Tao住宅，墨西哥 / HW STUDIO

2025-09-29 16:55:18建筑设计,住宅,居住建筑 , 现代风格

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有些房子不是被设计出来的，而是早已存在于回忆之中。Casa Tao并非源于技术图纸，而是源于居住者内心的一段记忆。这是一座不试图回应特定画面的房子，而是回应生活，或者说，是回应一种生活方式。

Some houses are not designed—they are remembered. Casa Tao was not born from a technical drawing, but from the silent memory of those who inhabit it. It is a house that does not seek to respond to an image, but to a life. Or rather: to a way of living.

▼住宅外观，exterior of the residence

▼住宅鸟瞰，aerial view of the residence

古斯塔沃成长于一间简陋的房子，这房子更多是靠心血而非建材筑成的。他是农民和手工艺品商人的儿子，这些人手掌粗糙、目光慷慨，尽管父母的学业早早中断，但却在他的内心播下了探索世界的种子。他在墨西哥太平洋沿岸的瓦拉塔港长大，在那里，阳光和湿度定义了日常节奏，而遮荫并非偶然，而是珍贵的财富——真正的避风港。从一开始，这座房子就必须传达出庇护、收纳和清凉的需求。遮荫的概念在这里不仅被理解为一种物理现象，更是一种情感状态：一种平静的承诺，一种呼吸的机会，一种在喧嚣世界中提供无声保护的方式。

Gustavo grew up in a humble house made more of effort than of materials. The son of farmers and craft merchants—people with rough hands and generous eyes—who, though their studies were prematurely interrupted, managed to instill in him a desire to understand the world. He grew up in Puerto Vallarta, a place on the Paciﬁc coast of Mexico, where sun and humidity deﬁne the rhythm of the days, and where shade is not an accident, but a precious asset—a true refuge. From the beginning, the house needed to translate that need for shelter, for seclusion, for coolness. The concept of shade was not understood here merely as a physical phenomenon, but as an emotional condition: a promise of calm, of breath, of silent protection against a clamorous world.

▼阳光下的混凝土立面，the concrete facade under lights

▼庭院景观，the courtyard landscape

然而，Gustavo的个性——如同他童年时居住的地方一样丰富而复杂——深刻地影响了建筑师的设计。他拥有一种不寻常的好奇心，是一个通过自学追求知识的人。哲学、建筑、音乐、摄影，几乎没有什么是他不熟悉的。他的图书馆收藏了Alberto Campo Baeza、Fan Ho、 Tarkovsky的特别珍藏，展现出他对形式清晰的偏爱，对本质几何的追求，对与虚空与光对话的静谧庭院的眷恋。与他交谈，便是沉浸于一种向世界敞开的视野——既敏锐深刻，又精准无误。

But it was Gustavo’s personality—as rich and complex as the place of his childhood—that deeply shaped the design. With uncommon curiosity, he is a man who has made self-taught knowledge his path. Philosophy, architecture, music, photography: I get the impression that little is foreign to him. His library, ﬁlled with special editions by Alberto Campo Baeza, Fan Ho, Tarkovsky… reveals an affection for formal clarity, for essential geometry, for quiet courtyards that converse with emptiness and light. Speaking with him is to immerse oneself in a view open to the world—deeply sensitive and at the same time precise.

▼静谧庭院，quiet courtyards

▼光线小心地渗透进静谧庭院，quiet courtyards where light ﬁlters gently

他与第二位居住者Cynthia的故事也是这座建筑的重要组成部分。他们与两个女儿Mila和Anto一起，首次出国旅行，前往日本。那次旅行在他们的回忆中留下了不可磨灭的印记：虚空之美学，构图的纯净，建筑姿态所蕴藏的静谧。他们笑着对我们说希望感觉自己住在一座日式博物馆里。但他们指的并不是博物馆作为机构的庄严，而是那种让时间变得缓慢、光线小心地渗透、沉默变得可触的空间。

His story with Cynthia, the second inhabitant, is also an essential part of this architecture. Together with their two daughters, Mila and Anto, they took their ﬁrst trip abroad, to Japan. That journey left an indelible mark on their imagination: the aesthetics of emptiness, compositional cleanliness, the stillness contained in every architectural gesture. They told us with a smile: “We’d like to feel as if we were living inside a Japanese museum.” But they did not mean the solemnity of the museum as institution, but rather that type of space where time slows down, where light ﬁlters gently, where silence becomes tangible.

▼静谧庭院，quiet courtyards

于是我们尝试实现这一点。在一个没有壮丽景色的社区中，除了一个提供阴影和微风的树木繁茂的广场，我们决定让建筑风格体现这种清新感。但我们并未直接这样做，我们避免使用可能加剧热量的大面积玻璃表面。相反，我们提出了一种斜向、偏斜的关系，使人们可以感知广场的存在，而不完全暴露在炎热的阳光下。居住的姿态被间接框定，仿佛屋舍正斜倚着观察，带着几分谦抑——唯让风与不远处的海气穿行而过。

And that is what we tried to do. In a neighborhood with no remarkable views, except for a tree- lined plaza that offered shade and breeze, we decided to orient the architecture toward that freshness. But we did not do so frontally. We avoided large glazed surfaces that might intensify the heat. Instead, we proposed an oblique, angled relationship that allows the presence of the plaza to be sensed without being fully exposed to the heavy sunlight. The act of dwelling is framed indirectly, as if the house were observing at a diagonal, modestly—letting only the wind and the fragrance of the not-so-distant sea pass through.

▼一道弧形墙壁温柔迎接访客，a curved wall receives the visitor gently

我们将最大的功能区——卧室、车库和服务区——放置在底层，并在其上方悬挂了一个轻盈的双层通高的盒子，容纳社交区域。这一策略使我们得以将社交生活提升至街道之上，让其沐浴在空气中，并向树木与穿过广场的咸咸海风敞开怀抱。抬高的庭院充当了观赏平台，小平台上可以更好地呼吸花香，听到树梢间风的低语。

We placed the larger program—the bedrooms, garage, and service areas—at the base, and above it, we suspended a light, double-height box containing the social areas. This strategy allowed us to raise social life above street level, surround it with air, and open it toward the trees and the salty breeze that crosses the plaza. The elevated patios act as terraces for contemplation—small platforms from which to better breathe the scent of ﬂowers and hear the murmur of wind among the treetops.

▼双层通高的社交区域，double-height social area

卧室围绕庭院展开，追求宁静与通风。亲密感通过围合得以表达——并非作为禁锢，而是作为一个内在世界。一道弧形墙壁温柔迎接访客，划出欢迎的门槛，而一棵树如花艺般向你致意。房子不面向邻里：而是朝向内部，如同寻求庇护之人。但它并不封闭：它向天空、阴影、广场打开。一切都安排得让生活以更缓慢、更充实的方式展开——更敞开地接纳那些无形的存在。

The bedrooms are organized around a patio, seeking silence and air. Here, intimacy is expressed through enclosure—not as conﬁnement, but as an interior world. A curved wall receives the visitor gently, marking a welcoming threshold, while a tree greets you like a ﬂoral arrangement. The house does not look toward the neighborhood; it turns inward, like someone seeking refuge. But it does not close itself off: it opens to the sky, the shade, the plaza. Everything is arranged so that living happens in a slower, fuller way—more open to the invisible.

▼卧室围绕庭院展开，the bedrooms are organized around a patio

▼静谧的休息场所，a quite resting area

▼阳光从天窗倾泻而下，light floods in from the skylight

这种物质性不可避免地具有触觉和感官特性。白色的饰面在海岸阳光下显得刺眼，而混凝土——沉重、诚实——则轻柔地吸收光线。这是种随着使用与岁月流逝而变得温暖的混凝土。在这材质中，光线不会反弹，而是沉淀下来。最终，Casa Tao源于一种更专注于生活世界的愿景。这是一座悄然隐退的居所，其空间宛如沉思与记忆的氛围。在其中，居住成为一种学习、休息、感恩的方式。每个角落都邀请人们停留，而不是匆匆而过，每个阴影都是幸福的承诺。

The materiality was inevitably tactile and sensory. Whiteness dazzles under the coastal sun, while concrete—heavy, honest—absorbs the light with delicacy. It is a concrete that becomes warm through use and time. In this material, light does not bounce; it settles. Casa Tao is, ultimately, an architecture born of the desire to inhabit the world with greater attention. It is a house that withdraws discreetly and offers its spaces as atmospheres for contemplation and memory. In it, dwelling becomes a form of study, of pause, of gratitude. Every corner invites one to remain, not to pass through, and every shadow is a promise of well- being.

▼亲密感通过围合得以表达，a curved wall receives the visitor gently

对阴影作为庇护所和诗意品质的刻意追求，使我们更接近于谷崎润一郎在《阴翳礼赞》中描述的空间理解。在那里，谷崎并不庆祝黑暗作为光的缺失，而是作为一种更微妙的观看方式。在他的文字中，阴影不是障碍，而是赋予尊严的面纱；是一种放大事物深度的方式，让美慢慢地、谦逊地显现出来。这座房子也是如此：它并不强烈地照亮，而是让黑暗示意，让光线温和地渗透，使每个空间成为一种细腻、内敛的感官体验，在其中时间变得浓厚，生活变得平静。

This deliberate search for shade—as refuge and poetic quality—brings us closer to a spatial understanding similar to that described by Junichirō Tanizaki in In Praise of Shadows. There, Tanizaki does not celebrate darkness as the absence of light, but as a subtler way of seeing. In his text, shadow is not an obstacle, but a veil that ennobles—a way of amplifying the depth of things, of allowing beauty to emerge slowly, with humility. So too with this house: it is not illuminated assertively, but lets the penumbra suggest; it allows light to ﬁlter in without violence, and each space becomes a nuanced, contained sensory experience in which time thickens and life grows quiet.

▼地下室平面图，basement level plan