Narrow residential building by vora arquitectura

Building design

The vora house in the Sants district of Barcelona: a narrow plot, well thought-out use of space and a central atrium. Photo: Adrià Goula

In the dense urban fabric of Barcelona, “mireia and toni’s house (and joan’s and laia’s)” by vora arquitectura demonstrates an unconventional approach to compact residential buildings. On a plot in the Sants district that is only 3.60 meters wide and deep, the architects have designed a house that meets the challenges of confined spaces with intelligent organization and a consistent choice of materials.

The narrow structure of the building requires a clear division of the rooms. A centrally positioned atrium provides natural lighting and connects the various levels both visually and functionally. Access is via a staircase running along the central axis, which is linked to the atrium. This eliminates the need for traditional corridors and makes optimum use of the living space.

The floor plan organization follows a linear sequence of rooms. Access is through the garage, which also serves as the entrance area. Behind it is the central kitchen, whose storage space is cleverly integrated under the first landing. The first floor ends with the spacious living room with double-height ceilings, which opens out into the deep garden.

The vertical organization of the house follows a stepped structure. The staircase connects half levels with each other, linking the rooms on different levels. On the first intermediate level, there is an open gallery above the living area that serves as a workspace. It remains part of the living space and creates a visual permeability between the floors.

The second floor is symmetrically structured. The bedrooms are located on the street façade, while a work or play area and a small bathroom are arranged on the courtyard side. The sanitary facilities are spread over two half levels: One half contains the shower, the other the WC, which cleverly compensates for the narrow width of the house.

The roof of the house is designed as an additional living area. It is enclosed by high walls that provide privacy and still allow it to be used as an open space. The terrace is divided into two parts and follows the staggered arrangement of the interior spaces: a raised platform offers a view of the garden.

The street and courtyard façades are constructed from double layers of brick with insulation in between. Deep window openings enhance the sculptural effect of the façade and provide seating areas within the living spaces. The windows are designed so that one half is permanently glazed, while the other has an openable, narrow section that provides access to small balconies.

The interiors are kept simple: Exposed brickwork dominates the surfaces. In the lower areas, the walls are plastered and painted white, while the floor surfaces are made of microcement. In some areas, two-tone mosaic tiles break up the materiality. The central atrium is a design highlight: its walls clad in glazed tiles reflect daylight into the lower areas of the building.

The building’s supporting structure is based on a hybrid system. Four portals running transverse to the building axis structure the building. Steel columns are integrated at the edges of the building to ensure maximum openness. In the middle, brick pillars support the main girders and thus relieve the adjacent existing buildings. The ceilings consist of steel girders with ceramic elements, which allow for a lightweight yet resilient construction.

A special feature is the integration of an existing natural stone wall. This is part of an adjacent existing structure and remains as a visible element in the interior. In the upper area, it is continued with brickwork in order to blend in with the overall appearance of the house.

The house relies on passive air conditioning. Underfloor heating provides warmth in winter, while ceiling fans ensure air circulation in summer. Air conditioning was deliberately avoided. The building services are inconspicuously integrated into the floor and wall structures so that the rooms remain free of visible installations.

The house in front of vora shows how clever planning can create functional yet homely architecture even on extremely narrow plots. The combination of a central atrium, staggered rooms and a reduced choice of materials results in a flexible living concept that provides an elegant solution to the tight building conditions.

Read also: The Spanish design studio Office for Strategic Spaces has renovated a 19th century apartment block in Barcelona.

POTREBBE INTERESSARTI ANCHE

“We never run out of work”

Building design

Now that Ulm Minster’s building lodge, together with other building lodges, has been part of Germany’s intangible cultural heritage since March 2018, an application for inclusion in the UNESCO World Heritage List is underway. RESTAURO visited master builder Michael Hilbert and his team of stonemasons, stone technicians and carpenters. Digital tools are used as a matter of course in their work When in October 2018 in the choir of the […]

This Will Not End Well – Nan Goldin at the Neue Nationalgalerie, Berlin

Building design

With a mixture of tenderness and honesty, her series "The Other Side" documents the challenges and triumphs of an often marginalized community battling societal prejudices and personal struggles. © Nan Goldin. Courtesy the artist

The Neue Nationalgalerie in Berlin is dedicating a comprehensive retrospective to US photographer Nan Goldin from November 23, 2024 to April 6, 2025. More than four decades of her artistic work will be presented under the title This Will Not End Well. The exhibition, which has now arrived in Berlin after stops in Stockholm and Amsterdam, will subsequently be shown in Milan and Paris. Goldin’s work is considered groundbreaking as it combines the most radical intimacy and societal issues with a blunt directness. Her focus on personal and intimate experiences and marginalized perspectives has made her one of the most influential artists of her generation. […]

The Neue Nationalgalerie in Berlin is dedicating a comprehensive retrospective to US photographer Nan Goldin from November 23, 2024 to April 6, 2025. More than four decades of her artistic work will be presented under the title This Will Not End Well. The exhibition, which has now arrived in Berlin after stops in Stockholm and Amsterdam, will subsequently be shown in Milan and Paris. Goldin’s work is considered groundbreaking as it combines the most radical intimacy and societal issues with a blunt directness. Her focus on personal and intimate experiences and marginalized perspectives has made her one of the most influential artists of her generation.

The exhibition in Berlin was designed by architect Hala Wardé and uses the iconic architecture of the Neue Nationalgalerie in a unique way. Several pavilions erected in the upper hall are dedicated to individual groups of Goldin’s works. Together, they form an “artistic village” that invites viewers to immerse themselves in Goldin’s world. This spatial staging not only creates new contexts for the works, but also encourages a direct view of their content. A particular highlight is one of her first works, The Ballad of Sexual Dependency (1981-2022). This series of works documents life in Provincetown, Massachusetts, the Lower East Side, New York City, Berlin and London from the 1970s and 80s to the present in an iconic Goldin manner. Intimacy, partnerships, parties and the challenges of love and addiction are shown with sometimes painful honesty. The work reflects not only personal stories, but also the collective experience of a generation marked by the AIDS crisis and social stigmatization.

In addition to The Ballad of Sexual Dependency, the exhibition presents a selection of other important series of works, including The Other Side (1992-2021). This series is a loving tribute to Goldin’s transgender friends, whom she portrayed over the decades. The images not only show the strength and beauty of these people, but also shed light on the challenges they had to overcome in an often hostile society. Also on display is Memory Lost (2019-2021), a work that deals intensively with the dark reality of drug addiction. Through a combination of photographs, sound recordings and archive material, an emotionally stirring narrative is created that inevitably captivates the viewer. In contrast, Fire Leap (2010-2022) offers an insight into the carefree world of children and represents a rare, cheerful contrast in Goldin’s work. One of the most experimental works is Sirens (2019-2020), a visually and acoustically intense work that explores the seductive but dangerous world of addiction. The hypnotic images and soundtrack put the viewer in a trance-like state that vividly conveys the ambivalence of the subject. Slideshows are at the heart of Nan Goldin’s artistic practice. This medium allows the exhibition to combine photographs, music and narratives, creating an intimate, almost autobiographical narrative. Each of her slideshows is continually revised and updated, making her works living documents. After all, Goldin’s work is always a contemporary document.

Nan Goldin is not only known for her art, but also for her social commitment. In 2017, she founded the P.A.I.N. (Prescription Addiction Intervention Now) initiative, which draws attention to the Sackler family’s role in the opioid crisis. Goldin’s activism has contributed to many museums removing the Sackler name from their spaces. This fight against social injustice is also reflected in her works, which often highlight the perspectives of people who are on the margins of society.

The connection between Nan Goldin and Berlin goes back a long way. As early as 1986, her work The Ballad of Sexual Dependency was shown at the Arsenal cinema, and in 1991 she moved to the city on a DAAD scholarship. In interviews, she repeatedly emphasized how much she felt at home in Berlin: “The best years of my life were here in Berlin,” she said in 2010. This emotional connection makes the Berlin exhibition a special highlight of her retrospective. With its emotional depth, political commitment and unique aesthetic, Nan Goldin’s retrospective at the Neue Nationalgalerie impressively demonstrates why she is one of the most important artists of our time. The exhibition is not only a retrospective of an impressive body of work, but also a wake-up call about how closely art and social reality are linked.

In addition to the exhibition at the Nationalgalerie, a planned symposium is causing controversy. Since October 7, 2023, the Berlin art scene has been characterized by deep tensions, which have been intensified by many heated and emotional discussions. In this cultural climate, the exhibition threatens to trigger further conflicts after the accompanying symposium, characterized by cancellations and cancellations, is unlikely to take place. The implementation of the symposium has been debated for months. The debate shows how political conflicts are increasingly becoming part of the cultural discourse and dividing the art world.

A catalog will be published as part of the exhibition: a limited edition in nine volumes documenting all of Nan Goldin’s slide shows and multimedia projects. This collection is supplemented by texts by various authors who present their perspectives on the artist’s impressive work. Both the exhibition catalog and the book series are produced in cooperation between Moderna Museet and Steidl Verlag.