非常感谢 Equipo de Arquitectura 予gooood分享以下内容。更多关于：Equipo de Arquitectura on gooood
Appreciations towards Equipo de Arquitectura for providing the following description:

“当人们反复说起‘树木使我们看不见森林’这句话时，往往并未真正理解它的含义。或许，这句话背后的讽刺最终反而落在说出它的人身上。树木使我们看不见森林，而正因为如此，森林才得以存在。那些可见之树的使命，是让其余的一切保持潜在；只有当我们意识到可见的景观隐藏着其他不可见的景观时，我们才会真正感到自己置身于一片森林之中。”

——《堂吉诃德沉思录：深度与表面》
——José Ortega y Gasset（1914）

“When the phrase ‘the trees prevent us from seeing the forest’ is repeated, its exact meaning may not be understood. Perhaps the mockery behind the phrase backfires on the person who utters it. The trees prevent us from seeing the forest, and thanks to that, the forest exists. The mission of the visible trees is to keep the rest latent, and only when we realize that the visible landscape hides other invisible landscapes do we feel ourselves to be inside a forest.”

— Meditations on Don Quixote. Depth and Surface — José Ortega y Gasset (1914)

▼项目鸟瞰，aerial view of the project © Federico Cairoli

建筑与音乐之间存在着一种深刻的相似性。这种相似并不体现在最终的呈现形式上，而体现在最初的创作过程之中。尽管音乐被认为是最抽象的艺术形式，而建筑则恰恰相反，但两者在创作方式上却有着许多共通之处。

There is a profound similarity between architecture and music. Not in their final manifestation, but in the initial process of composition. Although music is the most abstract art form and architecture is the opposite, the way in which both disciplines are composed shares many points in common.

▼项目外观，building facade © Federico Cairoli

作为作者的重要参考人物之一、杰出的爵士钢琴家Bill Evans曾在一次采访中这样描述：

“爵士乐是一种具体的过程，而不是一种纯粹的智性活动。你会运用理性去拆解材料，学习理解它们，并学会如何与之协作。但实际上，需要多年的练习，才能培养出一种能力——忘掉这一切，放松下来，只是去演奏。”

Bill Evans, jazz pianist par excellence and a fundamental reference for the authors, expressed it this way in an interview:

“Jazz is a concrete process that is not intellectual. You use your intellect to break down the materials, learn to understand them, and learn to work with them. But in reality, it takes years and years of practice to develop the skill necessary to be able to forget all that, relax, and just play.”

▼项目概览，overview of the project © Federico Cairoli

我们认为，建筑项目最初的构思过程，与Evans所描述的情境产生着共鸣。爵士乐以某种基础结构作为音乐的框架，在这一框架之内，各种乐器轮流即兴演奏，或以直觉的方式适应既有结构。沉默与音符同样重要，而节奏则组织着声音在时间中的分布。

We believe that the initial process of composing an architectural project connects and resonates with what Evans proposes. Jazz uses a foundation as a structure to define the boundaries of music; within that framework, instruments take turns improvising or intuitively accommodating themselves to a pre-existing structure. Silences are as important as notes, and rhythm is what organizes the distribution of sounds in time.

▼与周边的场地产生共鸣，resonates with the surrounding environment © Federico Cairoli

在这个项目中，界限由屋顶的周边边缘所界定，它确定了建筑的范围。在这一范围之内，实体与空隙共同构成空间，并在与自然既有元素的密切关系中组织住宅的功能。

In this project, the boundary is given by the perimeter edge of the roof, which defines the scope of the construction. Inside, the solids and voids configure the space and the program of the house in close relation to the natural pre-existing elements.

▼界限由屋顶的周边边缘所界定，the boundary is given by the perimeter edge of the roof © Federico Cairoli

自然光在空间体验中定义着时间，通过不断变化的阴影与氛围塑造场所感，正如John Abercrombie在专辑Timeless中所呈现的音乐氛围一般。穿越空间的风、掠动树叶的声响，也会令人联想到Philly Joe Jones在与Miles Davis五重奏合作时，用刷子演奏出的节奏。

Natural light defines time in the experience of the work, producing changing shadows and atmospheres, similar to what John Abercrombie does in Timeless. The wind that blows through the space and sweeps the leaves can evoke Philly Joe Jones’ brushes alongside the Miles Davis Quintet.

▼不断变化的阴影与氛围，producing changing shadows and atmospheres © Federico Cairoli

屋中的森林提出了一种使建筑形态与自然环境相协调的替代性方式。与其将既有树木视为需要避让的障碍，项目将它们视为塑造空间布局的关键引导元素。

A Forest in the House proposes an alternative approach to harmonizing the built form with its natural surroundings. Rather than treating existing trees as obstacles, the project embraces them as fundamental guides that shape the spatial program.

▼树木成为塑造空间布局的关键引导元素，embraces trees as fundamental guides that shape the spatial program © Federico Cairoli

▼树木成为塑造空间布局的关键引导元素，embraces trees as fundamental guides that shape the spatial program © Federico Cairoli

树木界定了使用空间与空隙之间的关系，使结构摆脱了传统网格体系的限制，并建立起一种反映自然秩序的动态节奏。柱子的这种非正交布置也为结构提供了横向稳定性。实体体量采用压缩土块（CEB）建造，进一步强化了建筑与景观之间的材料对话。

The trees delineate the relationship between occupied spaces and voids, freeing the structure from conventional grid systems and establishing a dynamic rhythm that reflects the patterns of nature. This non-orthogonal disposition of the pillars contributes to the structure’s lateral stability. The solid volumes are constructed using compressed earth blocks (CEBs), reinforcing the project’s commitment to a material dialogue with the landscape.

▼反映自然秩序的动态节奏，establishing a dynamic rhythm that reflects the patterns of nature © Federico Cairoli

▼柱子为结构提供了横向稳定性，the pillars contributes to the structure’s lateral stability © Federico Cairoli

垂直结构构件被精心布置在树木之间。通过避免干扰树根的位置，它们在视觉上退入背景，与周围树干的自然逻辑相互融合。这种有意识的整合形成了一种对话——人工与自然在同一种语言中彼此回应。

Vertical structural elements are carefully arranged among the trees. By aligning themselves so as not to interfere with the roots, they recede visually and integrate into the background, blending with the natural logic of the surrounding trunks. This conscious integration generates a dialogue in which artifice and nature speak the same language.

▼在视觉上融入背景的垂直结构构件，vertical structural elements are carefully blended in the backdrop © Federico Cairoli

空间构成在两个不同的水平界面之间展开。主要界面——地面——被轻微抬升，使树根能够在时间中自由生长。与此同时，次要界面——天花——复制了这一几何关系，并形成一个露台，使人们能够从高处俯瞰树冠。

The spatial composition unfolds across two distinct horizontal planes. The primary plane, the floor, rises subtly, allowing tree roots to evolve freely over time. In parallel, the secondary plane, the ceiling, replicates this geometry to form a terrace that invites occupants to enjoy panoramic views of the treetops.

▼空间构成在两个不同的水平界面之间展开，The spatial composition unfolds across two distinct horizontal planes © Federico Cairoli

▼在视觉上融入背景的垂直结构构件，vertical structural elements are carefully blended in the backdrop © Federico Cairoli

最终，项目设想了一种未来：建筑与自然之间的边界逐渐消解，建成环境能够像其自然语境一样有机生长。这一愿景不仅提出了一种不同的空间解决方式，也提醒人们重新思考共生与平衡的可能性。于是，住宅中的所有元素如同一支大乐队，在不同季节或一天中的不同时间，共同演奏出最契合这一空间体验的乐章。

Ultimately, the project imagines a future in which the boundaries between architecture and nature dissolve: a future in which the built environment is as organic as its natural context. This vision not only proposes a different spatial solution, but also offers a reminder of the potential for coexistence and balance. Thus, in unison, all the elements of the house compose a big band that, depending on the season or time of day, plays the music that best accompanies the experience.

▼灯光下的住宅，building under lights © Federico Cairoli

▼一层平面，ground floor plan © Equipo de Arquitectura

▼剖面，section © Equipo de Arquitectura

Project Name: A Forest in the House
Office: Equipo de Arquitectura
Web: http://www.equipodearquitectura.com
E-mail: info@equipodearquitectura.com
Country: Paraguay
Architects: Horacio Cherniavsky – Viviana Pozzoli
Collaborators: Fabiana Godoy, Andrés Riera, Daniela Callizo, Camila Rojas, Milagros Egüez
Year: 2025
Location: San Bernardino, Paraguay
Area: 260 sqm
Photographer: Federico Cairoli
Photographer’s Web Page: http://www.federicocairoli.com/
Photographer’s Mail: contacto@federicocairoli.com
Landscape: Viviana Pozzoli
Structural Engineer: Felipe Ramírez
Blacksmith: Javier Giménez
Carpenter: Marcial Careaga
Electrician: Lorenzo Caire
Plumber: Jorge Colmán

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