约翰·帕森（John Pawson）在他的国王十字工作室（King’s Cross）的地下室里说，“你来对了地方”，因为这项工作使得帕森成为全球声誉的建筑设计师，无论是对于房屋而言 ，酒店，办公室，画廊，商店甚至修道院。通常被描述为极简主义的Pawson美学实际上是一种被称为减少主义的美学，它去除了无关紧要的细节，有利于一种全包式的简约。有时，这种纯度与现有结构并置，以突出其简洁性。 有时景观是陪衬。
‘You’ve come to the right place for slowness,’ says John Pawson in the basement of his King’s Cross studio, from which comes the work that has given Pawson a global reputation as the pre-eminent supplier of architectural calm, be it for houses, hotels, offices, galleries, shops or even monasteries.Often characterised as minimalist, the Pawson aesthetic is actually one of considered reductivism, the removal of extraneous detail in favour of an all-enveloping simplicity.Sometimes this purity is juxtaposed with existing structure to accentuate its simplicity. Sometimes landscape is
与位于特雷维索的MZC Architettura的副建筑师Giuseppe Cangialosi一起，Pawson和他的项目建筑师Ben Collins在威尼托斯风景且伴随着远处的多洛米蒂山脉的起伏中创作了一个非凡的住宅。受到当地农业建筑的粗犷简洁风格和威尼托最知名的建筑之子Andrea Palladio的古典主义的启发，Casa是一种奇特的令人满意的白话实用主义和严谨的几何结构。
Together with associate architect Giuseppe Cangialosi, of Treviso-based MZC Architettura, Pawson and his project architect Ben Collins have carved a remarkable dwelling out of the Venetian landscape, with the Dolomites rising in the distance. Inspired by both the rough simplicity of local agricultural buildings and the classical purity of Veneto’s most famous architectural son, Andrea Palladio, the Casa is a strangely satisfying hybrid of vernacular pragmatism and rigorous geometry.
单层住宅位于景观中，大型地下室和庭院的上方。 “这座房子必须达到AECB CarbonLite黄金标准的可持续发展状态，因此它具有极高的能源效率，”Pawson说。“所有的材料都是回收的，它是三层玻璃，还有光伏板，这是一种案例研究。”能源效率当然是现在每个建筑简报中不可或缺的一部分，但Pawson强调这个特殊的房子更进一步，已经到达到黄金标准，它必须只占当前住宅平均二氧化碳排放量的5％。“当你开始节省热水从废水管中流失的能量时，你会进入相当复杂的领域，”Pawson说。“例如，三层玻璃需要定制的滑动门。”
Set within the landscape, the single storey dwelling is placed above a large basement and courtyard. ‘This house had to reach AECB CarbonLite gold standard sustainability status, so it’s incredibly energy efficient,’ says Pawson. ‘All the materials are recycled, it’s triple-glazed, there are photovoltaic panels – it’s a sort of case study.’ Energy efficiency is of course, now integral to every architectural brief, but Pawson stresses that this particular house takes things further – to achieve gold standard, it must put out just five per cent of current average CO2 emissions for a
dwelling. ‘When you start saving the energy lost from hot water going down a waste pipe, you’re into quite sophisticated areas,’ Pawson says. ‘The triple glazing, for example, requires custom-built sliding doors.’
Externally, the house is finished with marmorino slabs, a traditional material in the Veneto region (it was used extensively by Palladio in the numerous grand villas he constructed in and around Vicenza). The 30m-long rectangular form of the new house is capped with an asymmetric roof, clad with custom-made white concrete slabs and supported by slender columns. ‘As a result, every room has a different shaped roof,’ says the architect.
The main entrance is from below, where an excavated basement serves as car port and service area. There, the owners can park out of sight, then ascend to a double height entrance hall in the centre of the plot. To the west are the living areas, beneath the highest point of the roof, while bedrooms are off to the east. The deep eaves on the south fa?ade provide shade from the sun and a terrace on which to eat and play – all rooms open up to the outdoors via those hefty glazed doors.
屋顶还设有一个偏移的山墙，一个俯瞰入口车道的单独窗户，终止穿过房屋脊柱的长轴。 这个十字形计划参考了Palladio的一个主要建筑设备，从西部的起居区到东部的主人套房，以及从房子内心的入口大厅穿过南北。可根据要求打开或关闭轴。 所有浴室都有屋顶灯，所有公共房间都有双重面，而人工照明则隐蔽隐藏。
The roof also features an offset gable with a solitary window overlooking the entrance driveway and terminating the long axis that runs through the spine of the house. This cruciform plan references one of Palladio’s key architectural devices, running from the living area in the west to the master suite in the east, and north-south across the entrance hall at the house’s heart. The axis can be opened or closed off depending on requirements. All the bathrooms have rooflights and all public rooms have a dual aspect, while artificial lighting is discreetly concealed.
景观由Pawson的长期合作者Jonnie Bell设计，他种植了一排排橡树，这些橡树与轮廓一起提供筛选和遮荫。 小教堂被设计为这个景观中的一个亮点，与主屋分开，用于家庭洗礼和私人服务。他像一个带有桶形拱形天花板的未加热盒子，上方有一个隐藏式天窗，可以让自然光从墙壁后面透过，看似简单，Toscana Pietra石灰石地板和由当地橡木制成的祭坛和长凳。
The landscaping has been designed by Pawson’s long-term collaborator Jonnie Bell, who has planted rows of oak trees that run with the contours to provide screening and shade. The chapel is designed as an object within this landscape, set apart from the main house and intended for family baptisms and private services.An unheated box with a barrel-vaulted ceiling, above which a concealed skylight allows natural light to filter down from behind the walls, it is deceptively simple, with Toscana Pietra limestone flooring and an altar and benches made from local oak.
“对我们来说，做这些空间真好，”帕森说。 “教堂是一个学习曲线，例如，修道院家是最终的极简主义者。”2004年完成的捷克共和国Novy Dvur圣母修道院的工作赢得了广泛的赞誉，更多的宗教建筑创作中。
‘It’s nice for us to do these spaces,’ says Pawson. ‘Churches have been a learning curve – Cistercians, for example, are the ultimate minimalists.’ The practice’s work on the Our Lady of Novy Dvur monastery in the Czech Republic, completed in 2004, won it widespread acclaim and more religious buildings are in the offering.
项目名称：威尼托Casa delle Bottere complex建筑群设计