Architects: Ana de Bastos, Filipe Xavier Oliveira
Area: 93 m²
Year: 2019
Manufacturers: BRUMA, Ezarri, Sosoares, Valadares, Wicanders, Magres
Lead Architects:Ana de Bastos + Filipe Xavier Oliveira
Engineers:António José Oliveira
Builder:Construções Leite de Almeida & Filhos, Lda. e Construções Arrifarouca, Lda.
City:Arouca
Country:Portugal
建築師：Ana de Bastos，Filipe Xavier Oliveira
面積：93平方米
年：2019
製造商：BRUMA，Ezarri，Sosoares，Valadares，Wicanders，Magres
首席建築師：Ana de Bastos + Filipe Xavier Oliveira
工程師：安東尼奧·何塞·奧利維拉（AntónioJoséOliveira）
建造者：Lda的Leite de Almeida＆Filhos建築事務所。 e建設Lda的Arrifarouca。
城市：阿魯卡
國家：葡萄牙
“What surprises me most in architecture, as in other techniques is that a project has one life in its built state, but another in its written or drawn state” Aldo Rossi, A Scientific Autobiography (1981)
“在建築學上，以及在其他技術上，最讓我驚訝的是，一個項目在其建成狀態下具有一種生命，而在書面或繪製狀態下則具有另一種生命。” Aldo Rossi，《科學自傳》（1981年）
Arouca’s house is an example of theory put into practice as the art of knowing how to think the spirit of its time, drawing the potentialities within the existing constraints, ordering construction. The deep structure of architecture understood as a pattern language (Christopher Alexander, 1977) is related to architectural Knowledge and has a four-dimensional meaning that attests its complexity: Know-how to be (Space); Know-how to do (Technique); Know–how to think (Thinking); and finally, Know-how to communicate (Time).
阿魯卡（Arouca）的房子是理論實踐的一個例子，它是一種了解如何思考其時代精神，在現有限制內汲取潛力，有序建造的藝術。 被理解為模式語言的建築深層結構（Christopher Alexander，1977）與建築知識有關，並具有四維含義，證明了其複雜性：專有技術（空間）； 專有技術（技術）； 知道如何思考（思考）； 最後是專有技術（時間）。
THINKING (Know-how to think)
Arouca´s House concept as an “all seeing eye” (semiotics) is related to its layout understood as an “eye seen from the sky”. It observes the landscape facing south while closing towards north in a continuous gesture. The house is developed along the half-moon arch understood as a “upper eyelid”, with the semicircular pool representing the “Iris”.
思考（知道如何思考）
阿魯卡（Arouca）房屋的概念是“全視之眼”（符號），與它的佈局有關，即“從空中看的眼”。 它觀察朝南的風景，同時以連續姿態向北關閉。 該房屋沿半月形拱形發展，被稱為“上眼瞼”，半圓形水池代表“虹膜”。
Arouca’s house, whose clients belong to the construction industry, is a tribute to “freemasons”, architects and engineers, as builders of real architecture, for real people, an ode to the attainable who seeks control over the landscape. By being elevated towards the street it allows the view over the valley and the mountains, taking advantage of natural topography (Genius Locci) searching for a human-nature relationship, characteristic of living in the countryside.
阿魯卡（Arouca）的客戶來自建築行業，向“共濟會”，建築師和工程師（作為真實建築的建造者）致敬真人的人們致敬，這是對尋求對景觀的控制的可實現者的頌歌。 通過向街道抬高，可以利用自然地形（Genius Locci）的優勢，尋找人與自然的關係，這是鄉村生活的特徵，可以俯瞰山谷和山脈。
SPACE (Know-how to be)
In spatial terms, Arouca´s House has a double structural genesis: stereotomic ans tectonic. Structure has always a double function: Technical and spatial. It takes advantage of the resistant arched walls for the circulation zones, combined with a reticular skeleton logic for the functional and spatial subdivision.
空間（訣竅）
從空間上講，阿魯卡故居具有雙重結構成因：立體構造和構造構造。 結構始終具有雙重功能：技術和空間。 它利用阻力拱形牆作為流通區域，並結合網狀骨架邏輯進行功能和空間細分。
The eccentric volume, in the form of “eyelash” has correspondence to the service áreas, in functional sequence: garage- laundry-patio.
偏心容積以“睫毛”的形式按功能順序與服務區相對應：車庫-洗衣房-天井。
The social and private spaces are developed in a logical, functional and modular sequence, from the most public (living room, kitchen and office) to the most private ( bedrooms and finally suite) forming the “upper eyelid” of the eye.
社會和私人空間是按照邏輯，功能和模塊順序開發的，從最公共的（客廳，廚房和辦公室）到最私人的（臥室，最後是套房），形成了眼睛的“上眼瞼”。
This spatial organization coincides with the structural metrics taking advantage of the corridor as a large arc that runs the length of the house: a “gallery of memories” ( paintings, photographs, etc) – the “retina” of the eye. The orthogonal walls allow the rational and organized distribution of furniture. The living room is the “formed image” of the interior of the house: a large and dynamic space, with tle landscape framed by na exterior gallery that protects it from sun exposure. The shaft-mounted semicircular pool works like the Iris in the general layout.
這種空間組織與利用走廊的結構指標相吻合，因為走廊是沿著房屋長度延伸的大弧形：“記憶的畫廊”（繪畫，照片等）–眼睛的“視網膜”。 正交的牆壁可以合理合理地分配家具。 客廳是房屋內部的“成形圖像”：寬敞而充滿活力的空間，由外部畫廊構成的優美景觀保護著陽光。 在一般佈局中，豎井式半圓形泳池的工作原理類似於虹膜。
TECHNIQUE ( Know-how to do)
“Each material has its own message and, to the creative artist, its own song” (Wright, 1928)
Reinforced concrete as material choice is the musical note of “petrified music”. It takes advantage of wooden formwork as a façade adornment and tectonic expression of architecture. Concrete natural expression refers to stone masonry constructions, in search of a constructive dialogue between the past, present and the future.
技術（專有技術）
“每種材料都有自己的信息，對創意藝術家來說，也有自己的歌曲”（賴特，1928年）
鋼筋混凝土作為材料的選擇是“石化音樂”的音符。 它利用木製模板作為建築的立面裝飾和構造表現。 具體的自然表達是指砌石建築，以尋求過去，現在和未來之間的建設性對話。
TIME ( Know-how to Communicate)
The surveillance and spectacle society (internet, social media, reality tv) that Guy Debord wisely warned in his work (1967) is here reinterpreted as ”spirit of time”, an allegory to the proverb: “In the land of the blind, the one-eyed man is king “ ( Henry Gordon Wells, 1904).
時間（交流技巧）
蓋伊·德伯德（1967）明智地警告過的監視和眼鏡社會（互聯網，社交媒體，現實電視）在這裡被重新解釋為“時間的精神”，這是諺語的寓言：“在盲人之地， 單眼的人就是國王”（亨利·戈登·威爾斯，1904年）。
The demand by customers for a contemporary house that was diferente from the others, was a opportunity for a symbolical and emotional architecture in continuity with the values that characterize Portuguese Northern Architecture – critical regionalism. The critical spirit, product of reflection and synthesis about the spirit of time, was added, using iconographic theology, in search of the universality of the theme – “the all-seeing eye”.
客戶對現代房屋的需求與其他房屋截然不同，這是一個具有像徵意義和情感色彩的建築的契機，與具有葡萄牙北部建築特色的價值觀（重要的區域主義）連續存在。 借助影像神學，添加了批判精神，反思精神和對時間精神的綜合產物，以尋求“全視之眼”主題的普遍性。
The all-seeing eye as a conceptual theme represents a deep thought about human condition, the importance of spirituality and conscience in the construction of a future in continuous mechanization. Edgar Morin ( 1990) in Introduction à la pensée complexe describes the contradictory and mystical nature of man, linked to culture and arts that: “(…) Homo Sapiens is also indissolubly Homo Demens, that Homo Faber is at the same time Homo Ludens, that Homo economicus is at the same time Homo Mythologicus, and finally that Homo Prosaicus is also Homo Poeticus”.
無所不包的眼睛作為概念主題代表著對人類狀況，靈性和良知在構建持續機械化的未來中的重要性的深刻思考。 埃德加·莫林（Edgar Morin，1990）在《複雜的事物簡介》中描述了人類與文化和藝術聯繫在一起的矛盾和神秘的本質：“（…）智人也是必不可少的人Demens，法伯同時也是盧登斯人， “經濟人同時是Mythologicus，最後Prosaicus也是Poeticus人”。
Vilanova Artigas about Architecture once said: “I admire Poets. What they say in two words, we have to express with thousands of bricks” (1973). The price of brick is the same in civil construction and architecture. Architecture as an art of the real, presupposes architects and engineers working in unison, each within their domains of Knowledge. Architecture is not civil construction – it is Architecture. It means knowing how to be though, space, technique and communication all at once.
關於建築的Vilanova Artigas曾經說過：“我很欣賞詩人。 他們用兩句話說，我們必須用成千上萬的磚塊來表達”（1973年）。 磚的價格在民用建築和建築中是相同的。 建築是一門真實的藝術，其前提是建築師和工程師必須在各自的知識領域內協同工作。 建築不是民用建築，而是建築。 這意味著要同時知道如何做，空間，技術和溝通。
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