Within an extremely low budget, the decrepit original construction was reset to the bare structural existence of its perimeter walls.
The inner space was solved with the precise placement of a gently curved wall as a separation between the public and private programs under a new light roof. The intersection of the existing perimeter walls, the sloped ceiling and the added curve resulted in a complex geometrical form. A sequence of rooms of various sizes and forms hides behind the new wall and a wide window frames the rediscovered garden.
The main space, loosely populated by furniture, showcases four blue doors, a circular opening, various plants and an slender metal pole that symbolically marks the highest point of the otherwise humble construction. A selected number of elements were painted in strong colours contrasting with the general abstract whiteness of the room.
The wall facing the street was extended to balance its proportions and the entrance door painted in heavy salmon-pink; the greenish-blue gate, when closed, completes the deconstructed composition. A thin metal surface extends over the white volume as if made of paper: the light metal roof becomes the prominent urban element defining the image of the house, its ‘houseness’.
While the interiors form a unity characterised by whiteness and precision, the outside expression is that of a loose juxtaposition of constructive elements. Ultimately the house is a rather conventional building, but unusually vivid.