这个复杂的项目始于8年前，经历了各种情况：棚户区、监管分歧、用途改变、缓慢而复杂的工作……尽管客户希望留下裸露的砖墙和使用液压马赛克（巴塞罗那的陈词滥调）的愿望仍然不可改变。此外，客户的要求是将这个位于巴塞罗那Borne区的小建筑，从19世纪末开始，有4层（但每层只有20平方米），改造成一个能够在巴塞罗那工作和短期停留的地方，尽管在这8年中，客户的个人和家庭情况发生了变化，该项目也适应了这种情况。

This complex project began 8 years ago, going through all kinds of situations: squats, regulatory disagreements, changes in use, slow and complicated work…although the client’s desire to leave the walls with exposed brick and use hydraulic mosaic (the cliché of Barcelona) remained unalterable. In addition, the requirements were to convert this small building located in the Borne district of Barcelona, from the end of the 19th century and with 4 floors (but barely 20sqm per floor), into a place where to be able to work and spend short stays in their visits to Barcelona, although, along these 8 years, the personal and family situation of the client has changed, to which the project has adapted.

该房产原来的情况是一片废墟，楼板损坏严重，楼梯薄弱，部分楼梯被拆除。除此之外，还需要使建筑适应当前的法规，这使得从一开始就几乎不可能重新使用内部，着手完全拆除建筑，只保留外墙和隔墙，以及屋顶板（不包括楼梯塔楼，它被重建）。

The original situation of the property was in ruins, with very damaged floor slabs, weak stairs, and parts of them demolished. Added to this was the need to adapt the building to current regulations, which made it practically impossible from the start to reuse the interior, proceeding to completely demolish the building, maintaining only the facades and dividing walls, and the roof slab (not the stair tower, which was rebuilt).

施工过程缓慢而复杂，但至少允许作出决定，因为遗产的本质随着拆除而被揭示。因此，一旦所有的楼板都被拆除，建筑被看作是一个细长而高大的棱柱，由各种砖块和石头组成的完全异质的墙体组成，没有明显的秩序或组成，让所有这些墙体暴露出来的想法成为概念：这四面墙，超过15米高，是建筑历史的博物馆，在这里，任何建筑的痕迹（拱门、门楣、楼梯和梁）和使用的痕迹（灰泥残留、家具、装饰物。 …）都将被保留下来，暴露在所有粗糙的地方。新的楼层（共3层）将由分隔墙之间的新梁支撑，分隔墙不会接触到两个立面中的任何一个：朝向主立面，一片玻璃将它们与之分开；朝向内部立面，楼梯间将是一个4层的空隙，将整个内部统一起来，显示出这样一个细长建筑的惊人高度。因此，该项目已经确定，剩下的就是确定每一层的用途和解决技术问题。

The construction process, slow and complex, at least allowed decisions to be made as the essence of the estate was revealed with the demolitions. Thus, once all the floors slabs had been demolished and the building was seen as a slender and tall prism formed by walls with a completely heterogeneous composition of all kinds of bricks and stones arranged without apparent order or composition, the idea of leaving all these walls exposed became conceptual: these four walls, over 15m high, are a museum of the building’s history, where any trace of its construction (arches, lintels, stairs, and beams), and of its use (mortar remains, furnishings, claddings..) will be left unaltered, exposed in all its crudeness. The new floors (3 in total) will be supported by new beams between the dividing walls, which will not touch either of the two facades: towards the main facade, a sheet of glass will separate them from it; and towards the interior façade, the stairwell will be a 4-story void that unites the entire interior and shows the surprising height of such a slender building. Thus, the project is defined, remaining to define the uses of each floor and resolve the technical issues.

通道–厨房–餐厅、客厅、浴室–更衣室、卧室和阳台构成了从下到上的使用顺序。在任何情况下，除了厨房家具和浴室设备外，没有其他东西占据这些楼层，因此它们的用途可以随着时间或需要而逆转，也可以将楼层变成工作空间。

Access-kitchen-dining room, living room, bathroom-dressing room, bedroom, and terrace form, from bottom to top, the sequence of use. In any case, with the exception of kitchen furniture and bathroom equipment, nothing else occupies the floors, so that their uses can be reversed over time or needed, as well as turning the floors into working spaces.

安装的存在，从一开始就排除了墙壁上的凹槽或小井，在里面发挥了特殊的相关作用：7个不锈钢圆筒贯穿了整个建筑的高度，将所有的电气、通风、管道、抽水、卫生、空调和电信装置放在其中的6个圆筒内，留下一个空的圆筒以备将来需要。这些钢瓶没有被隐藏起来，通过家具和地板贯穿整个建筑。其余的装置总是可见的，从不内置，突出了它们所处的砖石墙的粗糙度，使它们摆脱了新的服务。

The presence of the installations, by ruling out grooves in the walls or small wells from the beginning, take on a special and relevant role inside: 7 stainless steel cylinders run the entire height of the building, conducting all the electrical, ventilation, plumbing, extraction, sanitation, air conditioning and telecommunications installations inside 6 of the cylinders, leaving one of them empty for future needs. These cylinders are not hidden and run through the building through furniture and floors. The rest of the installations are always visible, never built-in, highlighting the roughness of the masonry walls on which they are located, freeing them from new servitudes.

在材料方面，为了反对现有墙壁的粗糙表现力，在将要实施的新元素中追求某种精致，意识到这个空间必须容纳一个家。因此，厨房是一件磨砂的黄铜家具，闪闪发光，带有反光，上面是白色大理石；浴室设备是用略带奶油色的漆木镶成的，带有黑色和黄铜的细节；地板的 “床头板 “是用白色的微水泥覆盖的；液压马赛克、微水泥和橡木地板为室内增添了温暖和色彩；漆木天花板结合了寄存器和网格来 “设计 “这些需求。

In terms of materiality, a certain refinement has been pursued in the new elements to be implemented, in opposition to the crude expressiveness of the existing walls, conscious that the space must house a home. Thus, the kitchen is a frosted brass piece of furniture, shiny and with reflections, with a white marble top; the bathroom equipment is paneled with lacquered wood in a slightly cream color, with black and brass details; the ‘headboards’ of the floors are covered in white microcement; the hydraulic mosaic, microcement, and oak floors add warmth and color to the interior; and the lacquered wood ceilings incorporate registers and grids to ‘design’ these needs.

结构全部涂成白色，以寻求某种材料的抽象性，特别是在螺旋楼梯的开发上，它被开发成一个独立的圆柱体，贯穿整个建筑的高度，在任何时候都不接触它的墙壁，提供皮拉尼斯式的视野，由墙壁的异质性和视点的多样性帮助。相反，现有墙壁上的所有细节都是直接和原始的：窗框是直接用砂浆制作的，预制框架没有被隐藏，拉杆的结构元素没有被抛光。在上面，在楼梯间的顶部，一个天窗引入了美丽的光线渐变，直到最低的地层；朝向立面，玻璃片在楼层之间反弹照明，并引入不断变化的反射，允许从内部欣赏立面的全部高度，就像它发生在楼梯的空隙中。

The structure is all painted white, in search of a certain material abstraction, especially in the development of the spiral staircase, which is developed as a free-standing cylinder that runs the entire height of the building without touching its walls at any time, offering Piranesian views helped by the heterogeneity of the walls and the diversity of points of view. On the contrary, all the details on the existing walls are direct and raw: the window frames are made with direct mortar, the pre-frames are not concealed, and the structural elements of ties are left unpolished. Above, on top of the stairwell, a skylight introduces a beautiful gradation of light until the lowest strata; towards the façade, the glass sheets bounce the lighting between floors and introduce ever-changing reflections, allowing the façade to be admired at its full height from the inside, just as it happens in the void of the staircase.

主立面是按照文物部门的严格要求进行修复的，使其恢复到过去的形象，而它肯定从未拥有过。只有在入口处，我们才可以自由地发明一个正面，重现经典水力马赛克的三维设计（用在底层，深受客户喜爱），用3种类型的铝完成的菱形和三角形的爆炸视图，这掩盖了门（只能通过锁来识别），抽象了入口。

The main façade was rehabilitated following the strict dictates of the heritage department, returning it to an image of the past that it surely never had. Only at the entrance door were we free to invent a front that reproduces the three-dimensional design of the classic hydraulic mosaic (used on the ground floor and much loved by the client) with an exploded view of rhombuses and triangles finished with 3 types of aluminum, which conceals the door (only recognizable by the lock) and abstracts the entrance.

Architects: Raúl Sánchez
Area : 105 m²
Year : 2022
Photographs :José Hevia
Architecture : Valentina Barberio
Structure : Diagonal Arquitectura
Engineering : Marés ingenieros
City : Barcelona
Country : Spain