Architects: Raul Sanchez Architects Project: Sardenya Apartment Team: Cayetano de la Torre, Pau Just Location: Barcelona, Spain Area: 75 sqm Year: 2018 Photographer: Jose Hevia

建筑师：Raul Sanchez建筑项目：Sardenya公寓团队：Cayetano de la Torre，Pau Just地点：西班牙巴塞罗那：75平米年：2018年摄影师：Jose Hevia

The previous state of the Sardenya apartment belonged to a way of living incompatible with the requirements of the new owner. These new requirements, even starting from the domestic conventionality, left enough freedom to treat the new apartment in a less corseted way. Therefore, the new proposal starts from the total demolition of the pre-existing situation, keeping only the structural system (for technical and economic reasons, structural interventions were ruled out).

Sardenya公寓以前的状况属于一种不符合新主人要求的生活方式。这些新的要求，甚至从国内惯例开始，留下了足够的自由，以一种不那么严格的方式对待新公寓。因此，新建议从彻底拆除原有的情况出发，只保留结构体系(出于技术和经济原因，排除了结构性干预)。

The proposal introduces two L-shaped elements that encompass those functions that the new owner, a single man, required with a certain independence: a first L-shape partition, oriented towards the access, houses the kitchen area; and a second L-shape partition houses the bedroom spaces with bathroom en suite. The rest of the space is intended to flow freely inside, to maximize the sense of space and abolish the boundaries between rooms: for example, both the bedroom and the guest bathroom are closed with large oversized pivoting doors, from floor to ceiling, with no perimeter frames. This means that the partitions are not only interrupted when arriving at the doors gaps (there are no lintels), but when they open, the communication is total and the space sneaks through, extending the common spaces to these rooms whose use is expected to be occasional, thus avoiding that they remain closed and residual. Similarly, the study area is an ambiguous space that connects to the common spaces through a new pivoting door, similar to the previous ones, but this time of glass, which in turn connects to the bedroom through two large sliding doors that also do not reach the ceiling, and that in their composition of different types of glass, draw superimposed figures that blur the dominant axes of the rooms.

该提案引入了两种L形元素，包括新主人-一名具有一定独立性的单身男子-所需的功能：第一层L形隔板，面向通道，容纳厨房区域；第二层L形隔墙，将卧室空间与浴室合住。其余的空间打算在室内自由流动，以最大限度地提高空间感，并取消房间之间的界限：例如，卧室和客人浴室都关闭，有超大的大旋转门，从地板到天花板，没有周边框架。这意味着，隔板不仅在到达门的空隙时被中断(没有连接线)，而且当它们打开时，通信是完全的，空间是潜入的，将公共空间延伸到这些房间，这些房间的使用被认为是偶然的，从而避免了它们的关闭和残留。同样，研究区是一个模棱两可的空间，通过一个新的旋转门连接到公共空间，类似于以前的门，但这一次，玻璃通过两个也达不到天花板的大滑动门连接到卧室，在不同类型玻璃的组成中，画出重叠的图形，模糊了房间的主导轴线。

This spatial treatment of blurring the boundaries is the same as that of the areas of the two L-shaped elements mentioned above: the kitchen is focused towards the entrance, but at the same time it is separated from it with an independent partition, cladded with a large mirror that blurs the narrowest passage to the kitchen; and simultaneously it opens into the living room through an island that exceeds its limits. Likewise, the bedroom has been undone in several rooms; the anteroom of the same is the study area, communicated with the bed area (separated by the sliding glass doors but communicated by the top of them), and the bathroom is accessed from the bed area, this space more secluded and private.

这种模糊边界的空间处理方式与上面提到的两个L形元素的区域相同：厨房专注于入口处，但同时又用一个独立的隔断隔开，用一个大镜子隔开，模糊了通往厨房最狭窄的通道；同时，它通过一个超出极限的岛屿打开了客厅。同样，在几个房间里，卧室也被拆掉了；卧室的前厅是书房区，与床铺区相连(由滑动玻璃门隔开，由顶部连接)，浴室从床上进入，这一空间更加隐秘和私密。

The material treatment accompanies the spatial concept, insinuating the position of each use in rooms that otherwise have no defined boundaries. Although the kitchen is housed in a more or less recognizable room, its color is black, and golden details in brass (the faucet, the sink) contrast the black surfaces; the large pivoting doors of the guest rooms are lacquered in black, and their handles again in brass, highlighting the interruption of the white walls; the bathroom suite is completely black, a mix of ceramic, granite, microcement and black varnish, and with taps, sinks and other accessories all in black. On the contrary, the guest bathroom has the opposite treatment, here the granite, the microcement and the varnish are all white, although the wash basin and faucets are kept in black. The sliding and pivoting doors of iron and glass draw figures that blur the axes, but also mark areas of privacy and more visible areas.

材料处理伴随着空间概念，暗示着在没有明确界限的房间中的每一种用途的位置。虽然厨房被安置在一个或多或少可以辨认的房间里，但它的颜色是黑色的，金色细节用黄铜(水龙头、水槽)与黑色表面形成对比；客房的大旋转门用黑色漆，它们的把手又用黄铜漆，突显出白色墙壁的干扰；浴室套房完全是黑色的，混合了陶瓷、花岗岩、微水泥和黑色清漆，还有水龙头、水槽和其他黑色配件，全都是黑色的。相反，客人浴室的处理方式正好相反，这里的花岗岩、微水泥和清漆都是白色的，尽管洗脸盆和水龙头都是黑色的。铁和玻璃的滑动和旋转门绘制的图形模糊了斧头，但也标志着领域的隐私和更多的可见区域。

The lighting fixtures play alternating blacks and whites; the furniture is made of white lacquered wood and all the handles are black. Even the new flooring of the exterior terrace, whose walls had to preserve the original color, mark a perimeter band of white microcement that inside receives a fragmented black tiling, as an exterior carpet.

照明装置轮流使用黑色和白色；家具是用白色漆木做的，所有的手柄都是黑色的。即使是外部露台的新地板，它的墙壁必须保持原来的颜色，标志着周边的白色微水泥带，里面有一个破碎的黑色瓷砖，作为外部地毯。

Two bands of brass cover the edges of the two L-shaped elements that organize the interior, highlighting its spatial importance, and its independence from the rest of the partitions.

两个黄铜带覆盖了组织内部的两个L形元素的边缘，突出了它的空间重要性，以及它与其他分区的独立性。