Contextualization and coherence of the set with the existing environment
Our building slides down the hill, crossing the pine forest until it reaches the access road where the forest ends and the city begins. And at the same time, while stepping, it spirals. But it does not close in itself, it is left open so that the leafy castle park of the Castle penetrates inside.
Quality of aggregation, operation and typology of the residential building
The group of houses is grouped in a staggered way, in a block that turns in search of the sun from sunrise to sunset with access by corridor on the north side. Sometimes the block is placed on the ground, and sometimes it rises so that the air enters and the vision of the park, and thus the building moves as if it were, going up well down the steep hill of the garden.
The houses are interns, on the one hand to the landscape and on the other hand in the own space that the building has created as a result of its spiral grouping. The house is composed of three spaces: a service space, a common space and the bedroom space, organized in bands that connect the two facades. The server space separates to one side so that the free transformation of the domestic space in the future is facilitated by the vital change of the inhabitant.
We project our building with passive strategies. Next in the Mediterranean we work with the sun, with real passing spaces, with the double orientation, with the breezes and the wind, also with the living skin of the building, thresholds, lattices, shade, backlights … as tradition has taught us. We also use constructive rationality and geometric simplicity. Our building is compact and solid in its perimeter; the wall predominates in front of the glass. This is what architecture can bring together with the new energy technologies …
Our building opens to the park.
There is a park on the east side of our building, and the housing have a view of it. They are distant views, towards the east and the sea. The park is always visible from the building. The facade moves with the passing hours so that the sun does not dazzle and thus always see the landscape. However, the building closes to the west. The facade is solid, with narrow windows protected from the setting sun and high corridors.
The domestic space must always be passant. And in the Mediterranean, the optimal orientation to enjoy the dominant winds of the sea and the mountain is east-west, like our building. Thus, the four spaces of the house breathe these fresh winds from the beginning and end of the day. The house above has an open-air terrace, and the house below dumped over a garden.
Semilevel.Two fixed spaces and two flexible spaces.
The space of the house flows vertically and horizontally. They are four spaces but they are one. Four spaces connected in seminivel, two small fixed spaces to the west and two large flexible spaces to the east. The fixed spaces are the areas of toilet and kitchen, and a room. Flexible spaces can be what the inhabitant wants.
“Large geometric bodies can not be. Then there are two limitations: adapting in plan to level curves based on breaks that never have a length greater than the type of cover. Then there is the height, the steps. I like this very much. You get views, the landscape is not damaged … That is to say: the stepped system, in height and horizontally, always adapting to the terrain (that the ground never seems to have been damaged), and the elasticity of the distribution.”
José Antonio Coderch
The spaces of the house look at the huge golf garden that is located to the north, and also look south, where the sun comes from. The views and the sun are the objectives for which the space of the house has been built. The spaces flow towards the large golf course and towards the sun, so that each and every one of the spaces of the house enjoy distant views and the sun of midday.
This double look is achieved thanks to two project strategies. The wall and the staggering.
Outside terrace view
The wall, of lime, protects from the neighboring views of the east and the west, and stretches the house in north-south direction so that the space extends throughout the dimension of the plot, elongated and narrow. It is the traditional murario system that constructs the space.
Playing room view
The stepping adapts the house to the slight slope of the land. The house falls little by little, adapts to the topography, and thus some spaces look over others towards the large golf garden. Stepped spaces and tiered gardens, like beautiful palaces and stepped gardens of Babylon.
Water and shade build the gardens.
Water is present in space. The water planes projected on the outside introduce reflections and sounds into the interior of the house. All the interior spaces without exception see and hear the water, as in our sublime Alhambra where the water runs through every corner of its gardens and courtyards.
Elevations and sections
View from the end of the plot
The house lies under a large shadow. The shadow of architecture and the shadow of nature. From the entrance to the last space of the house, the shadow accompanies us. The shadow, the gloom, the backlight … that intermediate atmosphere between light and darkness must be typical of our southern architecture.
The project can be described simply with the words of Mies about the houses built in Stuttgart in the Weissenhof district in 1927:
“The economic considerations of today, in the field of rental housing, require a standardization of production. The constant growth in the diversity of needs within a house, on the other hand, demands a great flexibility in the use of the rooms. The “skeleton” type construction is the most appropriate in this case. It allows a rational production process and offers the possibility of making any possible variation in the interior distribution. If the architect is limited to himself that the kitchen and the bathroom must be continuous in the house due to the water facilities, while it distributes the spaces of rest and coexistence with movable walls, it is possible to satisfy every need in the house “
He was the first to project this idea. And this project that is presented continues to investigate in it.
The building and the garden
View from the park
Promovido por el Área Metropolitana de Barcelona (AMB) y el Institut Metropolità de Promoció del Sòl (IMPSOL)
Our building is an urban fan that unfolds before the rectitude of the fabric of the city and reveals itself against the inert straight line. It is a kind movement, which closes and opens at the same time; closes the interior space of the block but opens to the sun and the wind. It is a gentle curve that goes to the sea, looking at the chimneys of the power station of the Besòs that are outlined on its intense blue.
“It’s not the right angle that attracts me,
nor the straight line,
hard, inflexible created by man.
What attracts me is the free and sensual curve;
the curve that I find in the mountains of my country,
in the sinuous course of its rivers,
in the waves of the sea,
in the body of the preferred woman.
The whole universe is made of curves,
the curved universe of Einstein. ”
The group of houses is grouped forming a curved linear block facing south with access by corridor on the north side. The block grows wide and transparent at its base and narrows as it reaches its peak.
In horizontal, the building opens like a fan to the south and the structure of laminated steel frames reproduces its linkage. And on each portico, a flat concrete slab acts as a country, the fabric that joins the skeleton of the fan.
Back to passive architectures is our obligation. When the space looks at the morning sun and opens to the fresh wind of Gregal, or when the space is built in darkness and protected from the west wind, then the space is dignified and honest. This is our building, a fan against air conditioning.
We tend toward the energy autonomy of our buildings with renewable sources, although we still depend on traditional energy networks. For the time being, we propose aerothermy as a source of air conditioning and photovoltaic solar energy that will cover 25% of self-consumption.
There are three spaces, two served and one server. TWO FLEXIBLE and one fixed. Two spaces that can be two, three or four. A space that is always the same, with dining room, kitchen and toilets. The three spaces are always interns.
The three spaces pass through to a large terrace. It is a generous outdoor space, fresh and in shade, essential in the Mediterranean climate.
And there is a multiple and flexible typology. Family housing, housing with office, shared housing, housing for large families, individual housing, housing workshop, … etc.
The sun moves and our building accompanies it throughout the day. When the sun rises, when it is in its azimuth and when the sunset comes, our building accompanies it. That’s how it behaves, like a sunflower curling on itself without losing a single ray of sunlight. Our building is built with the sun. Skin and space. The skin of the Mediterranean is made of shutters, lattices, cantilevers and galleries, and its space is full of shadows, backlights and shadows. Phenomena all produced by the sun.
Fresh air from the east cross the spaces without interruption. The air flow through all the rooms, freeing the architecture from the artificial mechanisms of air conditioning. And when the harsh and inclement summers come, the space of the house will breathe the cold air of the heart of the building, a gallery space in dimness humidified by the perspiration of its vegetation.
The Venturi Effect is guaranteed.
The back garden enters through the courtyard of access to the building. Before raising, under this last one, and to your right, a polyvalent space in shadow, owned by the community, is transparent. Up, access garden galleries ascend as the gardens of Babylon, green and vertical. The texture of the building becomes warm and bright because of the orange pottery and from the houses the sounds and smells of the neighborhood appear. Further up, the galleries becomes open-air terraces for common enjoyment.
Sun, air and people