Moliner House / Alberto Campo Baeza

© Javier Callejas

Architect: Alberto Campo Baeza
Location: Avda. Ilustración, Urbanización Montecanal, Zaragoza, Spain
Collaborators: Ignacio Aguirre López, Emilio Delgado Martos
Structure: María Concepción Pérez Gutiérrez
Rigger: José Miguel Moya
Contractor: Construcciones Moya Valero – Rafael Moya, Ramón Moya
Structure: Coral Tarabidau d´Aragon – Ricardo Aranda
Project Area: 216 sqm
Project Year: 2006
Construction Year: 2008
Photographs: Javier Callejas

To build a house for a poet. To make a house for dreaming, living and dying. A house in which to read, to write and to think.

We raised high walls to create a box open to the sky, like a nude, metaphysical garden, with walls and floor. To create an interior world. We dug into the ground to plant leafy trees.

© Javier Callejas

And floating in the center, a box filled with the translucent light of the north. Three levels were established. The highest for dreaming. The garden level for living. The deepest level for sleeping.

For dreaming, we created a cloud at the highest point. A library constructed with high walls of light diffused through large translucent glass. With northern light for reading and writing, thinking and feeling.

axo 01

For living, the garden with southern light, sunlight. A space that is all garden, with transparent walls that bring together inside and outside.

And for sleeping, perhaps dying, the deepest level. The bedrooms below, as if in a cave.

© Javier Callejas

Once again, the cave and the cabin.

Dreaming, living, dying. The house of the poet.

Cite: "Moliner House / Alberto Campo Baeza" 29 Mar 2010. ArchDaily. Accessed 30 Jul 2014. <http://www.archdaily.com/?p=53984>

21 comments

  1. Thumb up Thumb down 0

    excelent concept house. in some case it’s better when nowerdays Japan modern little concept architecture.

    but this house doesn’t looks like living house; it’s too much… clear and sterile. maybe in time, this house will be more humanising.

    well, I like this house. maybe it looks like studio, office or maybe… like future living house ;-). but here I can see clear Idea, Way of thinking, the Concept. and everything here is complete (house, courtyard and other details..).

    Very good work.

  2. Thumb up Thumb down 0

    Nice house, but damn even though Im quite a fan of this
    white-phase” this is a bit much? I was looking for the operating table…

  3. Thumb up Thumb down 0

    Maybe it’s just me, but this doesn’t strike me as a poet’s house. Doesn’t a poet want to be immersed in the culture in which he or she finds themselves? Why the walls? Why the obtrusive design? Why removing the work space as far as possible? When did poets become magistrates who need removal from the tired huddled masses?

    Also, cut the poetic transcript, let the building be its own poetry.

    All that aside, I rather like it. Clean, and while of course it’s Corbusien, it’s distinctly not by Corbusier, which is a tough line to walk.

  4. Thumb up Thumb down 0

    This house as a whole is very different from a typical Corb.
    True, part of it (the 2 story cuboid above the podium) resembles a Corb structure, but that’s only a _part_
    of the house. These are the main differences:
    1. This house has a _basement_! Corbu trashes the very idea of a basement.
    2. The room arrangement here is exactly the opposite of Corbu’s –
    the bedrooms occupy the lowest level instead of the top level.
    3. There’s no trace of a planned “promenade architecturelle”.
    4. There’s no roof terrace as a culmination point of the journey through the house.
    5. There’s no interior or exterior balcony/terrace overlooking a double height space.
    6. While this house has two sunken courts, the typical Corbusian house doesn’t have a court, let alone a sunken one
    7. The typical Corbusian villa is elevated from the terrain, in the ideal case entirely on stilts,
    this one has a massive podium with high walls around it.
    8. This house has its own setting (the walled yard) while Corb’s villas are objects framed by a natural setting (Villa Savoye)

  5. Thumb up Thumb down 0

    Yeah, LeCorbusier… and Meier, and Eisenman, and in short, all the NY Five in their early periods, except even them, and especially Gwathmey gave more importance to materiality, this house is all, 100% white. Blinding sight to behold…

  6. Thumb up Thumb down 0

    Because its white doesn’t make it Corbusian. i happen to like this project, if for no other reason than there is present a true idea, a narrative of sorts, something rare in this profession. But given this project, Corbusier would have created a much more sculptural piece, and the movement through it would have been much closer to poetry than a spiral stair rammed through the center.

  7. Thumb up Thumb down 0

    Rather than talk about Corbusian references, which are purely superficial here, isn’t it better to discuss how this project reinforces a practice dedicated to monumental austerity? Just take a look at ACB’s other work, it’s full of purpose, and repetition.

  8. Thumb up Thumb down 0

    The box is elegant enough on it’s own, but the wall is both unfortunate for the neighborhood context and the direction of society itself. It didn’t escape my notice that the rest of the neighborhood is walled as well, but this project reads like a monolith of austere purity in the midst. Pretentious to say the least, sad really.

    The pursuit of perfect form is not the highest in my opinion, and I would argue that the form of the wall as juxtaposed to the box doesn’t accomplish that pusuit very well either.

  9. Thumb up Thumb down 0

    If you bothered reading his publications, you would notice Campo Baeza is greatly influenced by Italian Renaissance: he is a Light Sculptor, he manipulates light in every form it comes to us. Using white boxes does not make him “Corbusian”, besides, trying to imitate Le Corbusier by recreating shapes and colors would probably be an insult.

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