ABOUT THE PROJECT
The existing state of the apartment belonged to a mode of living incompatible with the requirements of the new owner.
These new requirements, even from the domestic conventionality, left enough freedom to treat the new house in a les S constrained way.
Therefore, the new proposal starts from the total demolition of the pre-existing situation, respecting only the structural system (for technical and economic reasons, structural interventions were discarded).
The proposal implements two L-shaped elements that encompas S those functions that the new owner, a single man, required with a certain independence: a first L oriented towards the acces S houses the kitchen area, and a second L houses the bedroom spaces with en-suite bathroom.
The rest of the space is intended to flow freely through the interior, to maximize the sensation of spatiality and abolish the limits between rooms: for example, both the bedroom and the guest bathroom are closed with large oversized pivoting doors, from floor to ceiling, without perimeter frames.
This means that the enclosures are not only interrupted when they reach the doors (there are no lintels), but when they are opened, communication is total and the space slips through them, extending the common spaces to these rooms whose occasional use is foreseen, thus preventing them from remaining closed and residual.
Similarly, the study area is an ambiguous space that is connected to the common spaces through a new pivoting door, similar to the previous ones, but this time made of glas S, which in turn is connected to the bedroom by means of two large sliding doors that do not reach the ceiling either, and which in their quartering of different types of glas S draw superimposed figures that blur the dominant axes of the rooms.
This spatial treatment of blurring the limits is the same as that with which the areas of the two L's mentioned above are treated: the kitchen is focused towards the entrance, but at the same time it is separated from it with an independent partition, cros Sed by a large mirror that blurs the narrowest pas Sage towards the kitchen; and simultaneously it opens up towards the living-dining room through an island that surpas Ses its limits.
Likewise, the bedroom has been undone in several rooms; the antechamber of it is the study area, communicated with the bed area (separated by the glas slides but communicated by the upper part of them), and from the bedroom there is acces S to the bathroom en suite, a more secluded and private space.
The material treatment accompanies the spatial concept, insinuating the position of each use in rooms that otherwise have no defined limits.
Although the kitchen is housed in a more or les S recognizable room, its colour is black, and golden notes in bras S (the faucet, the sink) contrast with the black surfaces; the large pivoting doors of the guest rooms are lacquered in black, and their handles in new bras S, marking the interruption of the white walls; the bathroom suite is completely black, a mixture of ceramic, granite, microcement and black enamel, and with faucets, washbasins and other acces Sories all in black.
On the other hand, the guest bathroom has the opposite treatment, here granite, micro-cement and enamels are white, although the toilets and taps are kept in black.
The sliding doors and pivot doors in iron and glas S receive parts that blur the axes, but also mark areas of privacy and more visible areas.
The luminaries play alternating black and white; the furniture designed is made of white lacquered wood and all the handles are black.
Even the new paving of the exterior terrace, whose walls had to keep the original colour, mark a perimeter band of white microcement that in its interior receives a fragmented quartering of black ceramic, like an exterior carpet.
Two bras S bands cover the edges of the two pairs.
Two bras stripes cover the edges of the two L-shaped walls that organize the interior, marking their spatial importance and their independence from the rest of the walls.