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IUA Ignacio Urquiza Arquitectos：埃尔托隆（El Torón）保护区位于瓦哈卡海岸，在墨西哥太平洋海岸线的最南端，距离梅尔梅吉塔和本塔尼利亚海滩之间的海滨小镇马赞特只有数公里。这是一片占地30公顷的保护区，以混合植被与崎岖的地形为特征，陡峭的悬崖和山顶造就了难以企及的景点和独特的自然风光。
埃尔托隆住宅是该保护区内设计的首个住宅，其概念源自两个前提，这使我们能够质疑和重新思考滨海住宅。前提其一是最大限度地尊重场地；其二是设法理解并学习该地区的乡土建筑和当代建筑，它们代表了多年积累的智慧和经验，并往往具有独一无二的功能。
IUA Ignacio Urquiza Arquitectos：El Torón Reserve is located on the coast of Oaxaca, at the southernmost point of the Mexican Pacific coastline and a few kilometers from Mazunte, between Mermejita and Ventanilla beaches. It is a protected 30-hectare area characterized by mixed vegetation and rugged topography, with steep cliffs and hilltops creating hard-to-reach spots and a unique natural beauty.
The House in El Torón is the first to be designed within this reserve, and its conception emerged from two premises that enabled us to question and rethink the idea of a house on the coast. The first was to show maximum respect for the site, and the second was to seek to understand and learn from the vernacular and contemporary architecture of the region, which represents so many years of accumulated wisdom and experience, and tends to offer unmatched functionality.
背景 Context
自20世纪70年代以来，Marco Aldaco、Mario Lazo、Diego Villaseñor和José Yturbe等建筑师提出了一种无门窗的“滨海新建筑”，促进了建筑与自然之间的亲密关系，同时将传统沿海建筑的造型运用到大型项目中：棕榈屋顶、本地材料、对流通风和浅色地面这样的设计策略，以及一些针对任何沿海设计均适用的知识如今都被我们认为理所当然。这使得重新思考沿海的居住环境变得很困难，但质疑这些原则及其未来是落在近几代人身上的任务，我们必须在发展和演进中寻求平衡，同时考虑全球和地方之间的互动。
遗憾的是，我们正目睹着沿海城市设计的失败，它基于一种不利的将土地细分成小块的模式，寻求最大的利润，却改变景观，破坏生态环境。我们没有寻求对这些区域的理解，而是采用了与城市地区相同的模式。同时，建筑项目不适宜、仓促且与建造的时间和地点脱节。有鉴于此，我们该如何改善做事的方式呢？建筑将如何改变这样的现状？未来的滨海住宅项目该体现何种价值？
有鉴于此，我们如何才能改善事情的发展方式？建筑学可以做些什么来帮助改变这种动态？未来的海滨别墅项目必须体现什么价值？
Since the 1970s, architects like Marco Aldaco, Mario Lazo, Diego Villaseñor and José Yturbe presented a ‘new architecture of the sea’ without doors or windows that encouraged a close relationship with nature and at the same time transferred the gestures employed in traditional coastal architecture to large- scale projects: the use of palm roofs, local materials, cross ventilation, light-colored floors, are some of the design strategies that today we take for granted, as well as the knowledge we need to apply to any beach-based design. This makes rethinking coastal habitation difficult: but questioning the principles and its future is a task that falls to our generations, which must seek balance in development and evolution, while considering the interaction between the global and the local.
Regrettably, we are witnessing a failure of coastal urban design, based on a harmful model of division into micro-lots that seeks the greatest profit but only serves to transform the landscape, damaging the ecology. Instead of seeking to understand these zones, the same model is followed as in urban areas. Meanwhile, the architectural projects are unsuitable, hasty and disconnected from the time and place where they are built.
In light of this, how can we improve the way things are done? What can architecture do to help change this dynamic? What values must future beach house projects embody?
很显然，必须加强公共政策以确保这些区域开展适当的土地利用规划。然而，在尚未经规划的区域，我们认为有必要以一种与环境相符的方式行事，同时考虑到共同利益。如果我们介入这些空间，应该是以缓慢、宁静的建筑来关怀和保护环境。在这里，建筑对环境的关注将优先于用户。
对于埃尔托隆住宅的设计，我们设想了一个轻量级的建筑，思考规模、建筑和周围环境之间的物理关系，并使用了如棕榈树屋顶等多种元素。在这种建筑中，我们想象着只住在露台或沿海的栅栏边。一个尽可能少地“触及”场地的建筑，在仅有的建筑与场地接触的地方都尽可能谨慎并保持对场地的尊重。
It’s clear that public policies to ensure appropriate land-use planning for these zones must be strengthened. However, where such planning does not yet exist, we believe it is necessary to act in a manner coherent with the context, while thinking about the common good. If we intervene in these spaces, it should be with slow, tranquil architecture that takes care of and protects our environment. An architecture that, for once, places the surroundings before the user.
For the House in El Torón we imagined a lightweight architecture that questions the scale, the physical relationship between the building and its surroundings, and the use of a number of elements such as palm roofs. An architecture where we imagined living only on terraces or on a coastal palisade. An architecture that “touched” the site as little as possible and, where it did, that was as careful and respectful as it could be.
建筑仅使用当地材料：结构及门窗框架采用经过认证的热带木材，地基和挡土墙采用当地石材，这些石材大多源自现场挖掘工作，以及来自本地且几乎无需维护的灰泥和粘土。结构系统结合木材与混凝土，创建出4.8米的模数框架来承载轻质层板。建筑立面被碎石覆盖，具有良好的热性能，再加上框架设计，可最大程度地降低房间内制冷的能量消耗。
在项目施工过程中没有使用大型机械，所有的材料均通过ATV和拖车沿着现有的狭窄小道运入场地。在施工期间，周边的景观被封锁起来，位于建筑占地范围内80％的植被被重新移植到了四周。
The construction employed only local materials; certified tropical wood for the structure, door and window frames, local stone—mostly from the excavation itself—for the foundations and containment walls, and stucco and clay from the local area that require little maintenance. The structural system combined timber and concrete to create frames with 4.8-meter modules bearing lightweight slabs in each of the volumes. These are covered with the chippings from the stonework, endowing them with a thermal quality that, together with the frame design, minimizes the energy required to cool the rooms.
No large machinery was used in the construction process, with all the materials being brought in using an ATV and a trailer, following narrow pre-existing tracks. The perimeter landscape was cordoned off during the works and 80% of the vegetation that was located under the footprint of the buildings was replanted in the immediate surroundings.
该建筑分为三个主要模块，每个模块均为独立设计且彼此独立。第一个包含了上层的公共区域和下层的主卧及工作室；第二个包含了客房；第三个则是一个两层的小型体量，其下层是两间卧室，上层是公共区域。
The project program is divided into three principal modules, designed separately and independent from each other. The first contains the common areas on the upper floor, and the master bedroom and a studio on the lower floor. The second houses the guest bedrooms, while the third module is a small two-floor volume with two bedrooms on the lower floor and common areas on the upper floor.
建筑在场地上布置好后，这些模块通过广场、走道和开放路径连接起来，使整个区域形成流畅的动线。进而形成整个建筑群的平面布局，落实在最终完成的项目图纸上。这样的划分方式使我们能够在场地上更自由地布置不同的体量，而采用独立的体量意味着我们可以控制住宅的规模，保持现有植被的完整性，并为每个空间提供必要的私密性和独特的观景视角。
最终形成一系列断断续续的空间：室内、室外和带屋顶的室外空间与景观融为一体，使建筑在一个连续的未被改变的空间全景中，消隐在自然和人工的模糊关系中。
After being laid out on the site, these modules were connected by plazas, walkways and open paths to enable fluid circulation around the compound. The plan of the whole complex was the result of this process, and was the final project drawing completed. Dividing the program this way enabled us to position the different volumes on the site more freely, while working with independent volumes meant we could control the scale of the house, leaving the existing vegetation intact and providing each space with the necessary privacy and unique viewpoints.
The result is a series of intermittent spaces: interiors, exteriors and roofed outdoor spaces that merge with the landscape and enable the architecture to disappear in an ambiguous relationship of natural and artificial within a continuous panorama of unaltered spaces.
▽设计图纸 Drawing
项目名称：Casa en El Torón
完成年份：2020年
面积：850平方米
项目地点：墨西哥 瓦哈卡 Mazunte
设计公司：IUA Ignacio Urquita-Arquitectos
公司网址：ignaciourquisa.mx
联系电子邮件：info@ignaciourquiza.mx
首席设计师：Ignacio Urquiza Seoane
设计团队：Michela Lostia di Santa Sofía、Anaís Casas、Paulina Buenrostro、María del Mar Carballo
合作伙伴：APDA（Ana Paula de Alba），室内设计
图片来源：Onnis Luque，Ignacio Urquiza
摄影师网站：onnisluque.com
Project Name: Casa en El Torón
Completion Year: 2020
Scale: 850 m2
Project Location: Mazunte, Oaxaca, México
Landscape/Architecture Firm: IUA Ignacio Urquiza Arquitectos
Website: ignaciourquiza.mx
Contact e-mail: info@ignaciourquiza.mx
Lead Architects: Ignacio Urquiza Seoane
Design Team: Michela Lostia di Santa Sofía, Anaís Casas, Paulina Buenrostro, María del Mar Carballo
Collaborators: APDA (Ana Paula de Alba) – Interior Design
Photo Credits: Onnis Luque, Ignacio Urquiza
Photographer’s Website: onnisluque.com
“ 在仅有的建筑与场地接触的地方都尽可能谨慎并保持对场地的尊重。”
审稿编辑：SIM
更多 Read more about: IUA Ignacio Urquiza Arquitectos
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