架构师提供的文本描述。影子屋是伦敦北部卡姆登新建的私人住宅。它获得了2011年RIBA奖，2011年英国家庭奖年度最佳小房子奖，在2011年NLA奖上获得嘉奖，并获得曼塞尔奖章。我们自己完成了整个项目，从找到现场，到配件、固定装置和家具的规划、设计、建造和制造。

Text description provided by the architects. The Shadow House is a new build private house in Camden, North London. It has won a 2011 RIBA Award, Best small house of the year award at the British Homes Award 2011, received a commendation at the 2011 NLA Awards and was longlisted for the Manser Medal. We carried out the entire project ourselves, from finding the site, through planning, design, construction and manufacture of the fittings, fixtures and furniture.

 © Keith Collie

基思·柯利(KeithCollie)

影子屋是我们自己的家，但也是建造普通小城市房屋的试验。在为其他做法工作的同时，我们为私人客户设计了豪华住宅，并致力于复杂的城市社会住房开发；我们热衷于将这一经验扩展到建造更简朴的单元房，以检验我们自己关于少住的想法。我们想要创造强烈的室内空间，最大限度地发挥情感效果。意识到伦敦土地市场过于拥挤和价格过高，我们开始寻找合适的地点。

The Shadow House is our own home, but is also an experiment in making a generic small city house. While working for other practices, we designed luxurious houses for private clients and worked on complex urban social housing developments; we were keen to extend this experience into building more modest single houses, in order to test our own ideas on living with less. We wanted to create intense interior spaces with maximum emotional effect. Aware of the overcrowded and overpriced London land market, we set out to find a suitable site.

 © Keith Collie

基思·柯利(KeithCollie)

最后，我们在国王十字以北的卡姆登广场保护区的圣保罗新月上发现了一块38平方米的土地。它包括一个摇摇欲坠的停车场，紧靠着保存完好的维多利亚时代晚期房屋的露台。以前的业主屡次试图获得许可，在那里建造一座新的小屋，但都没有成功，规划监察局也支持上诉中的拒绝。在附近一个类似的地块上建造一座新房子的申请引起了司法审查并引起了ODPM的注意。虽然我们意识到在这一地区建筑的极端敏感性，该网站的曲折历史降低了它的价值，足以让我们在2006年夏末买下这个网站(GB75K)。

Eventually, we found a 38m2 scrap of land on St Paul’s Crescent in the Camden Square Conservation Area, just north of Kings Cross. It comprised a tumbledown parking garage abutting a terrace of well-preserved late-Victorian houses. Previous owners had made repeated, unsuccessful attempts to win permission to build a new cottage there, and the Planning Inspectorate had upheld the refusals at Appeal. An application to build a new house on a similar plot nearby had resulted in Judicial Review and the attentions of the ODPM. Although we were conscious of the extreme sensitivity of building in this area, the site’s chequered history depressed its value sufficiently for us to buy the site (for £75k) late in the summer of 2006.

 © Keith Collie

基思·柯利(KeithCollie)

我们与卡姆登计划者的交往是漫长而微妙的。我们意识到，在这样一个有争议的地方开展工作需要采取一种协作的办法，因此，我们与安理会官员进行了密切对话，制定了这一设计。建筑物的最大围护范围是由它与邻居的关系决定的：许多古老的灯光俯瞰着我们的遗址。然而，最大的争论是大楼的外观。我们热衷于快速、低碳的建筑，我们最早的计划完全是木材建造的.然而，环保游说人士的观点是，这座房子应该反映出其艰难的工业时代背景。我们对此做出了极端的回应，提出了一种荷兰式的工程砖，其黑色釉面与煤的切割面相似。我们将此与透明、无框架的玻璃和白色雕像大理石的口音进行了对比，与周围维多利亚时代建筑的石膏和门廊相呼应。

Our dealings with the Camden Planners were protracted and delicate. We realised that building on such a contentious site would require a collaborative approach, so we developed the design in close conversation with the Council’s officers. The maximum envelope for the building was determined by its relationship to its neighbours: many ancient lights overlooked our site. The greatest argument, however, was over the building’s external appearance. Keen to employ rapid, low-carbon construction, our earliest scheme was entirely timber-built. However, the conservation lobby’s opinion was that the house should instead reflect its tough, industrial-era context. We took an extreme response to this brief, proposing a dutch-format engineering brick with a black glazed finish resembling the cut face of coal. We contrasted this with sheer, frameless glazing, and with accents of white statuarietto marble, echoing the plaster reveals and porticoes of the surrounding Victorian architecture.

 © Keith Collie

基思·柯利(KeithCollie)

因此，房屋的构造是由其物理和立法背景所驱动的。我们已经开发了一种坚固的整体设计，加强了无情的单色皮肤。因为我们的预算太紧了，我们计划自己做尽可能多的工作，并且把调色板限制在初级材料上。我们发现这些限制是解放的，而不是局限的：在实践中有伟大的诗歌，所以我们陶醉于寻找简单的方法来组装房子。

The tectonic of the house was therefore driven by its physical and legislative context. We had developed a robust and monolithic design, reinforced with an unforgiving, monochromatic skin. Because our budget was so tight, we planned to carry out as much work as possible ourselves and limited our palette to primary materials. We found these limits liberating rather than restricting: there is great poetry in practical things, so we reveled in finding simple means of assembling the house.

 © Keith Collie

基思·柯利(KeithCollie)

为了给那些感觉非常受限的房间提供空间感，重要的是我们能够调整这个区域，并与一些高度一起工作。不同的天花板高度，根据下面地板和不同高度屋顶的变化而调整，从起居室的3m到入口处的210万不等。这使我们能够给每个空间它自己的温度、音质和舒适或通畅的感觉。有一定的强度结，在那里，空间和功能的需求是纠缠在一起的。

In order to give a sense of space to what could feel like very constrained rooms, it was important for us to be able to modulate the section and work with some of the heights. Different ceiling heights, adjusted by changes in the floor below and by different height roofs produce a range from 3m in the living room to 2.1m in the entrance area. This allowed us to give each space its own temperature, sound quality and sense of cosiness or airiness. There are certain knots of intensity, where the spatial and functional requirements of the house are tangled up.

 © Keith Collie

基思·柯利(KeithCollie)

该遗址位于地面上，混合了移动粘土和从铁路线切割到国王十字和圣潘克拉斯的废品。子结构由钢筋混凝土地基梁和桩组成，上部结构为承重砌体。落叶松Glu-lam梁(在发生火灾时保持结构完整性)被直接放置在砖瓦中，以支持屋顶和地板结构。地板表面采用抛光混凝土，现浇.落叶松细木工板形成一个背光普拉法拉斯到客厅和卧室，并线深的内部揭示，形成诱人的窗口座位。构图是在非白色贴合的橱柜里完成的，我们在房子里做的，然后把它们送出现场进行喷雾处理。建筑工程于2009年8月开始，2011年1月底，我们搬了进来，这让我们非常高兴。

The site lies on made ground, a mixture of mobile clay and spoil from the cutting of railway lines to Kings Cross and St Pancras. The substructure comprises reinforced concrete ground beams and piles, while the superstructure is in loadbearing masonry. Larch glu-lam beams (over-sized to maintain structural integrity in the event of fire) are laid directly into the brickwork to support the roof and floor structures. Floor finishes are in polished concrete, poured in-situ. Larch blockboard panels form a back-lit plafond français to the living room and bedroom, and line the deep internal reveals to form inviting window seats. The composition is completed in off-white fitted cabinetry, which we made in the house before sending them off-site to be spray-finished. Construction work began in August 2009 and we moved in, to our great delight, at the end of January 2011.

 © Keith Collie

基思·柯利(KeithCollie)