架构师提供的文本描述。一对来自加勒比海的夫妇在安第斯山脉北部的一个小镇中寻求退却，在基多以北两个小时。基多位于海拔2470米的山谷中，东和西分别位于Imbabura山和Cotacachi山脉之间。这对夫妇需要在回家前4天内提出一个设计建议，否则他们就会卖掉网站：我们必须在不知道网站的情况下设计一套房子，并在与这对夫妇见面两个小时之后。

Text description provided by the architects. A couple from the Caribbean seek retreat amid the northern Andes in a small town, two hours north of Quito, an orchard site in a valley 2470 meters above sea level, between the Imbabura and Cotacachi mountains, to the east and west respectively. The couple needs a design proposal in 4 days before going home, or they will sell the site: we have to design a house without knowing the site and after meeting the couple for two hours.

 © Sebastián Crespo

(塞巴斯蒂安·克雷斯波)

根据我们对自己房子的经验，我们采用了同样的策略：一种可以适用于任何场地条件的通用方案，一个其空间限制将是我们所知道的主导山谷的两座山的房子，作为一个起点的抽象玻璃房子。

Based on our experience for our own house, we apply the same strategy: a universal scheme that can work for any site condition, a house whose spatial limits will be the two mountains we know dominate the valley, the abstract glass house as a starting point.

 © Sebastián Crespo

(塞巴斯蒂安·克雷斯波)

但我们也深信，为了工作，特定于地形、天气、使用等，普遍和抽象的需要变得具体。但是有一个方面让我们特别感兴趣的建筑，建筑和物质：建筑用当地的材料和技术将根抽象在它的位置，也决定了形式和类型，四合院。

But we are also convinced that the universal and abstract need to become specific in order to work, specific to topography, weather, use, etc. but there is one aspect that makes architecture specific that interest us above all, construction and materiality: building with local materials and techniques will root abstraction in its place, and also determine form and type, the courtyard house. 

 © Sebastián Crespo

(塞巴斯蒂安·克雷斯波)

在高地震区用土建造的建筑意味着你必须遵循非常严格的几何规则，允许很少的类型变化；这将不允许房屋受到山脉的限制，也不会变得更加特定于地形、场地几何学、果园中的树木以及客户的实际需要。严格应用局部施工技术只会保证表面的连续性，而不是真正的形式植入。

Building with earth in a highly seismic region implies you have to work with very strict geometric rules that allow for very little variation from a type; this would not allow the house to be limited by the mountains, or vary to become more specific to topography, site geometry, trees in the orchard and actual needs of use by the client. Strictly applying local construction techniques would only guarantee apparent continuity, not real formal implantation. 

 © Sebastián Crespo

(塞巴斯蒂安·克雷斯波)

我们必须确定一种方法，使普遍性具体化，通过抽象化和物质性强化我们认为必不可少的现实条件；如何使山谷和山脉的房子，而不仅仅是放置在其中并受到它们限制的对象？将类型学理解为一种普遍的工具，在其形式特征上通过重要性加以修正，为我们提供了一套清晰的、适应性强的规则来实现具体性。

We had to determine a way to make the universal specific, intensifying the conditions of reality we identified as essential through abstraction and materiality; how to make the house of the valley and mountain range, not just an object placed in and limited by them? Understanding typology as a universal tool, modified in its formal traits by materiality, provided us with a clear and adaptable set of rules to achieve specificity.

 © Sebastián Crespo

(塞巴斯蒂安·克雷斯波)

传统的四合院由第一层的承重土墙和木质的二层和屋顶组成，被抽象为庭院类型，在这种情况下，由三个由使用确定的海湾定义：一对夫妇和客人共用的一个公共海湾，一个由庭院隔开的私人房间，另一个隔开的第三个海湾，供夫妻私用。

The traditional courtyard house, built with loadbearing earth walls for the first story and wooden second stories and roofs, is abstracted to a courtyard type defined in this case by three bays determined by use: a public bay shared by the couple and guests, a private bay for the guests separated by the courtyard, and a third bay atop the other two for private use by the couple. 

 © Sebastián Crespo

(塞巴斯蒂安·克雷斯波)

这种传统四合院式的类型变异，通过对现代双核建筑的认识，结合夯土建筑的特点和轻质辅料的层次性，力求地方与普遍的综合，变体的延续性。

This typological variation of the traditional courtyard type, through understanding the modern bi-nuclear house, combined with the properties of rammed earth construction and the layering of lighter complementary materials, strive towards a synthesis of the local and the universal, towards continuity through variation.

 First Floor Plan

一层平面图