亙古及今，“公共”建筑 - 由教會和國家機構建造的建筑，作為一個塑造群眾意識的工具。它的龐大的規(guī)模，空間的布局和材料的選擇，都是為了在觀眾和訪客中創(chuàng)造一種在各種維度之間移動的感覺 - 從日常，簡單和經常下 - 到地方是崇高的，鼓舞人心的和壯麗的威嚴 - 家庭給那些被提名為特權的人 - 地球上的上帝的代表。
From the architect. Since the dawn of history, ‘public’ architecture – the architecture constructed by institutions of church and state, served as a tool in shaping the consciousness of the masses. Its massive dimensions, layout of spaces, and choice of materials, were all done with the objective of creating in the viewer and visitor a sense of moving between dimensions – from the day-to-day, the simple and the often inferior – to a place that is sublime, inspiring and of awesome majesty – homes to those among the people raised to privilege– the representatives of God on earth.
在古埃及的法老，受到以線性方式流動的尼羅河的影響，設計他們的寺廟作為一個龐大的自然經驗。 路途中，寺廟游客在長長的伸展處移動，變得更加復雜和更深，穿過每個暴露下一個線索的空間，每個過渡似乎讓你更接近高貴和令人震驚，它只青睞會看到。
The Pharaohs in Ancient Egypt, influenced by the Nile which flows in linear manner, designed their temples as a voluminous physical experience. En route, temple visitors move over long stretches that become more convoluted and ever deeper, passing through spaces where each exposes a clue to the next, and where each transition appears to take you closer to the exalted and the shocking, which only the favored will get to see.
西方現代建筑尋求擺脫其宣傳基礎，并作為一個社會的價值觀，它的文化和技術能力的反映。它旨在服務于公眾和一個國家政府的目標 - 不再是圣地的形式，而是作為功能性的公共建筑，歡迎和民主的性質。 因此，改變觀眾心態(tài)的重要性幾乎完全不存在于近幾個世紀的設計話語中。
Western modern architecture sought to break free of its propaganda-based foundations and serve as a reflection of the values of a society, its culture, and its technological capabilities. It is intended to serve the public and the objectives of a nation’s government – no longer in the form of holy places, but as functional public buildings that are welcoming and democratic in nature. Accordingly, the importance of changing the mind-set of the visitor has been almost entirely absent from the design discourse in recent centuries.
當涉及到“草根建筑” - 即在規(guī)劃私人住宅時使用的建筑 - 在進入房子時意識變化的體驗在設計過程中幾乎從未被考慮過，在之前已失去了重要性。 居住空間和客廳則是作為一個整體，從街道上除了一個門，從物理和隱喻分開。
When it comes to ‘grassroots architecture’ – namely, the architecture used in planning private residences – the experience of a change in consciousness upon entering a house is hardly ever thought of nowadays in the design process, having lost its importance quite some time ago. The living spaces and the living room are thus made as one piece, separated from the street by nothing more than a door, both physically and metaphorically.
這里討論的房子是關于這種經驗。正是這種動態(tài)在其設計中產生，通過簡單地將他或她放置在它的中心，從他們站在面對街道的門面前面的第一刻解釋它 - 一個不透明的整體板，覆蓋在黑暗的石頭。墻壁的不滲透性通過年輕的樹木大道引導游客沿著鋪設的人行道直接進入由半透明的木材包圍的內部庭院，第一個在一系列內部庭院形成一個關鍵原則。
The house under discussion here is about this experience. It is this dynamic that is generated in its design, explaining it to the visitor simply by placing him or her at its center from the first moment they stand in front of the facade facing the street — an opaque monolithic slab, covered in dark stone. The impermeability of the wall is softened by an avenue of young trees directing the visitor along the length of the paved footpath, directly into an inner courtyard surrounded by a semi-opaque stretch of wood, the first in a series of internal courtyards that form a key principle in the design of the house.
沿著路徑走，實際上上進入封閉的地面，是從外部世界分離的過程的一部分，并且更深入地考慮當前時刻。 現在可以充分注意結構，捕獲在它的空間像囚犯一樣 - 我們站在一個大，透明的幕墻前面，我們可以觀察到在房子里發(fā)生了什么是絕對的透明度，留給訪客的東西邀請，因為他們喜歡這樣的可愛。
Walking along the path, as indeed the entry into the enclosed grounds, is part of the process of separating from the outside world and contemplating the present moment more deeply. Full attention can now be given to the structure, captured in its spaces like a prisoner – as we stand in front of a large, transparent curtain wall on which we can observe what is going on in the house in absolute transparency, something reserved for visitors invited because they appreciate such loveliness.
雖然面對街道的立面被設計為一個不透明的群體，似乎擁有一種神秘，一旦穿過木制的“樹干”的線，房子的空間突然可見的所有的簡單。 進入不透明，然后捕捉私人內部的視線，從密封，隱藏和整體，進入一個開放和光線充足的空間，幾乎似乎證實你進入了現在暴露的地方 - 房子的私人部分。 這里的幾何是簡單和極簡主義，是干凈和透明的其形式和材料，幾乎就像是一個人把他的所有的卡片面朝上在桌子上。
Although the facade facing the street is designed as an opaque mass and seems to hold an enigmatic secret, as soon as one crosses the line of the wooden ‘arbours’, the spaces of the house are suddenly visible in all their simplicity. The process of stepping into opaqueness and then catching sight of the private interior as it emerges from the sealed, the hidden, and the monolithic, into an open and light-filled space, would almost seem to confirm that you have entered the place now exposed – the private parts of the house. Here the geometry is simple and minimalist, and is clean and transparent in its form and materials, almost as if it were someone that had turned all his cards face up on the table.
其他內部庭院以及玻璃欄桿環(huán)繞的游泳池，將其與其他外部空間隔開，似乎將所有訪客的體驗匯聚成一個專注和穿透性的體驗，這清楚地說明了允許的范圍和可能，并將房子定義為私人和親密的體驗。
The other internal courtyards, as well as the glass balustrade that encloses the swimming pool, separating it from the other outside spaces, seemingly bring together all the visitor’s experiences into a focused and penetrating experience, one that clearly spells out the boundaries of what is permitted and possible, and defines the house as a private and intimate experience.
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建筑師：Pitsou Kedem Architects
地點：以色列
面積：700平方米
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