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Appreciation towards Antonio Maciá for providing the following description:

“这所房子的反常之处在于它的内部空间要大于其外观所呈现出来的样子。”该项目正是这样一个空间，从外部看，它是一个很小的空间，但实际上内部却是宽敞而丰富。其整体空间可以分为三个主要的部分。

” … discovered that the house presents a unique architectural anomaly: its interior space is slightly larger than it should be according to its external dimensions … ” … of the first novel of the United States born writer Mark Z. Danielewski called “La casa de las hojas”. And these the novel and the way used to describe the pathway between different spaces in that “magic” house becomes also in inspiration to develop this design at Intramuros. This brief introduction lays emphasis on how small the house seems from the outside, comparing to his size from an inside perspective. That was precisely what you could feel at the place before the refurbishment: a small space seen from outside and big and rich in nuances from the interior, including a three spaces divided structure so we have proposed the Intramuros space in three chapters.

▼门店外观，exterior view

入口 | The entrance

入口作为首要的空间，需要清晰地呈现于街道，并通过整体化展示的家具来吸引人们进入。设计师在建筑中置入了一条走廊，使之成为一个半公共式的空间。走廊的长度几乎是展示橱窗长度的三倍。其上方种满绿植的屋顶呼应了走廊中展示的室外家具。室内家具和灯具则展示于屋内。黄色的条带分割了走廊与室内空间，将客人们引向第二个区域。

The first space on the premises has the need of being clearly visible from the street, it is designed to draw people in and the furniture must be exhibited as a whole ; the indoor , the outdoor and the lighting pieces. That is why we chose to incorporate the pavement inside the premises , prolonging the outdoor public space, converting this spot into a semi-public space and multiplying , by almost three , the length of the display window . That semi-public space , where the garden furniture is shown, is emphasized by greenery on the roofs . The remaining pieces – indoor furniture and lighting – are displayed inside. The separation between both is set by a yellow steel band that goes to the second space at Intramuros and therefore introduces the guest to the second chapter.

▼入口区域被设计为一条半公共式的走廊，the entrance area was designed as a semi-public space

▼种满绿植的屋顶呼应了走廊中展示的室外家具，the space displaying the garden furniture is emphasized by greenery on the roofs

▼黄色的条带分割了走廊与室内空间，the separation between both is set by a yellow steel band that goes to the second space

过渡 | The transition

第二个区域是服务与沟通区域。该区域呈现了一些由建筑团队设计的轻盈结构。空间的一边是直径为2厘米的钢制楼梯扶手，它以一种反重力的姿态“悬挂”在空间当中。该区域的另一个特色是由鞋带制成的“雕塑”装置，这些鞋带来源于埃尔切的鞋类饰品商店。楼梯扶手与雕塑装置共同导向二楼区域，这里是设计师与客户沟通的空间。

This second area, dominated by services and communications, could be perceived as rather uninteresting, however, it is presented as a place to investigate some of the impressive light structures already designed by the architectural studio. On one side there is a stair rail consisting of a 20mm diameter solid line of steel that is hung in such a way that it appears to almost defy gravity. On the other side, a sculpture – like three – dimensional free – standing structure designed with shoe cords obtained from Elche’s footwear accessory stores. Both structures serve to provide a sense of continuity to the attic area allocated to office space and a meeting point for designers, interior designers or architects with clients.

▼钢制楼梯扶手以一种反重力的姿态“悬挂”在空间当中，a stair rail is hung in such a way that it appears to almost defy gravity

▼由鞋带制成的“雕塑”装置，a sculpture-like free-standing structure designed with shoe cords

豁然开朗 | The house after the tunnel

第三个空间是一个类似于样板间的区域。在进入该区域之前，顾客需要先经过一个高度逐渐变低的狭窄的隧道。这条隧道昏暗且隔音良好，会给人以一种不太舒适的感觉，正是这样的过渡使得顾客在进入最后一个区域时感到异常的宽敞和明亮。走出幽暗狭窄的区域会给人以一种积极的暗示。该区域层高5.5米，展示了厨房、客厅、餐厅、卧室、衣帽间、浴室以及由半透明的聚碳酸酯板覆盖的宽阔露台。

At the beginning of the 20th century, architects such as F. Lloyd Wright or Adolf Loos used the resource of altering people’s perception of spaces by making them cross a dark and small space to reach another bright and large one. This resource is used in the anteroom that provides access to the third of the Intramuros spaces: the furnished house. Before entering the house, visitors have to make their way through a narrow tunnel, which gets lower and lower as they pass through. It is dark and has good sound absorption, acting as a brief tour and creates a somewhat disturbing sensation. But it is precisely this transition that causes their sensations to be magnified when they enter the spacious, luminous area. Leaving a dark, narrow space, favours the positive perception, almost subconsciously, of the house that the visitor encounters. The space of the house has a height of 5.50 m and shows the kitchen, living room, dining room, bedroom, dressing room and bathroom as well as a large terrace covered by a translucent polycarbonate veil. In short, each space that is crossed in the linear path of Intramuros, tends to reflect the narrative that the author of “The house of the leaves” used to tell the passage from one room to another of the house that describes throughout the novel.

▼在进入该区域之前，顾客需要先经过一个昏暗狭窄的隧道，before entering the house, visitors have to make their way through a narrow tunnel

▼豁然开朗的样板间区域，the spacious, luminous furnished house

▼该区域展示了厨房、卧室和卧室等空间， the space of the house shows the kitchen, living room, bedroom and bathroom etc.

▼由半透明聚碳酸酯板覆盖的宽阔露台，the large terrace covered by a translucent polycarbonate veil

Autor
Antonio Maciá Mateu
Colaboradores
Ana Mora Vitoria, Arquitecta
Aparejador
Francisco Rodriguez Navarro
Superficie de actuación
485m2 entre medianeras (70 m2 de patio interior)
Fotógrafo
David Frutos

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Antonio Maciá

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