqm

Project Year 2013

Photographs Alberto Moreno, Fabián Mena, Pedro Ballesteros

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