The Counter-Slope House by yh2

本文由 yh2 授权mooool发表，欢迎转发，禁止以mooool编辑版本转载。
Thanks yh2 for authorizing the publication of the project on mooool, Text description provided by yh2.

yh2：这座住宅坐落于梅姆弗雷莫格湖畔的波顿地区，与一片具有强烈地理特征和氛围张力的景观紧密交融。场地由陡峭的斜坡构成，直通狭窄的湖滨地带，常被周围树林投下的阴影所笼罩，营造出一种既古老又沉思的氛围。因此，该项目作为对场地戏剧性特质的回应而展开，旨在以尊重的姿态与地形本身的表达特性和谐共存。

建筑手法源于一种退隐的逻辑——并非消除，而是通过策略性地弱化建筑的存在感。两个既独立又相互关联的体量从地面中错落而出，形成碎片化的布局。每个体量均以双坡屋顶（斜坡与反向斜坡）收顶，这种形态处理在与景观线条建立微妙对话的同时，也打破了建筑整体的视觉尺度感。

yh2：Situated along the shores of Lake Memphremagog, in the Potton region, this residence engages with a landscape of powerful geographical and atmospheric intensity. The site, defined by a steep slope plunging into a narrow lakeside strip, is often obscured in the shadows cast from the surrounding stands of trees, generating an atmosphere that is at once archaic and contemplative. The project therefore unfolds as a response to the dramatic nature of the site, an attempt at respectful coexistence with the expressive qualities of the terrain.

The architectural approach is rooted in a logic of retreat — not as erasure, but as a strategy to soften the built presence. Two distinct yet interrelated volumes emerge from the ground in a fragmented arrangement. Each is crowned with a dual-pitched roof (slope and counter-slope), a morphological solution that establishes a subtle dialogue with the lines of the landscape, while breaking down the perceived scale of the building.

主建筑的屋顶成为一个关键空间：它既是门廊，又是接待区，同时作为视觉上的消失点。这一水平面在坡度陡峭的场地上极为罕见，成为建筑与景观之间的连接枢纽，衔接了地面体验与向远方延伸的视野。它为居住行为赋予了一种近乎仪式性的意味，进入建筑的过程伴随着一种沉思般的停顿。

主体建筑按照纵向逻辑布局，顺应地形的自然台地，对地貌进行最小程度的改动。这种地形上的定位使建筑得以温和而几乎隐秘地融入环境，凸显出一种建构上的被动性。室内空间通过大面积的玻璃开口朝向湖面，消解了内外之间的界限。地板延伸至外部阳台，成为连接居住空间与景观的媒介，在居住与自然之间营造出一种空间上的通透感，使过渡区域逐渐模糊，呈现出感知上的连续性。

两座上层建筑呈狭长形，背对而立，分别朝向湖面和山峦。其中的卧室隐匿于树林之中，将绿叶环绕成一幅生机盎然的天然画卷。

空间布局直接受地形影响，形成了一种倒置的流线序列。入口设于上方，俯瞰湖面，而生活空间则紧贴地面，依偎在坡地之中，与场地亲密相融。

The roof of the main volume becomes an essential space: a belvedere functioning simultaneously as threshold, reception area, and visual vanishing point. This horizontal plane, rare on a site governed by a steep slope, acts as a hinge between architecture and landscape, between the experience of the ground and the projection toward the distance. It introduces an almost ritual dimension to the act of dwelling, where entry into the architecture occurs through a contemplative pause.

The main volume is organized according to a longitudinal logic, following the natural terrace of the land without excessive alteration of the terrain. This topographical positioning allows for a gentle, almost surreptitious insertion that emphasizes a form of constructive passivity. Interior spaces, oriented towards the lake through expansive glazed openings, dissolve the boundary between inside and outside. Through their extension into the exterior balconies, the floors become mediators, orchestrating a spatial porosity between habitation and landscape in which thresholds fade in favor of perceptual continuity.

The two upper volumes, with their elongated forms, turn their backs to each other, orienting respectively towards the lake and the mountain. The bedrooms they contain are nestled within the trees, framing the foliage as a living tableau.

The spatial organization, directly influenced by the site’s topography, generates an inverted circulation sequence. Entry occurs from above, overlooking the lake, while the living spaces settle into contact with the ground, leaning against the slope within the intimacy of the site.

为了呼应场所的表达性，裸露的木结构保持原样，它在穿行房屋的过程中形成视觉节点，并贯穿整个空间体验，起到引导作用。

材料性也构成了这种语境语言的一部分。房屋的基础部分与天然岩石相接，采用现浇混凝土建造；而外立面则使用天然雪松木板，任其随时间自然风化，色彩上与场地的植物和矿物纹理相协调。室内以白橡木营造出温暖感——近乎居家氛围，与外部粗犷的自然形成对比。黑色元素——框架、开口、细节——作为构图手段，依据一种近乎绘画般的逻辑，将景观延伸为图像与深度的概念。

该项目最终可被理解为对景观的一种建筑性沉思：既非模仿，也非断裂，而是在可见性与隐退、建筑的自主表达与和谐融合之间，精心控制着一种张力。它探讨了建筑如何不以物体的形式，而是作为体验场所的条件来占据场地——一种减法的建筑，其揭示之多，远胜于其所施加之少。

In response to the expressiveness of the place, the exposed timber structure is left raw. It punctuates movement through the house and acts as a guiding thread throughout the experience.

Materiality also contributes to this contextual language. The base of the house, in contact with the natural rock, is formed in cast-in-place concrete. Conversely, the natural cedar exterior cladding, left to weather over time, harmonizes chromatically with the vegetal and mineral textures of the site. Inside, white oak reintroduces a sense of warmth — almost domesticity — in contrast to the raw nature of the exterior. Black elements — frames, openings, details — operate as devices of framing, extending a concept of landscape as image and depth according to an almost painterly logic.

The project may ultimately be understood as an architectural meditation on landscape: neither pastiche nor rupture, but a carefully controlled tension between visibility and retreat; between architectural assertion and harmonious integration. It questions how architecture can inhabit a site not as an object, but as a condition for experiencing place — an architecture of subtraction that reveals more than it imposes.