Exercise on a person and his masks.
To be left to seduce for the interests – both public and unmentionable – of the client, it you discovers more on his housing that any programmatical already established approximation. It is not said not newly at all, in the faculty already they were teaching us on it: the one who has not had a project course concerning the hobby, profession or physical dominant characteristic of the client? This way, we were meeting collectors of fossils, astronauts, trainers of pokemons or human beings of 2.16 meters of height.
Nevertheless, our reality – internal and day pupil – does not conjugate with an alone hobby, profession or fisicidad makes concrete, but it turns out to be a ball of sensations, interests, caprices and rituals that look for his espacialidad and that can be so ephemeral as that a mask removes itself or puts. For his development, sometimes he needs of devices, others of fenced square meters and others, simply, of an atmosphere – intangible – concrete. In “Thousand and one House”, the outlines proyectuales are directed by a versatile client of polite sight and thin palate. The architecture there will move between his me cook and his I collector of art, influencing also his other we of to sleep, of the cinema in original version, and of the investigation of the world that he lives and of the one that is inhabited. The disputes, observations, agreements, friendship and conversations between the different we of the client are those who generate this project.
The cook. Two qualities him take a fancy indispensable: the smells and the colors. Erotizar to the rest of masks from the sight and the smell is his principal intentions. It is not chance that his space places between two rooms. It hates to cook with a view to a wall, says to feel annulled before the lack of perspective, so he cooks with a view to a balcony, a couple of tables and a bar of bar. And it is that, for his to cook, there is so important the intimate space of his scullery, as the relational space where to talk with others on the result and influences of his culinary processes. The sleepy-head him insists on the use of relaxing spices that should accentuate his long rests; on the contrary, the expert, search any remedy lisérgico that activates him and it him prolongs his endless readings. More mystical no doubt they are the conversations that the movie fan and the artist bring, trying to put flavor to characteristic of Goya’s works scenes and to movies of white and black.
The sleepy-head. It is not chance that his space is between the cook and the expert. It owes the origin to the cook, since his olfactory memory makes him wake up of his constant nightmares with the aroma of a good Colombian coffee. This door sliding on the one that slips past the awakening, it is lined by a mirror. The sleepy-head was confessing to us that
“the bedroom is an oneiric and sexual space”,
that it would be uninhabitable without big mobile mirrors that were making think over and displace the space to him without the need of the dream. The word dream appears always in his speech. Many nights the expert, exhausted of reading, takes to him a book that has ended and that it forces him to read. It lies down on a mattress of hair of camel and the northern one of down of goose where, I worry, thinks that when it closes the book all the letters will be disordered. Borges said it to him.
The expert. Always it is overwhelmed because his to know if it seems to occupy place. Enormous, almost rude, quantities of books arrange in bookshops, racks, tables, chairs, waterclosets and stores. As any religious person, his act of prayer can be realized from any place, nevertheless, always a sacred space exists. He says that it is impossible to describe the architecture of this cockpit, since the space transforms since does it in Boris Vian’s novel when the music sounds. He does not remember the name of the novel. Only he asks him to the stay for two qualities: silence and isolation. The silence of a niche – quilted and wrapped of books – destined to the meaning of a word peeling it after other one. And the isolation, which major peculiarity resides in the agreement that had to come with the cook and the movie fan in order that his sacred space could be profaned and this way to avoid the comportamiento sociópatas that the expert was showing. The above mentioned agreement, it materialized with the displacement of a few sliding doors that allow the design of other environments thank you, among other things, at the arrival of smells of the one that prepares a ceviche or of the calm sound Massive Attack’s Bristol that someone has just reproduced.
The pathologist. We do not know if it exists in yes or is a secret slope of the expert, who not only attends to the logical order of the letters, but also to that of the cells. His participation in the social life is void. Even this way, they all know where to find him, it has done of the back of the ceramic curtain his natural habitat. From this position it controls the incision of the natural light in his atmosphere, being the artificial one, that of the microscope, the protagonist of such a medical environment. Vividor of a time and I spread much more extensive than the rest of inhabitants, the pathologist monitors the housing from his position of control, and when his mind trumps him, when it is distracted by the voices of a conversation in the sofa or by the sound of a vinyl, only it has to traverse this curtain that leaves to the overdraft his angry face but of extreme concentration, in order that the rest, with the knowledge of the meaning that one, stops any interference espacial.s of the meaning of what it means, there detains any intromisiy the spatial cinón that it realizes.
The movie fan. It shows fetishism for the objects that allow him to have the control on the movies that it sees, on the sound that comes to him or on the repetition of the scenes. The weekends it organizes, concerning his control of being able distantly, cycles of cinema in a curl endless number. In this moment, the dispute takes place: conflicts for occupying the best position of the sofa; for turning into voyeurs and dominating the perspective up to the guests’ bedroom; or for simply, to look out of the corner of the eye and cotillear to the expert after this rack that it does not conceal.
The movie fan is capricious, and as good lover of the cinema it can use the dialog to convince. To a little time, with the argument – or script – of which there is no better way of cooking that seeing a good movie, sedujo to the cook to have a television in his space. Since then, they all meet once a month all to enjoy a food linked with a masterpiece of the cinema. The last one was two weeks ago, while Loves saw dogs, the cook presented to his retainers an impressive digest of Mexican food.
The collector of art. It differs because always it looks abreast. It has a relation with the vertical hanging difficult to deal for the inhabitants of the plane XY. The collector is, in addition, a trilero of the word: the only personage who possesses the consent of the others to maraud for all the spaces of the housing. One they was convincing one in the importance of the art in his lives. Always he remembers that the most stubborn was the expert invoking not to need anything any more than his books, to what the collector had to run through him:
“But was not it Dostoievski who was saying that the beauty will save the world? Do not you think that to have in your stay the best of my pictures you can bring over to him?”
From this moment the expert reads opposite to Derain’s picture.
Recalling past conversations, feeling the future ones and showing almost spectral images, it is the way in which this housing achieves his maximum compression. The materialization of the masks that his owner has been accumulating throughout the time, and that two old friends bring to the process as John Hejduk and Saul Steinberg, shape the narrative of the project. And what it pleases and stuns of her, is the inability to show the only speech in such a multiple universe in which it lives and all his being feels. The inhabitant, in his to live spatially, establishes a fethishistic relation with his objects and espacialidades that originates so many houses since him be necessary. The “thousand and one” House.
Work: Thousand and one House.
Architects: Joaquín Juberías – Paula Aranda
Text: Víctor Manuel Cano – Joaquín Juberías
Collaborators: Víctor Manuel Cano
Construction company: Selecta HOME
Photography: Germán Cabo
Location: Alicante, Spain
Ceramic curtain: Joaquín Juberías
Interior area: 115,00 m2
Budget (P.E.M.): 120.000 €