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make it simple, but significant

INDEX 01_STORIES OF HOUSES NAKED house MÖBIUS house BLAS house 02_WHAT DOES ARCHITECTURE MEAN? 03_ARCHITECTURE FOR A DISEASE BARBIERI house ROTA house alzheimer's disease 04_MICROARCHITECTURE MAZE. getting confused to feel relief CLOSET. your own space STOOL. never stand alone 05_MICROARCHITECTURE IN ROTA HOUSE making a microclimate within the house. sophie's proposal rota house as a relaxing house. mortiz's proposal balancing house. raul's proposal 06_DEVELOPMENT OF THE FINAL PROJECT 07_THE ALZHEIMER'S PROJECT IN ROTA HOUSE 08_MANIFESTO 09_BIBLIOGRAPHY





the first choice was NAKED house by SHIGERU BAN. i chose this house because i really like the idea of creating a free plan in which you can modify the space as you want, adpating the house to the function you need it accomplishes in that exact moment. also, i like the idea was because there had to live a whole family, so the idea was about to create a space in which could the whole family be together. That can be done because of the modulation, as the bedrooms which are done as a square modul that can be taken out from the inside.


the second choice was MĂ–BIUS house by BEN van BERKEL. of this house i would highlight the concept of the movement inside it and how van BERKEL achieved it. the idea was to do a house in which the owners live there the whole day, due to their work was at home. so, for that, BEN van BERKEL was inspired by a mathematic diagram in which there isn't joints, every plane is continuous, all of them are connected in a continuous way. in addition, in some rooms or parts of the house, there is a strong connection with the outside. the diagram of the double-locked torus conveys the organisation of two intertwining paths, which trace how two people can live together, yet apart, meeting at certain points, which become shared spaces. the idea of two entities running their own trajectories but sharing certain moments, possibly also reversing roles at certain points, is extended to include the materialisation of the building and its construction.


dibujos originales de campo baeza

The house in the mountain for listening to silence with these provisions, CAMPO BAEZA went to visit the site with the client. it was to the southwest of madrid with a wonderful view to the north towards the mountains and 3000 squares metres with a difference of 15 metres in height from bottom to the top. despite that the client thought it very uncomfortable, the architect realised immediately that the place was perfect for the brief that the client had given him. being so high, the surrounding houses would disappear and would leave the horizontal landscape in the distance to be enjoyed. Studying the slope, CAMPO BAEZA decided to make a platform for the house to sit on and to divide the house into two conceptual elements: a solid concrete box sitting firmly on the ground emphasising its sense of gravity and another transparent glass box placed on the concrete box with a light and simple steel structure A HOUSE FOR EMOTIONS; TO FORGET AND REMEMBER that almost disappears into the landscape. the first day that the client, FRANCISCO de the perfectly carved out box contrasts with BLAS, visited the architect he gave him a book the structural qualities of the second, the of poetry from 1950 with the complete work viewpoint situated at the highest point of the of the Spanish poet LUIS CERNUDA (1902-1963) house. they are two opposing states or qualities who had been a member of the group of poets, of how light transmit through the material; one Generation 27, with FEDERICO GARCIA LORCA among completely opaque and the other completely open.  others. Cernuda’s poetry was dense with intense inside the concrete box is the programme of emotions, describing sensitivity and love, pain the house dividing the spaces so as the living and solitary, and the contrasts between the areas -the four bedrooms and the living roomrealisation of his personal desires (the wish) have a view of the framed landscape through and the limits imposed by the world around him square gaps that open out to the horizon. (reality). his most famous poem "donde habite the effect is as if the landscape is far away el olvido" (193-233) describes a world where one from our reach in the distance. the opposite forgets all one’s problems and in that way manages is felt in the totally transparent box on its to achieve the freedom that one longs so much. roof where one is literally absorbed by the This was the reading material that the professor power of the surroundings. it is here that the of literature transmitted to his architect. it inhabitant can loose all sense for the time, to seemed as if FRANCISCO de BLAS wanted something listen to the sounds of the ambience, of the more than a house, that he wanted place where silence, of the music of the landscape. one emotions and reflections were part of the recalls the effect of JOHN CAGE’s musical piece building material. for CAMPO BAEZA, this was “4 minutes and 33 seconds” (1952) where the a welcoming challenge. in fact, he intended pianist sits in silence in front of the piano his architecture to speak poetry and in order while the audience listen to the sounds of the to transmit that to his architectural students surroundings. no two people listen to the silence he started every lecture for his classes at in the same way. in fact, people are generally the university with an opening of the poem, not educated in listening to the silence.  "auguries of innocence" by WILLIAM BLAKE: in de BLAS house one finds peace within oneself and gains freedom. the experience is deeply personal, based on reflections; forgetting and remembering and relating oneself with the to see a World in a grain of sand. environment. FRANCISCO de BLAS and ALBERTO CAMPO and a heaven in a wild flower, BAEZA have made a house where its poetry helps hold infinity in the palm of your hand.  to build another more subjective poetry of the and eternity in an hour. one who perceives the place. having a steep and “uncomfortable” site yet with a beautiful view over the horizon, a professor of literature in Madrid approached the architect, ALBERTO CAMPO BAEZA, to design a house for his family where they could “listen to music”. as a present he gave the architect a beautiful book of poetry, as it were provisions for starting the design process. thus, the client directed the architect whose world-wide reputation was recognised for his poetic treatment of natural light. With this mutual cultural understanding between the client and the architect, a house was being born where one listens to the music within the silence.


When we speak about minimalism in De Blas House we are speaking about the significance the space has, the importance of the environment and the atmosphere which are created in the house. We speak about the upper half of the house is, almost, an open space, in which any element could break the ambient and the connection with the surrounding. Also, we speak that is a space made for reflection, in which the function goes further than the materiality of the space itself since is wanted to favour thinking.

feeling surrounded, wra that are not more th integrated with it and touch it, at the same y in touch but isolated. t transmits on its top flo on the lower floor th different. it frames the a gallery of art hanging you can see it, but not which are on the big c dematerializer of the su separates you from the e


ap you with those things han the nature. to get have the feeling you can you are inside your home, that is what DE BLAS HOUSE oor. he connection is totally e nature as a painting, as g the canvas on the wall. t feel. the small windows concrete bunker serve as urrounding, in a way they exterior.

In De Blas House there is a constant contrast, the house itself is thought as a dualism, in which you can experiment different feelings, where is played with light, with the materiality of the spaces, the interaction with the surrounding and the functionality of the space. The upper floor, light, natural illuminated, open, made of glass and steel. On the other hand, the lower is an element made of concrete, heavy and closed. In spite of that clear difference, both join together in a poetic and spiritual space, both propitious for the reflections.


donde habite el olvido, en los vastos jardines sin aurora; donde yo sólo sea memoria de una piedra sepultada ente ortigas sobre la cual el viento escapa a sus imsomnios. donde penas y dichas no sean más que nombres, cielo y tierra nativos en torno de un recuerdo; donde al fin quede yo libre sin saberlo yo mismo, disuelto en niebla, ausencia, ausencia leve como carne de niño. allá, allá lejos; donde habite el olvido.


where forgetfulness lives, in the vast gardens without aurora; where i just be a memory form a buried stone into the nettles over the which wind runs away from its insomnia. where feathers and bliss won't be more than names, sky and land native around a memory; where at the end i will get free without knowing it myself, dissolved in the mist, absence, mild absence like meat of a child. there, far away; where forgetfulness lives.



the first time I read the story of DE BLAS HOUSE for me was a discovery, I was discovering an architect I had never listened anything about, but from now I will not forget him, even though the first time I just realized about spatial matters. afterwards, I decided to look into a little in LUIS CERNUDA poems -which could be said about is a direct reference in the work- and then I understood a little more about the house and about what is behind it.

Architecture and poetry. one of the aspects I got more interested in was the relation between the house itself and the poems of Cernuda, how poetry could take part of this and become visible, become physic. but, that was not the first time I had seen the use of poetry for the architecture.

the first one was in a lecture of Javier Garcia solera in the university of alicante, in which he spoke about the importance poetry has for him to conceive the architecture.

Architecture. the video. in this video, I wanted to show the interaction architecture should have with the surrounding -natural, in this case- and being part of it. how they can fuse together, and how it becomes fused with the plan of my architecture, going into it. in addition, is wanted to represent the opening of the architecture towards the space, as well as a minimalism which can be seen in the simplicity of the plan (a square), and also in the way of recording in which all the sequence is filmed from just two points of view.

the video






the first house we chose was BARBIERI 30m2 house designed by MANUEL OCAÑA. it is a small penthouse that was designed 18 years ago on a 200 years old site. the client was a single woman who wanted to integrate in just 26m2 a complete house. it had to have the essential stuff to live. the choice of this house was because of the exploitation of the space, in which in just 26m2 the architect was

“dear Manuel Ocaña, we are a group of three student of the universidad de alicante, and we are doing a project with our professor javier sánchez merina, working with buildings of former professors of the UA. for our project we choose your house Barbieri 30m² in Madrid, because we really like your way of dealing with the small amout of space and the interior composition. we are going to work with your house during the whole semester, so it would be really nice if you could send us

able to create a whole house with a big living room. also the minimalism the house has was an aspect that made us to choose this one. in order to know a bit more about the house and to get some more files to have accurate information with we sent an email to the architect -MANUEL OCAÑA-.

more information about it. we already have found some ground plans and pictures on the internet, but it would be great if you could send us more information. for example some technical details, exterior pictures and elevations. if there is more information or special thoughts that come to your mind considering this project and its history, we would be really happy if you would share them with us. best regards and thank you in advance.”




there was some problems with the house we had chosen -the barbieri 30m2- in basics constructive systems, so we had to change it for another one which was made by the same architect -MANUEL OCAĂ‘A-. For that reason, we changed the barbieri house for the rota house, which is in madrid as well. That supposes that the video we had to do to explain the house we were working with is made for barbieri house, and not for the new one, the rota house.


STORY OF THE ROTA HOUSE the original story of the rota house is nothing like the ones of the new houses, as this home was a renovation Project rather than a new build. it could be presumed that the client’s requests were of a simpler nature rather than a deep routed desire for complexity. the house belongs to a wellknown “dame of the theatre”, single, 65 years of age, whose dream was to have a swimming pool at home. She commissioned manuel ocaña architects practise the refurbishment of a dark dwelling between party walls in the centre of madrid. the demands: satisfying her desire of having that pool, a loft with an elevator, and abundant natural light. the property, of 8x8 meters on two floors and an attic, has a single façade in a narrow and dark street facing north and tight corridor of 2x2 at the end. and it is in that area at the end of the plot, at the height of the attic and facing south, where one can find the “best” part of the house: wonderful and bright views of the roofs of madrid’s historic centre. that will be the spot from which to bathe the house with sunlight; arriving from the street and into that space will be the reward. in this way, from the dark entrance one reaches a luminous lookout

with privileged views. the “how” and the “process” of the itinerary will determinate the evolution of the proposal. simple demolition works allowed opening up the slabs, which cascade towards the south to flood the three levels with natural light, thus transforming the courtyard into a vertical interior space that the pool fills. furthermore, inserting in a domestic program of some 400 cubic meters 20 cubic meters of water at 37ºC demanded a thorough climate conditioning study and, above all, the active participation of the user, who must be aware that they will be enjoy a broad repertoire of domestic experiences if they work as much as if they lived on a boat. the house incorporates four machines to control and condition the temperature and humidity of the spaces in accordance with comfort needs. passive conditioning is solved through crossventilation. the lower level is waterproof [floors, walls and ceilings are painted with white chloride rubber and the sheet staircase is treated with marine varnish], which permits creating unusual comfort conditions in a domestic environment like, for instance, submerging in the warm water of the pool while it rains or snows… inside.

ALZHEIMER’s disease

working with alzheimer’s clear space, instead

alzheimer’s is a chronic neurodegenerative disease that usually starts slowly and gets worse over time. the most common early symptom is difficulty in remembering recent events. as the disease advances, symptoms can include problems with language, disorientation, mood swings, loss of motivation, not managing self-care, and behavioural issues. as a person’s condition declines, the often withdraw from family and society. Gradually, bodily functions are lost, ultimately leading to death. this is a disease which is poorly understood, even being one of the most suffered. in the worldwide, 44 million people suffer it, and it is expected that in 2050 the amount of people who will suffer will be around 135 million people, becoming in the most important disease of the 21st century. []

as soon as we knew we had to work about alzheimer’s diseases we thought to go to talk with a person who is specialized on it, that is the AFA [alzheimer’s association of alicante]. we called them in order to meet with somebody who could explain us a bit more about the alzheimer and its possible connection with architecture. therefore, we met with the director of the association, who spoke us about all of that matters. the keys of the interview were that an architecture to take care of a person with alzheimer should be as simple as possible, with very differentiated spaces to let the people to know very well where they are and where they have to go to do whatever they want to do, for that, another aspect would be to do open spaces. light was one of the most important topics, being necessary to have as much natural light as possible and

of dark and closed spaces. another matter were colours, if everything is in an achromatic way is very hard to distinguish two different things, so there should not be white spaces.

the video in this video we wanted to show one of the worst symptom alzheimer’s disease has, the short-term memory loss, but in our case as a “good” aspect. when we say good aspect is because, as we want to show in the video, you are able to see something as if it would be the first time you see it. it does not matter how much you see it, each you would feel the same feeling than the first time. so, the idea of the first line of working was that, to try to let those people to see something which would be such a nice view every morning, like for example the view BARBIERI house has in its balcony.

the video



micro architecture. PROPOSALS. 01.MAZE_GETTING CONFUSED TO FEEL THE RELIEF OF NOT BEING IN THAT SITUATION 02.closet_your own space 03.stool _ never stand alone

MICROARCHITECTURE_the best way to try to solve something is to think about it in the smallest scale you can imagine for that theme in order to think just about the essential issues and to get the most important stuff you need. for that, in this project we had to think about a microarchitecture in order to let people who do not suffer the disease we were working about to feel like a person who suffer that disease -alzheimer-. the idea was to get the good part of the disease and leave the bad one, and to unite in just a device or whatever you think you should design the good aspects of a disease.


for people suffering with alzheimer’s, the initial frustration with the illness is the short term memory loss and confusion. suddenly remembering the simplest of details, like what did I have for breakfast? become a challenge. however in the early stages after a bad turn of confusion or memory loss the person often feels normal and well again and regains memory. therefore, for our design, in order to create a micro architecture to make one feel this confusion then again normal, we have designed an octagonal structure that is set up to be a memory game inside. when you enter you go through one door, and when you leave you exit through another as it has been moved to create the sense of disorientation.


parti diagram



private area. After that the person can see that the change isn't bad so they can start to accept themselves, because the changes they are exoerimentig don't have to be a problem which embarrase about. a change in someone's personality should not be looked upon as a negative thing, but seen as an opportunity of discovering a new person within. we have designed a micro architecture space that comes from having alzheier's disease. The idea is to create in a common space in which you usually feel confortable and in which you do familiar activities a space that is just for you, a space in which you can experiment changes but you don't have to embarrase about that, becuase you are in your

dressing up to enjoy the changes of your personality and characteristics that occur with the illness.

mirror a reflection of ones self to help accept their change and to then feel good about it.

screen creates a private space and protects ones dignity, so no one feels expossed with their condition.



thinking about this we came to the conclusion that life and society, how we know them right now, would not exist anymore. With the steady loss of skills and memories, a person is in need of help in certain parts of everydays life. nowerdays this is solved with familz members helping out or care-takers visiting the sick person. in our imaginary world this service would not exist, so we came to the conclusion, that this would resolve in a much greater conectivity within the people. to be able to manage their daily life, they would have to rely on each other much more than we are used to it. one person having dificulties in one part of the daily life because of the loss of skills or memories, would need help of another person that is confident with this part. and at the same time in other parts it could work the other way around. so it would

be an amazing way of helping and receiving help. and those action have a great and positive emotional effect to the persons involved. while nowerdays the persons affected by alzheimer mostly feel embarrased because of their loss of skills and steady need of help, they would feel needed and important and at they same timeconfident and comfortable in asking for help to those, who they have already helped as well. as a result of this strong connection inbetween the people the living situation in our imaginary world would resolve in small comunities of 5-10 people. not to small, so there is always help, but at the same time not to big, because this would cause to much confusion. the comunity would be more like a “family�, because the memories about their family members usualy are kept until the end.

for our microarchitecture project we decided to focus on an important part of the life with alzheimer. with all the features of alzheimer the person is undergoing a long process with a lot of change. the person will realize the loss of physical and cognitive skills and memories, which is hard to accept and often leads to mood changes or even characteristic changes. due to that we tried to think about the positive part of change. remembering our childhood, where dressing up in different ways was always an adventure and very exciting, we


want to express this “positive change” with the symbol of a wardrobe as a small piece of daily life. the wardrobe has, in addition to its regular doors, two more wings, to form a small “changing space” in which the person can change without being seen by others. in this way the person can avoid the embarassement that often goes along with those changes. with the mirror added in one of the wings, the person can, before stepping out in the public start to accept his/her changes by looking in the mirror.



line drawings



the video



main idea project



The base of the stool is composed of three layers. The upper and the lower layer are to support the “fingers� of the connecting chairs. The central piece is the one which has to fit with the central piece of the others. Tis can be connected from all four sides with other chairs. The two legs cannot support themselves alone, but with the help of another chair they are perfectly balanced. That is the idea of the project, to use the legs of another stool to keep balanced both, with the help of the other, at the same time you are helping the other. That need of connecting with one, and the possibility of connecting with more people, will create little groups (communities) where everybody needs each other and is helping at the same time. so, as you need the help of more people it creates interactions between people who have to spend time together if they want to keep sitting.


dismissed proposals


final project in the final project, we simplified the model to be able to build it in a proper way. as a new characteristic include a kind of legs that could be disassembled whenever, in a fast way and assemble them in an easy way as well. also, it helps for keeping the stool when you are not using it. the 1:1 model was built with wood and cardboard, but the original idea was to build everything with wood as project that goes further because of the technic. also the cardboard would be a more comfortable material to seat on and lighter than the wood.


final prototype

micro architecture in ROTA house _individual proposals

sophie’s proposal moritz’s proposal raul’s proposal _group proposal

the following step to the microarchitecture was to incorporate it in a whole house, the one we chose -ROTA house-. The idea is, once you have thought about how you can help/ improve that disease with architecture, but in a microscale, now you can do it in a bigger way. So, in this part of the project we had to include the idea which is behind the design of the stool in the ROTA house in order to create a house that could help a person who suffer Alzheimer. At the beginning, we had to think about it individually to put it in common later.



making a microclimate within the building sophie’s proposal changed into a shallow pond, with a walking bridge & artificial grass flooring. once alzheimer’s advances, mobility skills can deteriate. therefore replacing the stairs with a solid ramp like structure with a secure ski lift style seat for more of creative solution, rather than a nursing home looking chair lift, the journey to the indoor garden will become a exciting and enjoyable experience for the person with alzheimer’s and their partner. it won’t feel like receiving help as it can be used as an escape for both people to forget their worries and enjoy the unique space.


as a continuation from the “buddy bench” i feel that is important to take the key aspects of embracing the receiving of help, and apply it to the house in a more fuctional and practical sense. the house itself is stark, bare, cold and contemporary looking, with white walls rolling from one room to the next. therefore it is necessary to differentiate these rooms in a dramatic and obvious way, enabling a person suffering with alzheimer’s to get their barings easily. so I propose for the ground floor to be turned into a relaxing garden, that is a safe and controlled area. the pool that is existing should


visual interpretation as to how the center of the building will look & feel like when removing the ceiling and cutting into the walls, allowing maximum daylight and warmth and coolness into the house. this designs is also meant to allow the house to become something other than just a house, but a min metropolis for the people to enjoy and escape.

precedents of gardens inside buildings/houses


by cutting out the first floors ceiling it allows the ground floor to continue up to second in a green house like form.


by entering the house, one leaves beind all the noice and stress from the outside world, by walking through and easily also touching the water. this floor is all about the calming and metaly healthy effect of the water, knowing that people suffering alzheimer have less problems focusing and reminding things when they are relaxed and in a calm enviroment, so, the base of hte house is a shooting water floor. the water also serves as a reflecting material to create interesting light effects in the house. this floor is where the daily life takes place. with no walls it is easy to overview and not to loose orientation or beeing confused. it also allows views tot he ground floor and its calming effects through windows or wholes. the second floor is very private and only to reach with a small stair: it also serves as an escape from the active area in case of being stressed. up there the view and thoughts just go through the windows over the roofs of madrid.

rota house as relaxing house


moritz’s proposal

light enering the house in every floor, getting reflected from ground level and reflections enter the first floor again through holes or windows in the floor, creating special light effects in daily life area. second level_private calm space

ground level_calm space_walking through water (leaving the stress from the outside world behind)


first level_active space


balancing house

with them. the idea is that each time you want to do something you have to be with someone else in order to get a balanced and non-sloping slab. *this plan shows how the flooring would be divided in order to know in every moment the zone you have to be on to keep the platform balanced. also, you can, through a kind of weights, be up to the weight of the person who is on the other side. is for that, before going into the house, you should know, exactly, how much you weight.


suffering alzheimer means having a person every time over you, you turn intoo a person who can hardly live a normal life without anybody's help. that is a fact for which sometimes, a person who has alzheimer feels embarrassed, just because of being helped. having a person who helps you is for us the only “good” aspect that has the alzheimer’s disease. so, the aim of our project was designing a situation in which you have the need of getting helped but also, you have to help the other as a mutual help. in this project, I wanted to design a dwelling in the one you must be helped to be able to do current tasks or the opposite one, you have to help somebody to let them to do that tasks. at the same time you try to do something –which might be very usual for youyou have, like a shadow, the presence of someone on your back, it would be like the action that care takers of people who suffer alzheimer do, guarding them without interacting –sometimes-

raul’s proposal

original design


proposed design original design 65



floor plans

firsts drawings of the idea




creating spaces that allow the nature to flow from the garden into the house to enjoy during every day activities. to be at one with nature during the most intimate of moments, keeping the interiors open and undefined, mimicking the freedom of nature.

Garden microclimate the fundamental aspect to this design is to create a green organic space that once within it you can forget where you are and just enjoy the moment. this area is key to the project as it is the hub of the home, being the basis to its own garden microclimate. also, for old people is nice to have a natural area inside home in a big city like madrid in the one yu can spend a lot of time.

Waterfall through the natural and artificial water cycle that is generated throughout the house, the walls become alive with the sound of a subtle water stream trickling down the walls and into the pond. A therapeutic and stimulating noise helping to relax and evoke memories.


making a microclimate is the theme that runs throughout this house creating a unique space that allows a person with alzeimer’s to enjoy a garden in a safe and pleasant atmosphere. it is designed in the hope it can help to evoke one’s memories or instead create new ones. by using a water cycle it reminds us of our constant journey through life.


74 thermal areas

circle of the water

vertical gar

ventilation through all floors by opnening up to the box, the whole house and the patio can be ventilated. as the house is orientated to the north, opening holes in both faรงades we can create a cross ventilation in order to have clear air going through the house.

circle of the water the water in the pond gets heated up and, evaporates and condenses at the glass ceiling, where it is being captured and added to waterfall that drops back into the pond. the idea is to take advantageof the pond and create a nice waterfall to generate a relaxing atmosphere.

natural illumination the sunlight can reach almost every part of the building, directly through the ceiling -big windows on it- or through reflections on the pond or walls in order to create a nice atmosphere inside the house. during the summertime the sun can also be blocked by a sail on the top of the roof to control the interior climate.

vertical garden the garden in the ground floor continues and extends vertically at the wall, creating a green view from all floors. it is vertical in order to take advantage of the verticality of the house, due to it is a small house in plan. also it helps to have a view of it from all over the house, having a green wall to see from the inside.




thermal areas the living area is thermally separated from the patio, but both can be united by opening the sliding glass doors on each floor. the idea is to create two individual areas that can be connected whenever you want.

natural illumination

floor plans_new rota house

SECTIONS_new rota house


final rota house


we decided to continue our project by studying the works and projects of PHILLIPE RAHM, and change our proposal based on his ideas. therefore we thought about the movement and

change of temperature in our building. we split the functions in the house, each to their own floor, in this way different activities happen in suitable temperature

group’s proposal zones. spaces where we use to be naked or slightly dressed are in a different zone than the ones where we are dressed, to feel confortable in all of them. also parts of

the daily routine that involve a physical exercise like cooking or doing the laundry, take place in colder areas than just laying on the couch or having dinner. the platforms are all surrounding an hydraulic elevator in the center of the house which is the connection between all of the spaces. those platforms are supported by the

loadbearing walls of the building on one side, and by steel ropes on the other side, which are connected to two main steel beams below the roof. the platforms are surrounded by an transparent railing, creating an open interior enviroment -to let the air and the temperature be free in the whole buildingin which it is easy

to orientate around, this of course is essential for people with alzheimer’s. in addition to this, the platforms have different colours, to help facilitate with the recognition of the rooms within the house, being easier to find the place or the room you want to go and, also, being easier to be taken care for others.


floor plan


day section


night section

86 as we have said before, every slab has an own colour which is chosen by the temperature should be there. this idea is to differentiate very clear each room and the functionality it has. toilet [16ºC] bedroom [17ºC][during the night] kitchen [18ºC] living room [19ºC] dining room [20ºC] bathtub [22ºC] those temperatures are taken from some documents of PHILIPPE RAHM's projects, like the "MAISONS ARCHIMEDE".














manifestO "we reject: all aesthetic speculation, all doctrine, and all formalism. architecture is the will of the age conceived in spatial terms. living. changing. new. not yesterday, not tomorrow, only today can be given form. only this architecture creates. create form out of the nature of the task with the means of our time. this is our work." [working theses_ludwig mies van der rohe] architecture should not be submitted to the aesthetic matters, regarding the thing that comes first in this is not more than the function itself. as MIES says “every form that does not adduce to the structure must be repudiated�. and it is just that in the function is the aesthetic, and not on the contrary. this is one of the essences we have been working with in this course of projects, in which the designs done did not go to in aesthetic aspects, due to the main aim was the idea itself, not the postmaterialization of them. in our case, maybe is more evident due to work with a disease the main thing is the disease itself, and that is what will manage the work. but, even though it seems less evident, that can be extrapolate to any aspect of the architecture. where everything that distance us from the essence of the project, from the soul of it and from the primary idea the project comes from must be avoid, given that the value of the project itself can be lost. it might be that the aesthetic question gains ground to the essential part of the project, which would suppose a failure for architecture and for the architect themselves, that would let be manipulated by secondary elements or of suspicious importance in the development process of an idea. perhaps, in the case of our subject that is for the time or the means we have in the curse, but that makes us to focus on the essentially important, leaving another question behind that would not do anything else than getting us away from the required result. that carries us to the following question, the not inclusion of elements that are not essentials. leaving superfluity that makes from a project a close element in the use meaning, an inflexible and rigid element, an element that cannot fit to the passing of time, to the users and the functions themselves. is necessary an element that before being required to be modified it gets adapted because of its own morphology, also that it serves for everything, but that has character of nothing.


quizás en el caso de la asignatura sea por el tiempo o de los medios de los que se disponen, pero eso nos hace centrarnos en lo esencialmente importante, dejando atrás cuestiones que no harían más que alejarnos del resultado requerido. ésto nos lleva a la siguiente cuestión, la no inclusión de elementos que no son estrictamente necesarios. dejar atrás la superfluidad que haga de un proyecto un elemento cerrado en cuanto a su uso, un elemento inflexible y rígido, un elemento que no pueda amoldarse al paso del tiempo, de los usuarios y de las funciones en sí. se precisa de un elemento que antes de requerir ser modificado quede adaptado por su propia morfología, sirva para todo, pero tenga carácter de nada.


"rechazamos: toda especulación estética, toda doctrina y todo formalismo. la arquitectura es la voluntad de la época concebida en términos espaciales. viva. cambiante. nueva. ni el ayer, ni el mañana, sólo el día de hoy puede plasmarse. sólo se puede realizar esta arquitectura. crear la forma con la esencia del problema y los medios de nuestra época. ésta es nuestra tarea" [tésis de trabajo_ludwig mies van de rohe] La arquitectura no debería estar supeditada a los temas estéticos, en cuanto a que lo que prima en esta no es más que la función de la misma. como dice mies “toda forma que no aduce a la estructura debe ser repudiada”. y es que en la función está la estética, y no al contrario. ésta es una de las esencias con las que se ha trabajado en este curso de proyectos, en el que los diseños realizados no recaían en temas estéticos en cuanto que lo que importaba era la idea de los mismo, y no la postmaterialización de éstos. en nuestro caso quizá es más evidente puesto que al trabajar para una enfermedad lo que prima es la propia enfermedad y es la que va a marcar las pautas del trabajo. pero, aunque parezca menos evidente, esto se extrapola a cualquier aspecto de la arquitectura en sí. donde todo aquello que nos aleje de la esencia del proyecto, del alma de éste y de la idea originaria que da lugar en él debe ser evitado, puesto que se puede perder parte del valor del propio proyecto. puede que la cuestión estética gane terreno a la parte esencial del proyecto, lo que supondría un fracaso para la arquitectura y para el arquitecto, que se habría dejado manejar por elementos secundarios o de dudosa importancia en el proceso de desarrollo de una idea.

Arnardóttir, H. & Sánchez Merina, J. (2017). STORIES OF HOUSES. Retrieved from http://storiesofhouses. 2000 DE BLAS HOUSE - Alberto Campo Baeza. (2017). Alberto Campo Baeza. Retrieved from Barbieri 30 m2. (2017). Retrieved from http:// Ocaña, M. (2016). Information about Barbieri 30m2 House. Ocaña, M. (2011). MANUEL OCAÑA. ACADEMIC AND PROFESSIONAL PROFILE. issuu. Retrieved from com Rota House / Manuel Ocaña Arquitectos. (2008). ArchDaily. Retrieved from Rota House. (2009). IS-ARQuitectura. Retrieved from http://is-arquitectura. es/2009/05/30/rota-house/ Ocaña, M. (2016). University of Alicante. El emocionante vídeo sobre el alzhéimer que conmueve al mundo. (2016). YouTube. Retrieved from

Saura Pérez, E. & Martínez Baíllo, M. (2015). Carmen, ¿tienes sal? - Fab Lab Alicante. Fab Lab Alicante. Retrieved from proyectos/20-carmen-tienes-sal/

stevens, p. (2017). ReActor house by alex schweder + ward shelley rotates 360°. designboom | architecture & design magazine. Retrieved from http:// azzarello, n. (2017). ward shelley + alex schweder inhabit human hamster wheel. designboom | architecture & design magazine. Retrieved from http:// Martínez Baíllo, M. (2016). Saura Pérez, E. (2016).

Rahm, P. (2017). Arquitectura inmediata. Retrieved from Rahm, P. (2011). HABITACIONES EVAPORADAS DEPARTAMENTO PARA UN JOVEN DOCTOR (1st ed.). Lyon, Francia. Retrieved from articulo?codigo=5481218 ASTRONOMÍA DOMÉSTICA. (2009) (1st ed.). Humlebæk, Denmark. Retrieved from Conrads, U. (1970). Programs and manifestoes on 20th-century architecture (1st ed., p. 74). Cambridge, Mass.: MIT Press.



“...debíamos distinguir el núcleo de la verdad. sólo lar preguntas que se refieren a la esencia de las cosas tienen sentido. las respuestas que encuentra una generación a esta pregunta son su aporte a la arquietctura...” [ludwig mies van der rohe_1961]

008-019 STORIES OF HOUSES_naked house_mรถbius house_blas house 020-021 WHAT DOES ARCHITECTURE MEAN? 022-033 ARCHITECTURE FOR A DISEASE_barbieri house_ rota house_alzheimer's disease 034-053 MICROARCHITECTURE_maze|getting confused to feel relief_closet|your own space_stool|never stand alone 054-069 MICROARCHITECTURE IN ROTA HOUSE_making a microclimate whitin the house_rota house as a relaxing house_balancing house 070-079 DEVELOPMENT OF THE FINAL PROJECT 080-091 THE ALZHEIMER'S PROJECT IN ROTA HOUSE 092-095 MANIFESTO