非常感谢 Stera Architectures 予gooood分享以下内容。
Appreciation towards Stera Architectures for providing the following description:

建筑师Stefania Stera在场地中发现了两条相互垂直的轴线：一条沿着楼梯向“山”的方向升起，因此作为建筑的上部楼层；另一条向海的方向下降，成为建筑的底部楼层。两条轴线相交的区域被紧紧包围的建筑勾勒成一个正方形的区域，就像是这座别墅的心脏。

Stefania Stera sees these two perpendicular axes in three dimensions. One rises up towards the “mountain” along a staircase and will be used to serve an upper floor, while the one on ground floor level drops down towards the sea. The area where they intersect one another is sketched out to form a square closely framed by the architecture. This space is no less than the villa’s compressed yet pulsating heart.

▼场地鸟瞰，Aerial view © Tiziano Canu

▼俯瞰别墅，Overlook to the villa © Tiziano Canu

通过推拉门进入场地之后，人们的视线将被大门本身形成的两座连桥所吸引，并跟随着他们的重量感一路看向场地的南面。如洞穴般的底层空间在岩石的“重压”下形成一个与世隔绝的世界。

Having entered the property through the sliding gates, the eye is drawn to the two inhabited bridges that they create and, under their weight, reaches out towards the southern perspective. The ground floor re-establishes this chthonian universe with its grotto-like effects and passageways leading under the groaning weight of the rocks.

▼建筑外观，Exterior view © Tiziano Canu

▼连桥，Bridge © Nicolas Borel

▼庭院，Courtyard © Tiziano Canu

▼建筑体量近景，Close-up view to the building volume © Tiziano Canu

建筑的外观从整体上看几乎是黑色的，或者说，是建筑师所说的“煤灰色”。深色的表皮为之带来了肃穆感，而在另外一些地方出现的粉红色，又增添了一丝柔和的意味。在由石灰和天然粘合剂混合而成的涂料饰面下方，看不到任何结构或者砖石材质的填充物。这项工作由威尼斯的工匠们完成，他们的日常工作是修复教堂、宫殿和古迹，包括令人惊叹的拉菲尼斯歌剧院。

First of all, why is this villa almost black or “anthracite” as the architect would say? In fact, it is a curious mix of severity with its dark colour and the softness of its peach skin appearance. Nothing can be seen of its structure or the masonry and brick infill hidden below a generous render provided with a rich mix of lime and natural binders. The work was carried out by craftsmen from Venice whose day to day work generally concerns the restoration of churches, palaces and monuments including the beauty of the astonishing La Fenice opera house.

▼煤灰色的外观，The “anthracite” exterior © Tiziano Canu

▼建筑局部，Partial view © Tiziano Canu ©Nicolas Borel

▼框景视野，The framed view © Nicolas Borel

与岩石相呼应的饰面让别墅很自然地融入到景观之中。一旦植物开始大面积地生长，建筑将会把自己隐藏起来。同时，它也展现出了一种奇妙的静态力量，这可能是由于其体量以一种独特的方式向不同的地层和桥梁延伸，并与景观融合。墙壁和楼板的厚度、紧凑的结构、堡垒般的外观以及开阔却不透明的窗户等等，都进一步加强了这种沉静的力量。

By offering finishes that echo the stones, the villa slips easily into the landscape and will somewhat hide itself away once the plants have really begun to grow. The villa also expresses a strange static force that is partially due to the way it stretches out into the various strata and bridges, its blending into the landscape, the thickness of the walls and floor slabs, its compactness and fortress-like appearance, its opacity despite its large openings, and so on.

▼入口坡道，Entry way © Tiziano Canu

▼建筑与岩石形成呼应关系，The villa slips easily into the landscape by offering finishes that echo the stones © Tiziano Canu

▼洞穴般的空间，The cave-like space © Tiziano Canu

建筑的底层与基岩形成紧密的共生关系，内部容纳了为客人和管家设置的五套公寓（共有九间卧室）以及散发着光泽的厨房。庭院的右侧设有几级浅色的花岗岩台阶，并一直延伸至后山。在同一水平面上继续延伸的地面使首层空间不断向上“爬升”，与大理石露台共同朝向大海。

The ground floor, lying hard up against and in symbiosis with the bedrock, is assigned to the five apartments provided for guests and caretakers (nine bedrooms in all) and to the glittering kitchen. A first layer and, above, a second one. To the right hand side of the courtyard, a few pale granite steps reach up over the back of the hill. On the same level and continuing the floor, it gives the appearance of a second ground floor that, rather than being anchored to the ground, projects upwards towards the sky and, with its marble terrace, gives onto the sea.

▼厨房，Kitchen © Nicolas Borel

▼建筑的底层与基岩形成紧密的共生关系，The ground floor lies hard up against and in symbiosis with the bedrock © Tiziano Canu

▼厨房操作台，Kitchen island © Nicolas Borel

▼户外露台，Outdoor terrace © Nicolas Borel

地面铺装采用了来自印度的“银色波浪”花岗岩，经过切割、定位和安装，其有序的纹理在浅灰色的背景上形成暗色的水波图案。这样的地面如同地毯般珍贵，它在客厅区域不间断地延伸，当滑动门窗开启时，客厅将变成一个无边界的开阔空间。一系列沙发和扶手椅打破了室内外的分隔，透过几棵树，人们可以眺望到远处的岛屿和漂浮着游艇的海面。

The Silver Wave granite floor tiles from India have been cut, positioned and installed in such a way that the sequencing of its veins creates dark wave-like patterns over a pale grey background. As precious as a carpet, it continues without interruption, occupying the living room which, with the sliding windows pulled back, is limitless. It breaks down the separation between indoors and outdoors through the introduction of a series of sofas and armchairs from which, through a few trees, to contemplate the islands in the distance and the sea constellated by show-off yachts.

▼客厅和餐厅，Living room and dining room © Nicolas Borel

▼客厅与露台相连，Living room linked with the outdoor space © Nicolas Borel

餐厅的位置略微靠后，气氛也有所不同。它比其它空间高出一阶，部分被厚木板条覆盖。这样的装饰与圆拱形的穹顶搭配在一起，致敬了撒丁岛的传统民居和自然环境中堆叠的岩石。即便是充满现代感的滑动斜面玻璃窗，也能让人联想到“山”背上的巨大凹痕与雕凿而出的框架。

Slightly stepped back, the dining room changes the mood. Raised over the height of a tread, it is partially covered by thick wooden slats. This finish, along with the domed vaults, pays homage to traditional Sardinian homes as well as to the accumulation of rocks. Even its angled window which also has sliding glazing is able to evoke the vast indentations and carved frames to be found on the back of the “mountain”.

▼餐厅外观，Dining room exterior view © Tiziano Canu

▼餐厅视野，View from the dining room © Tiziano Canu

▼餐厅室内细节，Dining room detailed view © Tiziano Canu

▼卧室，Bedroom © Tiziano Canu

从休息室开始，客人可以沿着宽敞的走道一路走道占地一公顷的花园。浮雕、岩石与斜坡让花园显得更加开敞。面向室外的斯巴达风格的地垫吸收并模糊了户外的光线，而在朝向室内的一侧，它又起到反射和放大光线的作用。

From the lounge, guests can walk up a generously dimensioned ramp to reach a garden covering a hectare which seems even bigger thanks to the presence of reliefs, rocks and slopes. A mat finished Spartan face to the outside absorbs and blurs the outdoor light while the other face, looking inward, reflects and magnifies the light.

▼户外空间和景观，Outdoor area and landscape © Tiziano Canu

▼“洞穴”和天井空间，The “cave” and patio © Tiziano Canu

▼天井和淋浴间，Patio and shower room ©Nicolas Borel © Tiziano Canu

▼细节，Detailed view ©Nicolas Borel © Tiziano Canu

建筑师本人用珍珠贝母的荧彩色来形容她设计的瓷砖外观。这些瓷砖铺满了别墅的内部地板和超大型露台的墙壁。在明亮的白色背景的映衬下展现出浅绿色、浅蓝色和两种不同的群青色。这些瓷砖唤醒了建筑师儿时将贝壳贴在耳边聆听海浪时的记忆，同时也使她反复想起罗马和威尼斯的那些被岁月打磨光滑的洞石表面。瓷砖光洁明亮的外观与白色的网状窗帘和谐地搭配在一起，在漫长而闷热的夏日里营造出清凉又舒适的感觉。

Stefania Stera evokes the iridescence of mother-of- pearl to describe the ceramic tiles for which she designed both the pattern and the appearance. The tiling covers the inside floors of this house as well as the walls of its very large terrace. On their bright white background, a quincunx form stands out to reveal four blots of colour: pale green, pale blue and shades of ultramarine. The tiles echo her childhood memories of pressing shells against her ear to hear the surf alongside recurring memories of the polished travertine surfaces in Rome and Venice worn away by wear and time. Doubtlessly. Their bright and somewhat glossy appearance dominates alongside the white of the net curtains, both contributing to creating a delicious feeling of coolness during the long sweltering days of summer.

▼浴室，Bathroom © Tiziano Canu

▼浴室细节，Bathroom detailed view © Nicolas Borel

▼入口层外观，Exterior view from the entrance level © Tiziano Canu

▼建筑夜景，Night view © Tiziano Canu

▼场地平面图，Site plan © Stera Architectures

▼一层平面图，Ground floor plan © Stera Architectures

▼二层平面图，First floor plan © Stera Architectures

▼地下层平面图，Basement plan © Stera Architectures

▼纵剖面图A&B，Longitudinal section A & section B © Stera Architectures

▼纵剖面图C&D，Longitudinal section C & section D © Stera Architectures

Conception et production / Conception and production
Ante Prima Consultants, Paris
Direction de l’ouvrage / Publication manager
Luciana Ravanel
Coordination et suivi éditorial / Coordination
and editorial work
Arielle Lauze
Textes / Texts
Jean-François Pousse
Traducteur / Translator
Nick Hargreaves
Conception graphique / Graphic design
Adrienne Bornstein
Impression / Printing
Ingoprint
Éditions / Publisher
Ante Prima – AAM
Paris, France
Bruxelles, Belgique
www.ante-prima.com
www.aam.be

Photographs by Tiziano Canu, Nicolas Borel, Matthieu Salvaing

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