In the House 6 project, the idea of the veranda has been reinvented. The veranda is not exactly in front of the living room, disposed longitudinally, but, rather, perpendicular to it. The wooden pillars that give support to the structure and the clay tiles of traditional verandas have been substituted by modern pilotis that support a volume of flat slabs. The veranda of House 6, nonetheless, still remains an open space and, simultaneously, opens to the garden and the pool. It is a living room, a TV room and an extension of the internal kitchen.

This space, then, structured the entire architecture of the house, organized in two transversal volumes and an annex in the back that holds a home office. The lower volume houses the utilities, the kitchen and the living room with door-frames that can be recessed into the walls, and thereby entirely opening the internal space to either side.  This sets the cross-ventilation and an unfettered contiguous view of the garden.  The upper volume has the private area of the house with the bedrooms and, on the third floor there is a small multiple-use living room alongside an upper deck.

The owner makes her own jewellery, sometimes on demand. She also gives workshops in the studio and different artists can expose their art in the gallery.
The new display window of the gallery is adjusted to the scale of the jewellery. The window consists of several wooden boxes which each have their own lightning. Through the boxes there’s view on the street and the gallery, but at the same time it provides a feeling of privacy as it is not a complete glass façade.

The floor plan has been transformed. By adding the garden house to the existing house, as well as extending the house, CSAR was able to create an exiting new floor plan which had to deal with height differences, existing stairs and existing windows.

As a contrast to the boxes that stick into the façade on the ground floor, one big “box” sticks out of the façade on the first floor. The windows inside of it give a great view on the street from the living room. The inside is also being used as a place to sit on.
The whole exterior has been plastered to cover the different types of brickwork and damages. The new doors and windows in the back façade make sure there’s a lot of light in the house and a nice garden view.

During the initial design discussions 123DV architecture were also showed pictures of ancient Spanish architecture. They were fascinated by the closed white stucco facades and metal fences in Jugendstil design.

So the challenge was to combine in one villa the beautiful Jugendstil forms, the closed facades, the treasures of the diving world and the unique works of the artist Dalí.

For the design of the house 123DV architecture made use of the Paranoiac-critical method by Salvador Dalí (creating optical illusions). The result is a cylindrical white stucco main building with a nautilus spiral structure inside; representing the world of diving.

The closed facade facing the street represents the so called Spanish architecture with a blown up Jugendstil pattern in the six meter wooden panel as the entrance. In the centre of the house there is a double story cylindrical space.

I tryed to use as little graphics or decorative elements as possible to illustrate the concept, functional objects must do that. The shape of those object should tell the story.

A peculiarity of this arrangement is the fact that none of the objects used were purchased. All items being manufactured under the project.

The shapes and positions of the objects in central space was designed so as to create several routes for equal exposure of the emblematic products.

These objects have resulted from a formal synthesis by illustrating a number of three animals in motion. Zoomorphic design and geometric shaping almost extreme minimal tried to minimize the decorative approach. the use of very sharp angles (most angles on vertical objects under 45 degrees), gave more dynamism in the composition of objects, seen from different angles, they can change appearance

I also preferred not close volumes for spatial geometry without spatiality, a kind of origami like 2D shell, which is in constant metamorphosis

I used the ceiling to illustrate the trees made of black electrical wires which is also the lighting system, ceiling grid was invaded by black wires tensioned using weights that disguises lamp socket. The Drawing of the electrical cables network creates the virtual habitat of the objects. A dynamic relation is created between the hanging branches of the light trees and the uprising vectors of each of the three objects

Dressing booths are like a refuge in the middle of a forest. Suggesting a sort of “glazing” to the rest of space, a media interface, composed of LCD screens, is placed on the exterior wall of the cabins.

To display accessories and jewelry we created rectangular prismatic objects at different heights which seam to emerge from the floor surface in various areas with apparently random positioning.

Materials used were simple and inexpensive as can be. Furniture items are made from MDF polyurethane painted supported by light metal structures made of very thin sections (4mm diameter), whose stiffness comes from the way the structure geometry is closed.
Two of the objects have a recessed translucent membrane in one of the vertical planes, in order to spread light on the exposing surface