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“A House is a place (…) as physical as a set of feelings. (…) a home is a relation between materiality and mastery and imaginative processes, where the physical location and materiality and the feelings and ideas are united and influence each other, instead of being separated and distinct. (…) a house is a process of creation and comprehension of ways of living and belonging. A house is lived, as well as imagined. The meaning of house and the way it materially manifests itself, it´s something that is created and recreated in an unceasingly way through every day domestic tasks, which are themselves connected to the spacial imaginary of the house”¹ 

The sentence above is the starting-point of the current reflection, in an exercise that will mark meaningfully my approach to the way of projecting houses. 

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Michelangelo's sculptures. The ancient Greek temples. Castle interiors and palaces. The iconic Barcelona Pavilion of Mies van der Rohe. When we approach the history of architecture and sculpture, it is inevitable that we speak of marble. Originating from a chemical reaction in limestone when exposed to high pressures and temperatures for thousands of years, this notable material is a metamorphic rock generally found in regions where volcanic activity has occurred. Its extraction, by itself, is already a spectacle.

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Modern architecture is tied to cultural history. In Kuwait, the country’s built environment and housing has been reshaped by larger economic and cultural movements. After the discovery of oil, the country experienced economic growth that drove development across diverse markets and transformed how citizens live today.

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Standing 120 meters tall at the corner of West 56th Street and Eleventh Avenue, the first building by Álvaro Siza in New York is nearing completion. Named 611 West 56th Street, the residential condominium will also feature several amenities for its residents, including a swimming pool, a spa, a gym, a children's playroom, and event spaces.