TRAMA HOUSE
A concrete body rests on a mountainous site, structuring the house through mass, shadow, and a sequence of inhabited thresholds.
The project responds to the client’s request for a dwelling that is introverted and protected from its surroundings, yet open and generous toward its interior life. Privacy is achieved not through enclosure, but through a careful orchestration of volumes and patios that organize domestic space inwardly.
The house is anchored by a low, continuous black bar positioned along the front edge of the plot. This heavy base contains the public and service functions—entrance, kitchen, service areas, gym, and parking—while deliberately defining the remainder of the site as a protected interior courtyard. Along this void, the bar gradually opens through a stoa-like strip that accommodates the main ground-floor circulation and mediates the transition between exterior and interior.
Perpendicular to this base, a second volume of exposed concrete spans the site as an inhabited beam. Detached from the perimeter, this elevated body contains the private and nocturnal program—family room and bedrooms—while simultaneously ordering the life below. It extends outward to shelter the entrance, yields to allow a tree to pass through its mass, and forms a double-height vestibule upon entry. Beneath it, the social spaces unfold in shade, supported by extensions of the black base and anchored by a longitudinal fireplace that consolidates the living area.
Two patios flank the concrete volume and define its spatial behavior. Toward the more intimate courtyard, circulation on the upper level is filtered through deep vertical openings and a continuous storage wall that modulates light and privacy. Toward the garden and pool, the bedrooms open to private balconies. At its far end, the concrete body stretches again to shelter the outdoor grill area, resting on two sculptural supports and carving voids that introduce indirect light into the main bedroom.
Materiality reinforces the project’s tectonic logic. Concrete remains exposed, preserving the imprint of its formwork. The dark mineral base visually lifts the upper volume and mitigates heat, while a continuous wooden floor introduces warmth and tactile continuity throughout the house. A wide, freestanding staircase of corten steel connects both levels as an autonomous element, extending the domestic surface vertically through its wooden treads.
Here, architecture is conceived not as an image but as a method. Form does not represent function; it produces it. The concrete body structures movement, frames space, and negotiates light and shade. The house ultimately defines itself not by what it reveals, but by what it contains.
