五千年前的乌尔不可能有太大的不同：同样的精心制作的砖块……同样的庭院周围的空间，同样的墙壁，同样的从明到暗的过渡，同样的热后的冷，同样的星夜，同样的恐惧，同样的梦想……”。奥尔多-凡-艾克。
“It couldn’t have been much different in Ur 5,000 years ago: the same painstakingly created bricks … the same spaces around a courtyard, the same walls, the same transition from light to dark, the same cold after heat, the same starry nights, same fears, same dreams …´´. Aldo van Eyck.
这座房子位于萨卢郊区的城市化进程中，围绕着巴雷尼斯的罗马别墅考古公园，这是一座公元前1世纪的建筑，用于生产建筑用的陶瓷和精心制作的双耳瓶，用于将塔拉戈纳葡萄酒出口到帝国的不同地区。
The house is located in an urbanization on the outskirts of Salou that is articulated around the Archaeological Park of Villa Romana de Barenys, a building from the 1st century BC. destined for the production of ceramics for the construction and the elaboration of amphorae, used to export Tarragona wine to different parts of the Empire.
一个单一的行动可以解释这个房子：把自己封闭在最接近的环境中，一个没有很多属性的普通地方，为玛丽亚-何塞，一个有安达卢西亚血统的女人建立一个亲密和愉快的居住地，她想在一个新的房子里享受她最近的退休，把她带到她童年的居住空间。
A single action can explain the house: closing oneself to the closest environment, a generic place without many attributes, and founding an intimate and pleasant habitable place for María José, a woman with Andalusian roots who wants to enjoy her recent retirement in a new house that transports her to the inhabited spaces of her childhood.
为了延续天井文化和地中海气候下的生活方式，恢复罗马别墅的潜在记忆，这些别墅围绕着以战略港口而闻名的罗马Salauris，衔接着Ager Tarraconensis的农业领土，并打算唤起玛丽亚-何塞在安达卢西亚天井的植物阴影、水池和橘子树中的童年经历，我们提出了一个天井房屋，一个欢迎内部绿洲的内省房屋。
In continuity with the culture of the patios and the way of living in Mediterranean climates, recovering the latent memory of the Roman villas that articulated the agricultural territory of the Ager Tarraconensis around the Roman Salauris, a city known for its strategic port, and with the intention of evoking the childhood experiences of Maria José among the vegetal shadows, the pools and the orange trees of the Andalusian patios, a patio house is proposed, an introspective house that welcomes an oasis inside.
这座房子通过底层的一个单一的流动空间来衔接，该空间围绕着房子的中心房间–中庭，该项目侧重于在内部和外部之间、在黑暗和光明之间、在不确定性和安全性之间的永恒的生活探索。陶瓷，这种材料在历史上从罗马时代一直用到20世纪初第一批现代主义夏季房屋的出现，是所选择的建筑材料。
The house is articulated through a single fluid space on the ground floor that gravitates around an atrium, the central room of the house, and the project focuses on the timeless exploration of living between the interior and the exterior, between the dark and the dark. bright, between uncertainty and security. Ceramics, a material used historically in the city from Roman times until the appearance of the first modernist summer houses at the beginning of the 20th century, is the chosen construction material.
在外围，由纹理砖组成的实心墙，放置在不同的结构中，保护房屋不受外界影响，并提供隔热和隐私，产生了一个巨大的围墙，只在非常具体的点上通过格子和窗户打孔。这种保护性的陶瓷墙唤起了麦地那的巨大围墙，围绕着一个完全开放和透明的中央空间，门廊、格子很快被植物的阴影覆盖，滑动百叶窗可以调整光线和温度条件。
On the perimeter, a solid wall of textured brick and placed in different structures protect the house from the outside and provides thermal insulation and privacy, generating a massive perimeter wall only perforated at very specific points by means of lattices and windows. This kind of protective ceramic wall that evokes the massive perimeters of the medinas, surrounds a totally open and transparent central space nuanced by porches, lattices soon covered by vegetal shadows and sliding shutters that adjust the light and temperature conditions.
向东南方向开放以寻找光线的Agora是房子的中心，是所有房间汇聚的舞台，是集体的地方，是关系的空间，同时，它也是一个控制的中间空间。气候，除了确保交叉通风、流体循环、深度视觉和所有空间的良好照明，使房子的尺寸倍增，并允许将外部空间纳入室内，防止地块的未建空间被理解为一种浪费，但与内部空间是连续的。这种在房屋中心的外部片段使你能够将家庭生活与天空联系起来，并欣赏时间的流逝。
The agora, which opens to the southeast in search of light, is the center of the house, the stage where all the rooms converge, the collective place, the space for relationships, and at the same time, it is also an intermediate space of control. the climate that, in addition to ensuring cross ventilation, fluid circulations, deep visuals, and good lighting of all spaces, multiplies the dimensions of the house and allows incorporation of the exterior space into the interior, preventing the unbuilt spaces of the plot are understood as a waste but in continuity with the interior spaces. This fragment of the exterior in the heart of the house allows you to connect domestic life with the sky and appreciate the passage of time.
房子的结构是从西北立面的通道轴开始的，它通过入口门廊、大厅、外部门廊和中央天井形成的空间序列而具体化。这条通道直接通向外面，几乎无法猜测房子从哪里开始。从这段透明的通道，第一个体包含了集体空间和服务空间，在轴线的另一边，第二个体可以自主运作，容纳了主卧室。
The house is structured from the access axis on the northwest façade, which is materialized through the spatial sequence formed by the entrance porch, the hall, the exterior porch, and the central patio. This access route leads directly to the outside, with hardly being able to guess where the house begins. From this episode of transparent access, a first body contains the collective spaces and service spaces, and on the other side of the axis, a second body, which can function autonomously, houses the master bedroom.
这两个主体围绕着天井，并在天井中汇合，天井是保存记忆的空间，是玛丽亚-何塞梦寐以求的与家人和朋友分享重要时刻的避难所，是与这个地方的记忆相连并唤起其土地和根的理想空间。
These two bodies surround and converge in the patio, the space that keeps memories, the refuge that Maria José had dreamed of to share important moments with family and friends, the desired space that connects with the memory of the place and evokes its land and its roots.
Architects: NUA Arquitectures
Area : 455 m²
Year : 2021
Photographs :Adrià Goula
Manufacturers : Moix Ebanisteria, Visolman
Lead Architects : Arnau Tiñena, Maria Rius, Ferran Tiñena
Technical Architects : Albert Vilà, Júlia Oriol
Structural Calculation : Albert Pujol
Engineer : Enric Sanz
Constructor : Construccions Esteve Ferré
Country : Spain