Moroso, Gubi & Naos
The term “ Costa Brava ” was published by journalist Ferran Agulló in 1908 according to the description « It is brave, smiling, fantastic and sweet, worked by the storms at the blow of waves like a high relief and embroidered with bonanza kisses with a delicacy of a patient nun to who the hours, the days and the years have no value of time » . With this expression, I wanted to describe the wild and rugged landscape that characterizes much of the coastal area of Giro na. With its beaches rocks and violent waves, the beauty of the area has fallen in love with many poets and writers throughout history. history .
That is why this landscape is presented as an actor in architecture; denotes a duality that catches anyone who observes it, with that hardness characteristic of the stone that remains motionless within this landscape and that is opposed by the softness of the sea that incessantly tries to leave its mark on it by incessantly modifying the environment. (that is why it can be understood as changing)
USING ARCHITECTURE WITH A DESIGN APPROACH
When building we will always be linked to our environment to a greater or lesser extent, as said Toyo Ito “Architecture has to merge with the environment, not be a differentiating element”.
This applied to the design of a house and the environment, moving from a central cave rooted to the ground in which are the most private spaces that as you move forward transition to more open where the architecture ends up merging and getting rid of the landscape itself that presents.
THE LANDSCAPE AS ART
We have spoken of a complementation between architecture and landscape, allowing them to enhance each other, being Marcel House a stage with its “backgrounds”. In the house constant visual connections are offered, each platform being at different levels connects with the ground, the trees and finally the horizon, the sky and the sea.
From the inside something similar happens because being freed of structural elements that obstruct the vision in the front and being concentrated in the rear area are used intelligently to create different frames or views as photographs of the landscape allowing so while you move inside the house offers you a preview of what you can find outside.
THE LANDSCAPE AS ARCHITECTURE
Marcel House is adaptive and harmonious, an architecture that connects the interior with the exterior, the human being with nature. Located on a cliff, it was designed divided into different levels that complement the language of adjacent architecture and landscape. Each element has a role that executes perfectly, as if it were a play.
The concrete platforms maintain the topographic lines as an extension of the stones of the hill defining the profile of the house; they are changing components, at first sight so robust and heavy that they end up transforming into floating sheets, infinite elements that become one with the sea/horizon. The wood that enters the house, which accompanies it as if the landscape were able to enter it and accept it as an element of the environment.
Finally, the glass, which is responsible for blurring the separation of both worlds