意大利山间度假屋，开放式空间与自然景观完美融合

2017/05/21 05:00:00

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安德里亚·卡米尼奥拉

架构师提供的文本描述。卡萨·达戈斯托(Casa D‘Agosto)位于奥特·波夫斯地区，沉浸在一片山丘上，到处都是村庄和城堡，森林和大片耕地构成了繁荣的自然景观。

Text description provided by the architects. Located in the Oltre Po Pavese region, immersed in a hilly landscape full of villages and castles, and in a flourishing nature made of woods and large cultivated areas, Casa D'Agosto, a small village ,part of the Valverde Municipality of 315 inhabitants, is just twenty kilometers from Pavia.

安德里亚·卡米尼奥拉

这个小小的(120平方米)度假别墅是一对年轻的米兰夫妇在一片土地上建造的，坡度约为3000平方米。

This small (120m²) holiday home of a young Milanese couple was built on a piece of land with a slight slope of about 3000 sqm.

安德里亚·卡米尼奥拉

安德里亚·卡米尼奥拉

新家完全是由一个钢筋混凝土的单体放在地面的自然水平和它前面的一个开放空间，以享受空气和周围的大自然在夏季。

The new home is fully made of a reinforced concrete monoblock positioned at the natural level of the ground and of an open space in front of it, for the enjoyment of the air and the surrounding nature in summer.

安德里亚·卡米尼奥拉

这个度假屋被认为是一个开放的空间，在两层楼的铰接在一个双高度的体积，房子的特点是它的阁楼和45度旋转的传统屋顶盖。其结果是创建了四个相同的、立体的和梯形的截面。

This holiday home is conceived as an open-space on two floors articulated in a single double-height volume; characteristics of the house are its lofts and the 45-degree rotation of the traditional roof cover. The result is the creation of four identical, stereometric and trapezoidal sections.

室内空间划分如下：在底层我们发现居住和就餐区，从外面的花园通过大的滑动窗进入，除了主门道，也有玻璃。

The interior space is divided as follows: on the ground floor we find the living and dining area, accessible from the outside garden through large sliding windows, in addition to the main access door, also glazed.

安德里亚·卡米尼奥拉

开放空间底层分为一个大的双层起居区，一个位于阁楼下面的就餐区，以及一个带有混凝土工作台和经过处理的枫树门的开放式厨房；一个带地板对墙和墙壁与绿色水泥脱离接触的小型浴室为底层和上层提供服务。

The open-space ground floor is divided into a large double-height living area, a dining area located below the mezzanine and the open-space kitchen with concrete worktop and treated maple doors; a small bathroom with floor-to- wall and wall-clad disengagement with green cement serves both the ground floor and the upper floor.

安德里亚·卡米尼奥拉

通过钢筋混凝土制成的开放式楼梯确保进入睡觉区域，该楼梯也是用同一材料制成的墙砖；楼梯毗邻起居室。

The access to the sleeping area is ensured by an open staircase made of reinforced concrete, inserted into wall blocks also made of the same material ; the staircase is adjacent the living room.

安德里亚·卡米尼奥拉

在阁楼上有两间完全开放的卧室，俯瞰客厅；从卧室的大窗户上可以欣赏到周围的景观。与景观的关系由大木窗保证，其中一些是可打开的，另一些是固定的，这些窗户可以让光线、空气和周围的小山的景色相得益彰；所有的开口实际上都是根据提供最好的外部视觉的需要而设计的。钢筋混凝土，用于消除内部的任何结构元素和降低建筑成本，是放置在使用共同的黄色面板，并使其内部暴露。

On the upper loft floor there are the two fully open bedrooms, overlooking the living area; from the bedrooms' large windows you can enjoy the view of the surrounding landscape .The relationship with the landscape is guaranteed by large wood windows , some of them openable and others fixed, which together allow light, air and the view of the surrounding hills; all the openings are in fact designed according to the need of offering the best external sight. The reinforced concrete, used to eliminate any structural element inside and reduce the construction costs, was placed using common yellow panels and leaving it internally exposed.

安德里亚·卡米尼奥拉

几个实木元素(厨房、浴室门、家具和窗框)的物质性；地板的优雅，由整体混凝土直升机铸件制成，用石英糊完成；裸露的混凝土墙和暴露的天花板的粗糙质地。所有这些特性都有助于突出建筑工作中最敏感和最材料的方面。

The materiality of the few solid wood elements (kitchen, bathroom door, furniture and window frames); the elegance of the floors, made of monolithic concrete helicoptered castings and finished with quartz paste; the rough texture of the exposed concrete walls and exposed ceiling. All these characteristics help highlight the most sensitive and material aspects of the architectural work.

安德里亚·卡米尼奥拉

建筑物的外部饰面确保了与内部的连续性；所有正面都用深灰色、粗粒状、热反射的灰泥完成，并铺上了一根铲子；此外，双层、四十五度、双面盖子也用劣质材料处理，通常用于工业外壳(灰色手套)。它遵循并证实了整个作品中的野蛮语言。

The exterior finishes of the building ensure continuity with the interior; all the facades are finished with a dark-gray, coarse-grained , heat-reflective plaster, grossly spread with a trowel; also the two-fold, forty-five-degree , double-faced cover is treated with poor material, normally used in industrial shells (gray glove). It follows and confirms the brutalist language of the whole work.

安德里亚·卡米尼奥拉