架构师提供的文本描述。在过去的几年里，在许多旅行中，这对建筑有着浓厚兴趣的年轻夫妇形成了他们家的具体想法和心理形象。日光和人工照明的形式在他们的考虑中起到了核心作用。提供了房间规划的细节、房间之间的确切关系、视图，甚至产生了一个平面图概念-所有这些都灌输了关于室内和室外地区日光和人工照明的影响的特殊想法。他们视野中的光成为建筑的第四维度。为了帮助这一过程，客户们汇编了数百张高度大气的照片，并详细描述了他们未来家中的日常情况。与其说是一个有声望的人物，倒不如说这个想法是效仿现代、轻松、朴实的乡村平房的主题。经过长时间和密集的搜索，他们最终找到了一处暴露在阳光和令人叹为观止的景致上符合所有要求的房产。

Text description provided by the architects. Over the course of several years and on many travels, the clients – a young couple with a keen interest in architecture – had formed specific ideas and mental images of what their home was to be like.  Light in the form of daylight and artificial lighting played a central role in their considerations. Specifics were provided for the room plan, the exact relationship of rooms, the view, even a floor plan concept was produced – all infused with particular ideas in mind regarding the effects of daylight and artificial lighting both inside the home and in outdoor areas. The light in their vision became the fourth dimension of architecture. To help the process, the clients had compiled several hundreds of highly atmospheric photos and detailed descriptions of how day-to-day situations in their future home were to be experienced. Rather than a prestigious character, the idea was to follow the leitmotif of a modern, relaxed and unpretentious bungalow in the country. After a long and intensive search, they eventually found a property in an exposed position that met all the requirements in terms of sunlight and stunning view.

 © Thomas Mayer

(Thomas Mayer)

启动该项目所缺少的是一个建筑概念，它将这些细节和要求统一在一个单一的设计中，并与他们找到的基础建立联系。

What was missing to start up the project was an architectural concept that would unify these details and requirements in a single design and forge a link to the grounds they had found.

 © Thomas Mayer

(Thomas Mayer)

为了寻找合适的建筑师，正是建筑公司海德里希·阿奇特康(Heiderich Architekten)在德国WDR电视频道上发表的纪念2009年建筑日的报告，以及该公司在吕宁(Lünen)的办公场所里的一个下午，使马丁·海德里希(Martin Heiderich)周围的团队成为这项工作的热门人选。即使是最初的谈话也显示出架构师和客户对细节的热爱，这将使整个项目进行密集的交互和动态的交流，花了许多时间讨论细节。

In search for the right architect, it was the report on architectural firm Heiderich Architekten presented on German TV channel WDR to mark the Day of Architecture 2009 along with an afternoon in the firm’s premises in Lünen that made the team around Martin Heiderich a favourite for the task at hand. Even the initial talks showed a love of detail both on the part of the architect and the clients that would make for intensive interaction and a dynamic exchange throughout the project with many hours spent discussing details.

 © Thomas Mayer

(Thomas Mayer)

事实证明，马丁·海德里希(Martin Heiderich)在多特蒙德大学(University Of Dortmund)的博芬格教授(Bofinger)领导下，在确定设计意图方面积累了丰富的经验，并与发端人一起将这些设计发展成一座连贯的建筑，而无需亲自带头或原则上质疑这一概念，这证明在这里非常方便。在团队中设计，但没有妥协。

It proved a great convenience here that Martin Heiderich, armed with some 1,000 study designs, had gathered extensive experience while working under Prof. Bofinger at the University of Dortmund in pinpointing the intentions of a design and together with the originator develop these into a coherent building without taking the lead himself or questioning the concept in principle. Design in the team, but without compromises.

 © Thomas Mayer

(Thomas Mayer)

这种合作的结果是一个高度个性化的建筑概念，它反映了所有有关方面。镶嵌在石基上的一种附加结构组合物，带有折叠的香槟色金属板，包裹半透明的木质长方体，并在玻璃覆盖的生活区上方保持平衡。

The result of this collaboration is a highly individual building concept which reflects all parties involved. An additive structural composition set on a stone foundation with a folded champagne-coloured metal plate that enfolds a semitransparent wooden cuboid and balances above the glass-clad living area.

 © Thomas Mayer

(Thomas Mayer)

进一步规划很容易，因为大多数决定始终遵循这一概念。结构组成的严格形式主义规则和对精心挑选的材料和内部材料的偏好使人想起60年代和70年代初的建筑。主要材料可归结为橡木、砖块、灰瓦克和铝。除了一种灰色以外，许多颜色都是允许的.

Further planning was easy as most decisions consistently followed this concept. The strictly formalistic rules of the structural composition and the penchant for carefully selected materials and internals remind of buildings from the 60s and the early 70s.  The main materials boil down to oak, brick, greywacke and aluminium. Much was allowed in terms of colours, except for one – grey.

 © Thomas Mayer

(Thomas Mayer)

入口区域向左和右向一个地下室的替代和公用室在一边，在另一边，工作区域。办公室在从车道到花园的通道里有自己的露天部分。从入口处一直往前走，就是厨房、客厅和餐厅，这是一个流畅的房间，楼梯通向楼上，白天作为分区元素，晚上是轻型雕塑。楼上有一间卧室，可以看到鲁尔地区的美景，一间更衣室和一间宽敞的浴室。

The entrance area leads off to the left and right to a basement substitute and utility room on the one side and, on the other, to the work area. The office has its own open-air section in the passage from the driveway through to the garden. Following straight ahead from the entrance are the kitchen and the living and dining area as a fluent room with stairs leading to the upper floor positioned as a zoning element by day and a light sculpture by night. The upstairs boasts a bedroom with phenomenal view of the Ruhr area, a dressing room and a spacious bathroom.

 © Thomas Mayer

(Thomas Mayer)

场地包括不同时段和季节的露台，并将建筑物与物业相吻合。大的滑动门消除了内部和外部的分离，室外有屋顶的休息区补充了房间规划。客厅外有一个天然游泳池，内有橡木装饰。

The grounds include terraces for different times of day and seasons and dovetail the building with the property. Large sliding doors remove the separation of interior and exterior, a roofed sitting area outside complements the room plan. A natural pool right outside the living area features oak timber decking.

 © Thomas Mayer

(Thomas Mayer)

底层的砖来自Münsterland，是由于烧成过程中的棕色和微小的金色夹杂而被选中的。窗户是用橡木做的，外面有一个铝制的框架，外面的阴凉处是阴凉的C34。在阳极氧化阴影C32中，上层的铝包层被划分为1.75m的网格段。上层的木镶板是用经过热处理的杨木制成的。外部设施的定义是简单的，自然的混凝土表面和一个基本的水平设计.

The bricks for the ground floor come from the Münsterland and were chosen for their brown tone and minute golden inclusions as a result of the firing process. The windows are made of oak with an aluminium frame on the outside in the anodically oxidised shade C34. The aluminium cladding of the upper floor in the anodically oxidised shade C32 is divided into grid segments of 1.75m. The wooden panelling of the upper floor is made of thermally treated poplar. The outside facilities are defined by simple, natural-finish concrete surfaces and a basic horizontal design.

 © Thomas Mayer

(Thomas Mayer)

地板和精选家具采用德国橡木固化设计。在入口处和潮湿地区，所有大量使用的地板和墙面的灰瓦克都来自附近的OberbergischesLand。其他内置组件主要是涂在垫子上的白色油漆。

Floors and selected furniture are of cured German oak design. The greywacke for all heavily used floor and wall surfaces in the entrance section and in wet areas hails from the nearby Oberbergisches Land. Other built-in components are predominantly coated in mat white paint.

 © Thomas Mayer

(Thomas Mayer)

除了椅子和桌子之外，所有家具都是专门为这个家量身定做的.厨房部分作为一个折叠式单元，通过一个小图书馆，一直到办公室，就成了一个核心的决定性因素。

All furniture except for chairs and a table were custom-made specifically for this home. The kitchen section as a folding unit through a small library and on to the office becomes a central defining element.

在规划阶段初期，制定了一个成本框架，以便准确地对从购买物业到家具和配件的各个方面进行预算。在工程动工前，超过80%的合约工段已进行招标、谈判和外判。

Early in the planning stage, a cost framework was developed to budget precisely for all aspects from the purchase of the property to the furnishings and fittings. Before the start of construction, more than 80% of the contract work sections had been put out to tender, negotiated and contracted out.

 © Thomas Mayer

(Thomas Mayer)

建筑物的特别重点是照明。白天，一方面-充足和控制使用遮阳系统。另一方面，室内和外部都有人工照明。由于光作为客户的一种媒介的重要意义，从一开始就与建筑一起发展了照明建筑的概念，来定义建筑物的白天和夜间建筑。照明概念是由照明设计专家、灯光设计工程师Kober设计和实施的。它的基础是客户的愿望，一个平衡的相互作用，明亮的居住空间开放的花园和更多的遮荫私人宿舍在上层，仍然避风挡雨。其结果是，一栋建筑按事件的日光清晰地分为两部分。透过三面全玻璃墙壁，充满阳光进入室内，开阔的居住和就餐区与外部相配，宽3.50米，双面滑动门，在远在花园外的天篷屋顶下以直角打开。由此产生的阳光和阴影在这些屋顶下形成了内部和外部之间的对话，生活空间和花园之间的对话。天篷顶朝南的深度来源于精确的太阳研究。从4月1日到9月1日，南方的太阳被天篷遮住，而在一年中较冷的几个月里，低地的太阳沐浴在室内的光线中，不仅是为了增加温暖，也是为了提升心情。在天篷屋顶的前面隐藏了一个遮阳篷后面的正面包层，为露台提供了一种氛围，邀请逗留。较低的建筑部分与内向而亲密的上层建筑形成鲜明的对比。在这里，包层的木镶板正好延伸到窗户上，在外面提供了一个光学均匀的表面，防止了内部的景物，而光作为一个温暖的元素通过木材过滤，产生了光和阴影的嬉戏效果。这使得凉爽的地方在夏天退却，而在冬天，空气让人想起滑雪小屋。只有卧室就像树梢上的一只眼睛，在整个地区都能看到令人叹为观止的景致，而不允许在里面看一眼。

Special focus in the building is given to the lighting. Daylight, on the one hand – plentiful and controlled using shading systems. On the other hand, artificial lighting both for the interior and the exterior. Because of the great significance of light as a medium for the clients, a lighting architecture concept was developed right at the start together with the architecture to define the building’s daytime and nocturnal architecture. The lighting concept was devised and implemented by lighting design specialists LIGHT DESIGN ENGINEERING KOBER. It was based on the wishes of the clients for a balanced interplay of bright living spaces opening up towards the garden and more shaded private quarters on the upper floor that remain sheltered from view. The result is a building clearly divided into two sections by the incident daylight. Suffused with daylight transferred into the interior through fully glazed walls on three sides, the open living and dining area is dovetailed level with the exterior by 3.50m wide, double-aspect sliding doors that open at right angles under a canopy roof projecting far out into the garden. The resulting areas of sunlight and shade underneath these roofs form a dialogue between interior and exterior, between living space and garden. The depth of the canopy roof facing south resulted from an exact sun study. Between 1 April and 1 September, the south sun is shaded by the canopy roof, whereas in the colder months of the year the lower lying sun bathes the interior in light, not only for added warmth but also lifting the mood.  The front of the canopy roof hides an awning behind the facade cladding to lend the terrace an ambiance that invites to linger. The lower building section stands in stark contrast to the introverted and intimate upper floor. The wood panelling of the cladding here extend right across the windows to provide an optically homogenous surface on the outside and preventing the view inside, while the light filters through the wood as a warming element producing a playful effect of light and shadow. This leaves cool places to withdraw in summer, while in winter the atmosphere reminds of a ski lodge. Only the bedroom sits like an eyrie above the tree tops and offers a stunning view far across the region without permitting a look inside.

 © Thomas Mayer

(Thomas Mayer)

人工照明的概念在一天中的不同时间和不同的季节将地面和上层的这些对比性的大气吸收，并将其解释为夜间建筑，反过来又反映了居住者和他们的生活方式。作为家具，室内的灯光同样是“定制”的。灯具外壳被密封在外壳的混凝土天花板上，只有在沙发被定义好之后，餐厅的餐桌才能找到完美的位置。照明概念的成功是基于客户对规划过程的广泛参与，以及所有参与方之间的密集交流。照明的关键标准是视觉舒适性，自然光颜色和出色的色彩渲染，但也灵活切换和调暗。安装与天花板齐平的凹槽灯具退到背景，没有眩光和溢出光，以确保高效的定向光。少数壁面上均匀垂直照度的重要成分使这些壁面可以被视为空间边界，并为眼睛提供了一种平静的效果。建筑的直线在任何地方都没有被破坏性的光线破坏。环境照明在一些地方被重点照明补充，重点放在家具上，并由使用决定。厨房的工作区被下行灯照亮，沙发用椭圆形的轮廓透镜点亮方向灯，使光线看不见，相反，沙发就像房间里的雕塑。灯具的位置是以15°的角度发射到沙发上，为阅读提供了完美的视觉条件。此外，在早期规划阶段，客户已经知道哪些地方将通过窄光发出特别的口音。例如，厨房柜台上的一碗橙子有一个特定的位置，客厅里的一个壁龛也是如此，它从砖墙的微光中脱颖而出。这个壁龛还以蜡烛壁炉为特色。这个不同寻常的高度大气的房间元素的想法是一个纪念品，客户从他们的威尼斯之旅带回家-在那里，就像在这里，在他们的新家，它很快成为一个中心的放松的地方。

The artificial lighting concept takes up these contrasting atmospheres on ground and upper floor at different times of day and in the various seasons and interprets these into a nocturnal architecture that in turn reflects its occupants and their lifestyle. As the furniture, the light inside the house is equally “custom-made”. The luminaire housings were sealed in the shell’s concrete ceiling only once the sofa had been defined and the perfect postion had been found for the dining room table. The success of the lighting concept is based on an extensive involvement of the clients in the planning process and an intensive exchange between all involved. Key criteria for the lighting are visual comfort, natural light colours and excellent colour rendering, but also flexible switching and dimming. The recessed luminaires mounted flush with the ceiling recede into the background and are free of glare and spill light to ensure highly efficient directed light. The significant component of homogenous vertical illuminance on the few wall surfaces makes these perceivable as spatial borders and provides a calming effect for the eye. Nowhere at any point are the straight lines of the architecture broken by disruptive beams of light. The ambient lighting is complemented in places by accent lighting focused on the furniture and determined by use. Work areas in the kitchen are illuminated by downlights, the sofa is lit by directional luminaires with oval outline lens, leaving the beam invisible and instead, illuminating the sofa precisely like a sculpture in the room. The luminaires are positioned to emit their beams at an angle of 15° onto the sofa providing perfect visual conditions for reading. Furthermore, the clients already knew in the early planning stages which places were to be given special accents delivered by narrow beams of light. A bowl of oranges on the kitchen counter, for instance, has a defined place, as does a niche in the living room which stands out in the light from the slight glow of the brick wall. This niche also features a candle fireplace. The idea for this unusual and highly atmospheric room element was a souvenir which the clients brought home from their travels to Venice – there as here in their new home, it soon became a central place of relaxation.

 © Thomas Mayer

(Thomas Mayer)

将统一的洗壁和选定的强调结合起来，创造了感知的层次，并提供了引人注目的视觉视角。这是补充了选定的地方，为对象灯具，增加温暖的颜色口音。然而，主要的照明对象是楼梯，作为生活和就餐区域之间的中心核心；它似乎是自我照明的。房间的高度可达六米，使用RGBW LED镜片壁垫片，充分利用光线的全色光谱，在场景中照明。在白天模拟天窗的样子时，太阳落山后很长一段时间，阳光似乎在两面剪力墙之间倾泻而入。比月光和冰河时代的气氛更壮观的色彩是可能的，当然，灯具的力量在于他们通过一天中冷暖的光线的演奏来微妙地谨慎地发挥，以进一步增强家里的轻松气氛。

Combining uniform wallwashing with selected accentuation creates hierarchies of perception and provides compelling visual perspectives. This is complemented by selected places for object luminaires that add warm coloured accents. The main lighting object, however, is the staircase positioned as a central core between the living and the dining area; it appears to be self-illuminating. With a height of up to six metres, the room is scenically illuminated using RGBW LED lens wallwashers to utilise the full colour spectrum of light. Simulating the appearance of a skylight during the day, sunlight seems to pour in between the two shear walls at night long after the sun has actually set. Even more spectacular colours than moonlight and ice age atmosphere are possible, of course, the strength of the luminaires, however, lies in their subtle discreetness through the play of cold and warm light throughout the course of the day to further enhance the relaxed atmosphere in the home.

 © Thomas Mayer

(Thomas Mayer)

户外区域的照明概念遵循与内部相同的原则。垂直结构的照明有助于定义夜间的外部空间。物业东侧树木表面的均匀照明，创造了黑暗中空间边界的光学错觉，并将注意力引向花园。室外区域的垂直照度消除了窗户的反射，使眼睛能够远距离地游走。内部被延伸，黑暗的噩梦被驱散。天篷屋顶上的凹进灯具进一步增强了这一效果，因为它们的不对称光分布在玻璃结构周围形成了一条光线，使其看起来像漂浮在光地毯上。出色的眩光控制和轻微的角度灯具确保没有光线渗透到内部。甚至在晚上，游泳池也变成了照明物体。一个有13W LED和椭圆形轮廓透镜的单一灯具突出了整个水面和植物，就像另一个只有3W的灯具用清晰的聚焦光束照亮了插入的砖墙。照明的概念是四舍五入的进一步强调和详细的车道照明。

The lighting concept for the outdoor area follows along the same principle as applied inside. The illumination of vertical structures helps to define exterior spaces at night. The uniform illumination of the tree surfaces on the east side of the property creates the optical illusion of a spatial border in the dark and directs attention to the garden. Vertical illuminance in the outdoor area eliminates reflections in the windows allowing the eyes to wander far into the distance. The interior is extended, dark nightmares are dispelled. This effect is further enhanced by the recessed luminaires in the canopy roof, as their asymmetrical light distribution forms a line of light around the glass structure giving it the appearance of floating on a carpet of light. Excellent glare control and the slight angling of the lamps ensure that no light penetrates into the interior. Even the swimming pond transforms into a lighting object at night. A single luminaire with 13W LED and oval outline lens accentuates the entire water surface and plants, as another luminaire with just 3W illuminates the inserted brick wall with a crisp focused beam. The lighting concept is rounded off by further accentuation and elaborate driveway lighting.

 © Thomas Mayer

(Thomas Mayer)

为了根据白天或晚上的时间、天气、使用和所需的气氛，轻松地调整灯光场景，安装了一个大理照明控制系统，它不仅可以操作灯具、可切换插座和运动传感器，还可以按下按钮或使用计时器功能来操作游泳池和花园的浇水系统。

For easy adjustment of the light scenes depending on the time of day or night, the weather, usage and the required atmosphere, a DALI lighting control system was installed to operate not only the luminaires, switchable sockets and motion sensors, but also the watering system for pool and garden at the press of a button or using a timer function.