Villa Bio / Enric Ruiz Geli

© Lluís Ros / Optical Adiction

Architect: Enric Ruiz-Geli
Location: Barcelona,
Estructure: Manel Raventós
Interior Design: Manel Soler Caralps
Technical Architect: Arantza Garetaonandia
Estructure Constructor: Antonio Diosdado
Installations: Joaquim Ribes Quintana
Natural Roof: Jardines Burés
Landscape Design: Joan Madorell
Glass Work: Cricursa
Glass Rocks: Emiliana Design Estudio
Steel Work: Aluminis Empordł
Visuals: Laia Jutglà
Pavement: Pavindus
Moving Surfaces: Panelite
Fixed Surfaces: Japlac
Project Year: 2005
Photographer: Lluís Ros / Optical Adiction

Contemporary architecture is THE PLATFORM on which culture and contemporary art rest. Living in an exciting platform can become an art form: THE ART OF LIVING.
We conceived this platform as a LANDSCAPE OF LINEAR EVENTS. The landscape folds itself within the site and forms a growing SPIRAL.

© Lluís Ros / Optical Adiction

The platform is a LINEAR STRUCTURE made of of constant section in the shape of a “C”. The longitudinal blind FAÇADES function as BEAMS and create a 15m. projection.

models 02

Concrete is a LIQUID MATERIAL.

The concrete as liquid material solidifies and creates a “liquid” topography on the façade.

concrete texture


1- We create a 3D model of the topographical landscape that we want to construct.
2- Virilian landscape of accidents.
3- Using CadCam with a milling machine with 3 axes, we mold a personalized image, unique and non-standard, of 24m x 3m.
4- We treat the mold and we convert it into formwork of the north and south longitudinal façades.

© Lluís Ros / Optical Adiction

The platform enters into liquid state, mutant, with a covering of natural plants, an interior landscape of glass (stone) with plotters of digital renders…

A BIO architecture.

Cite: "Villa Bio / Enric Ruiz Geli" 04 Feb 2010. ArchDaily. Accessed 20 Sep 2014. <>


  1. Thumb up Thumb down 0

    The combed concrete effect just reminds me of Artex. Never mind. A few gallons of Polycel Smoothover would sort it out.

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      Wrong George. Even a very skilled artisan could never achieve the level of exactitude in this surface effect which produces an almost magical illusionary effect. Known as Moire. Artex is a messy, interior product, right? (not totally clear on what artex is… help me out?)

      Certainly there is a desire for all architects to express. If reaction to expressive decorative surface is always to be scrutinized as superfluous manifest of ones ego, well then, we are screwed towards rendering our artisttic desires within our practice. Perhaps the thing to focus on with this surface is the phenomonal way it achieves a visual effect called ‘moire’. Despite the incredibly hard materiality of concrete after it cures, it is the responsability of the architect to leverage all of its properties. This is done here, successfully through the use of the pattern. The formwork and pattern could only have been rendered with artex, plaster, hand tooled effects…no, only with the aid of a computer, and a digital path file created by the computer for the cad cam driven three axis milling machine. I consent that a SIMILAR surface effect could have been achieved with a hired plasterer or stone cutter, craftsperson, etc.. the reality is that a handmade effect like this would not have produced the high level of exactitude which allows the reading of the moire effect. It dematerializes the literally hard concrete. Not and expression of an ego, but an almost magic trick where what is normally one thing (dumb hard flat concrete) can be read as many things (water, air, lightness, windswept sand dune, vibration…). Are reverent elevations like the Palais Ca D’oro (venice-see ‘phenomonal transperancy) to be dismissed as ego maniacal expressions of an architects ego? Certainly not, the phenomonal visual sensations thrill us and elevate our condition as human beings.

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        It is a shame though, that images of the C+C process were not included. And what is up with the channel laying out dangerously on the step leading to the wavy door… look out kids!

      • Thumb up Thumb down 0

        Methinks you’re taking it a bit too seriously.
        George is just kidding around.
        And this pattern is not a moire.
        A moire pattern is the overlay of two offset grids.
        Anyway, the wall looks pretty amazing either way.
        Although I had a few too many beers last night and looking at it this morning makes me feel a bit queasy….

      • Thumb up Thumb down 0

        Too right Micheal!

        I take it, Papa, that you are from a country that escaped the plague of Artex unleashed by 1980s developers and the kind of council tennant determined to apply as many patterns as possible to every available surface?

        A google image search would show you what I’m on about.

        I have no problem with expressive decorative surfaces, but to me and probably most British people, the effect just looks like mock-tudor commuter-home ceiling, however fancy-pants the computer process that created it was.

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        “…the phenomonal visual sensations thrill us and elevate our condition as human beings.”

        what are you talking about? what condition you are in to be elevated be such simplistic patterns? this so called, by you, moire effect doesn’t do a thing…

  2. Thumb up Thumb down 0

    Nice building. But where is the pool that was drawn on project schemes? I think, this element is really important for architectural pureness.

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