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Hug House

React Architects

‘A hug is a form of physical intimacy, universal in human communities, in which two or more people put their arms around the neck, back, or waist of one another and hold each other closely’. The work is situated at the Aghios Ioannis Detis location on the island of Paros. It has an eastwards orientation, with a view towards the sea and the Naoussa bay. The area is under a special protection order, and adjacent to it the Environmental Park of Aghios Ioannis Detis has been created.

“擁抱是一種身體親密的形式,在人類社區中普遍存在,兩個或更多人將手臂摟在彼此的脖子、背部或腰部,並緊緊地抱在一起”。 該作品位於帕羅斯島的 Aghios Ioannis Detis 地點。 它朝東,可以看到大海和納烏薩灣。 該地區受到特別保護令,並在其附近創建了 Aghios Ioannis Detis 環境公園。

The complex consists of two buildings with a shared open-air space and a swimming-pool. The large mass of a single building is broken down into two and is harmoniously adapted to the terrain. The masses are laid out facing the view, and the central courtyard has been created between them, adapted to the slope of the terrain and protected from the north winds.

該合成物由兩座建築組成,共用一個露天空間和一個游泳池。 單體建築的巨大體積被一分為二,並與地形和諧地相適應。 建築體佈置是面向景觀,在它們之間創建了中央庭院,適應地形的坡度並免受北風的影響。

The entrance is on the western side of the site, at its highest point, and has been inserted between the masonry buttressing walls. The buildings, of a small mass, are adapted as much as possible to the incline and topography of the terrain. A basic aim has been the least burdening with a building mass of the protected area. The courtyard at the rear, protected from the strong winds, organises the functions by creating a nucleus with direct reference to the building masses. Such forms are encountered in monasteries, which have the cells on the perimeter and the church in the centre. Similar arrangements are also to be found in traditional complexes of ‘katoikiés’.

入口位於場地的西側,處於最高點,並已穿插在磚石支撐牆之間。 這些建築體積小,盡可能地適應地形的傾斜和地形。 一個基本目標是使保護區的建築質量負擔最小。 後方的庭院免受強風影響,透過直接參照建築體積創建中心來組織機能。 這種形式出現在修道院中,周圍有細胞般的房間,中央有教堂。 在傳統的“katoikiés”複合體中也可以找到類似的安排。

The stone walls encircle and ‘hug’ the building, protecting it from prying eyes. Ιn some places, the walls become a building, and in others, courtyards are created, adapted to the ground and to the environment. The plastered white walls of the buildings are visible only from the inner courtyard, and fragments of the elevations can be seen by the passer-by. The elevations consist of walls around the central courtyard; in this way plasticity of form is achieved, integrated into a unitary approach to architecture. The design of the apertures is combined with the architectural character of the building. The feature of the repetition and standardisation predominates. The apertures in the perimeter wall are as few as possible. Great emphasis is placed on the ‘fifth elevation’, the roofs, as there are views from the hills round about.

石牆環繞並“擁抱”建築物,保護它不被窺探。 在某些地方,牆壁變成了建築物,而在其他地方,庭院被創造出來,適應地面和環境。 建築物的粉刷白牆只能從內院看到,路人可以看到立面的碎片。 立面由圍繞中央庭院的牆壁組成; 通過這種方式,可以實現形式的可塑性,並將其整合到建築的統一方法中。 孔的設計與建築物的建築特徵相結合。 重複和標準化的特點占主導地位。 圍牆上的孔盡可能少。 非常強調“第五立面”,即屋頂,因為周圍的山丘可以欣賞到景色。

By employing the features of Cycladic architecture, we have de- signed an ensemble of buildings and a landscaping of the terrain adapted to the waterless Cycladic conditions, with a view to leaving the smallest possible footprint on the environment. . The transformation of the morphological features of Cycladic architecture with a view to creating a contemporary architectural language is, together with its integration into the natural landscape, the guiding principle of the design.

通過利用基克拉迪年代建築的特點,我們設計了一個建築群和適應無水基克拉迪條件的地形景觀,以期在環境中留下盡可能小的足跡。 .改造基克拉迪建築的形態特徵以創造一種當代建築語言,連同其與自然景觀的融合,是設計的指導原則。

The totality of the intervention realised is in dialogue with the land- scape and creates a space for habitation. Βy breaking down the boundaries between the roofed and open-air space, it embraces human activity in creating a familiarity with the space and the locality.

實現的整體介入是與景觀對話,並創造一個居住空間。 透過打破了屋頂和露天空間之間的界限,它包含了人類活動,以創造對空間和地方的熟悉感。