The labeled houses with their small boundaries are thought of and built as a microcosm. The concept of inscription, borrowed from geometry, has prompted us to find new qualities. The narrowness of the irregular and broken boundaries of the party walls, far from being perceived as a negative characteristic, highlights forms and bodies. He gives them the property of infinity and at the same time makes them infinitely manipulable inside. Controlled spaces, in which containers and contained elements initiate a dialectical relationship, create infinite sequential boundary spaces. These articulate a path that gently discovers three courtyards that filter the natural light and color it with shades of blue, ochre and green. Almost monochrome atmospheres. The diagonal relationships between the common spaces frame sections and fragments of the sky and are naturally ventilated and flooded with natural light.
Each element plays a significant role. From the street to the deepest abode, one circulates along vestibules, courtyards, corridors, walkways and light slits. Pull-out houses nested inside each other. We find a dialogue to formalize the tensions found: between lines and thickness (those born of the disproportion of orientations and party walls); and between inner glances and external tangents. This creates a vertical sequence of broken planes, in which light and shadow become more and more expressive as the day progresses. We transform the only façade into a changing game. Simple origami, folding, unfolding, that speaks for thickness. The users, depending on their needs or habits, configure the image to the street within the possibilities of the proposed game.
Source: Pedro Romera y Ángela Ruiz
Images: Pedro Romera y Ángela Ruiz
