來源：設(shè)計(jì)先鋒隊(duì)（ID:toot8448）

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In the urban fabric of Mexico City, LUCIO MUNIAIN Architecture Office built E HOUSE 8 with the core concept of "pure dialogue between space and material". This residence, stripped of redundant decorations, has built a model of living where tradition and modernity coexist with precise geometric volumes, exposed material essence and flowing courtyard system, between the coldness of concrete and the warmth of wood.

在墨西哥城的都市肌理中，LUCIO MUNIAIN 建筑事務(wù)所以 “空間與材質(zhì)的純粹對(duì)話” 為核心理念，打造了 E 宅 8 號(hào)（E HOUSE 8）。這座剝離冗余裝飾的住宅，以精確的幾何體量、裸露的材料本質(zhì)與流動(dòng)的庭院體系，在混凝土的冷峻與木材的溫潤(rùn)之間，構(gòu)筑起傳統(tǒng)與現(xiàn)代共生的棲居范本。

The building reconstructs the urban interface with a combination of "L-shaped main body + independent cube": the L-shaped volume unfolds along the street corner, and the horizontal concrete cantilever is as long as 4 meters, forming a strong sense of horizontal extension; the vertical cubic guest rooms are suspended on the second floor, and their pure white facades and the dark gray concrete of the main body form a "virtual and real" color hedge. The full glass curtain wall at the corner of the building breaks the rigidity of the right angle, making the street corner an "urban viewing platform", and pedestrians can glimpse the reflection of the green plants in the courtyard through the glass.

建筑以 “L 型主體 + 獨(dú)立立方體” 的組合重構(gòu)城市界面：L 型體量沿街角展開，水平向的混凝土挑檐長(zhǎng)達(dá) 4 米，形成強(qiáng)烈的水平延伸感；垂直方向的立方體客房懸浮于二層，其純白外立面與主體的深灰色混凝土形成 “虛與實(shí)” 的色彩對(duì)沖。建筑轉(zhuǎn)角處的全玻璃幕墻打破直角的生硬，使街角成為 “城市觀景臺(tái)”，行人可透過玻璃瞥見庭院內(nèi)的綠植倒影。

The "subtractive design" of the wall makes light and shadow the best decoration: the entire concrete wall of the first-floor living room is reserved with strip grooves. At noon, the sun shines through the gaps in the roof and projects light bands of varying widths on the wall, like a dynamic Cubist painting; a strip skylight is opened on the top of the second-floor corridor, and the light is diffusely reflected along the rough surface of the concrete floor, forming a soft light spot matrix on the ground. At night, the linear light strips hidden under the eaves outline the outline of the building, and the heavy feeling of concrete is eliminated, turning into a light container suspended on the street corner.

墻面的 “減法設(shè)計(jì)” 讓光影成為最佳裝飾：首層客廳的整面混凝土墻預(yù)留條形凹槽，正午時(shí)分，陽(yáng)光透過屋頂縫隙在墻面投射出寬窄變化的光帶，宛如動(dòng)態(tài)的立體主義畫作；二層走廊的頂部開設(shè)條形天窗，光線沿混凝土樓板的粗糙表面漫反射，在地面形成柔和的光斑矩陣。夜間，隱藏于挑檐下的線性燈帶勾勒建筑輪廓，混凝土的厚重感被消解，化作懸浮于街角的光之容器。

The exposed concrete of the main structure adopts the "transparent formwork" process, and the surface retains the fine texture of the wooden formwork. After demoulding, it is only pickled to highlight the glittering particles of quartz sand in the aggregate. The concrete of the courtyard wall deliberately retains the air bubbles and holes during pouring, forming a tactile contrast of "artificial roughness" and "natural softness" with the climbing ivy. The concrete base at the edge of the swimming pool is roughened, and you can feel the friction of fine particles when walking barefoot, which is in line with the "barefoot philosophy" of traditional Mexican courtyards.

主體結(jié)構(gòu)的清水混凝土采用 “透明模板” 工藝，表面保留著木模板的纖細(xì)紋理，脫模后僅進(jìn)行酸洗處理，凸顯骨料中石英砂的閃爍顆粒。庭院墻面的混凝土則故意保留澆筑時(shí)的氣泡孔洞，與攀爬的常春藤形成 “人工粗糲” 與 “自然柔軟” 的觸感對(duì)比。泳池邊緣的混凝土臺(tái)基采用拉毛處理，赤腳行走時(shí)可感受細(xì)微顆粒的摩挲，暗合墨西哥傳統(tǒng)庭院的 “赤腳哲學(xué)”。

The door and window frames and indoor stairs are made of Mexican cedar, and the undyed natural wood grain forms a color contrast with the concrete. The floating TV cabinet in the living room is made of a whole cedar wood, and the edges are hand-polished to a 45-degree angle, which feels as warm as an antique. The bedroom's bedside background wall is made of vertical wooden strips, and LED light strips are embedded in the gaps. Warm light passes through the gaps between the wooden strips to form a "light fence", creating a cave-like quiet atmosphere.

門窗框與室內(nèi)樓梯選用墨西哥雪松，未經(jīng)染色的天然木紋與混凝土形成色彩對(duì)沖。客廳的懸浮式電視柜以整根雪松木剖切而成，邊緣手工打磨出 45 度斜角，觸感溫潤(rùn)如古董器物；臥室的床頭背景墻采用豎向木條拼接，縫隙間嵌入 LED 燈帶，暖光透過木條間隙形成 “光之柵欄”，營(yíng)造出洞穴般的靜謐氛圍。

The transition from the street to the residence is designed as a sequence of "gradual intensity of light and shadow": the entrance courtyard is paved with gravel, a few agaves outline the Mexican desert landscape, and the concrete arch frames the volcanic stone wall in the distance to form a "framed theater"; the central courtyard introduces waterscape, and the shallow pool reflects the outline of the building. The wooden platform beside the pool can rise and fall with the water level, and it becomes a floating "water living room" on rainy days; the backyard is a dense tropical botanical garden, and the tall palm trees and the concrete columns of the building form a "vertical forest". The shadows of the trees wander on the indoor floor through the glass curtain wall, blurring the boundary between inside and outside.

從街道到住宅的過渡被設(shè)計(jì)為 “光影漸強(qiáng)” 的序列：入口庭院以礫石鋪地，幾株龍舌蘭勾勒出墨西哥式荒漠景觀，混凝土拱門框住遠(yuǎn)處的火山石景墻，形成 “框景劇場(chǎng)”；中央庭院引入水景，淺池倒映建筑輪廓，池邊的木質(zhì)平臺(tái)可隨水位升降，雨天成為漂浮的 “水上客廳”；后院則是茂密的熱帶植物園，高大的棕櫚樹與建筑的混凝土柱形成 “垂直森林”，樹影透過玻璃幕墻在室內(nèi)地面游走，模糊了內(nèi)外邊界。

The first floor adopts a "wall-free" design, with the living room, dining room and kitchen defined by material changes: the living room floor is paved with volcanic stone fragments, the dining room uses herringbone parquet oak flooring, and the kitchen uses concrete cast integrated island counter. The bedroom area on the second floor is separated by a rotating glass partition, which ensures privacy when closed and forms a through "air corridor" when opened, overlooking the waterscape of the central courtyard. This "variable boundary" design allows the space to switch freely according to the living scene, seamlessly connecting from private rest to social gatherings.

首層采用 “無隔墻” 設(shè)計(jì)，客廳、餐廳與廚房通過材質(zhì)變化界定領(lǐng)域：客廳地面鋪設(shè)火山石碎拼，餐廳采用人字形拼花橡木地板，廚房則以混凝土澆筑一體式島臺(tái)。二層的臥室區(qū)域以旋轉(zhuǎn)玻璃隔斷分隔，閉合時(shí)保證隱私，開啟后形成貫通的 “空中走廊”，可俯瞰中央庭院的水景。這種 “可變性邊界” 設(shè)計(jì)，使空間隨居住場(chǎng)景自由切換，從私密休憩到社交聚會(huì)無縫銜接。

The building uses the "chimney effect" to achieve full-area natural ventilation: the central courtyard's ventilation shaft is 6 meters high, with adjustable shutters installed on the top. When opened in summer, it forms an upward hot pressure airflow, driving the through-the-hall wind in each room; in winter, the shutters are closed, and the ventilation shaft becomes a sun greenhouse, providing mild heating for the room. The high side windows of the bedroom use a "double-glazed + electric sunshade" combination. The outer glass resists ultraviolet rays, and the inner shutters can be automatically adjusted according to the angle of sunlight to avoid direct glare.

建筑采用 “煙囪效應(yīng)” 實(shí)現(xiàn)全域自然通風(fēng)：中央庭院的拔風(fēng)井高達(dá) 6 米，頂部安裝可調(diào)節(jié)百葉，夏季開啟時(shí)形成向上的熱壓氣流，帶動(dòng)各房間的穿堂風(fēng)；冬季關(guān)閉百葉，拔風(fēng)井成為陽(yáng)光溫室，為室內(nèi)提供溫和暖氣。臥室的高側(cè)窗采用 “雙層玻璃 + 電動(dòng)遮陽(yáng)” 組合，外層玻璃抵御紫外線，內(nèi)層百葉可根據(jù)日照角度自動(dòng)調(diào)節(jié)，避免直射眩光。

After the rainwater on the roof is collected by the gutter, it first flows into the landscape pool in the central courtyard. The water that exceeds the water level is collected into the water tank through underground pipes for irrigation and toilet flushing. The swimming pool adopts an "ecological filtration system" to replace chemical agents with aquatic plants and pebble layers. While the water quality meets the drinking standard, it also provides water for the courtyard ecosystem.

屋頂雨水經(jīng)天溝收集后，首先流入中央庭院的景觀池，超過水位線的水流通過地下管道匯入儲(chǔ)水箱，用于灌溉與沖廁。泳池采用 “生態(tài)過濾系統(tǒng)”，以水生植物與鵝卵石層替代化學(xué)藥劑，水質(zhì)達(dá)到飲用標(biāo)準(zhǔn)的同時(shí)，為庭院生態(tài)系統(tǒng)提供水源。

The essence of the design of E House No. 8 is to redefine "Mexican Modernism" - it rejects the homogenization of international styles, but extracts genes from local volcanic stone courtyards, colonial arch elements, and traditional residential patio systems, and recodes them in a minimalist way. When the coldness of concrete echoes the ruggedness of volcanic rocks, when the light and shadow of wooden shutters reproduce the rhythm of the colonnades of colonial buildings, and when the waterscape of the courtyard reflects the neon lights of the city, this house becomes a time-space prism connecting the past and the present. As the architect said: "True regional architecture is not the accumulation of symbols, but letting materials speak the language of the land and letting the space breathe the local air." E House No. 8 uses the power of silence to prove that in the hustle and bustle of Mexico City, minimalism can be a lyric poem about light, materials and nature, and it is also a philosophy of life that resonates deeply with the land.

E 宅 8 號(hào)的設(shè)計(jì)本質(zhì)，是對(duì) “墨西哥現(xiàn)代主義” 的重新定義 —— 它拒絕國(guó)際風(fēng)格的同質(zhì)化，而是從本土的火山石庭院、殖民時(shí)期的拱券元素、傳統(tǒng)民居的天井體系中提取基因，以極簡(jiǎn)主義的手法重新編碼。當(dāng)混凝土的冷峻呼應(yīng)火山巖的粗獷，當(dāng)木質(zhì)百葉的光影重現(xiàn)殖民建筑的廊柱韻律，當(dāng)庭院的水景倒映著都市的霓虹，這座住宅便成為連接過去與現(xiàn)在的時(shí)空棱鏡。正如建筑師所言：“真正的地域建筑，不是符號(hào)的堆砌，而是讓材料說出土地的語(yǔ)言，讓空間呼吸當(dāng)?shù)氐目諝狻！盓 宅 8 號(hào)用沉默的力量證明：在墨西哥城的喧囂中，極簡(jiǎn)主義可以是一首關(guān)于光線、材質(zhì)與自然的抒情詩(shī)，更是一種與土地深度共鳴的生活哲學(xué)。

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編輯：夏邊際

撰文：豆寶寶

校改：吳一仁

編排：布忠耀

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