该120㎡公寓，始建于第十九世纪初，原先的状况是：房间分布随意，布局甚至有些古怪。决定全面调整之前的布局，加强明暗区域的体现，一个单一的半圆弧形墙被提议在计划中。

旧的石膏天花板及其结构元素和一条逐步上升的通道设计简单地被保留了，和调整后的布局保持协调一致。内部体积的偏心的设计是根据逻辑参数设定的。起居室这个空间融合了三种素材。与原先支离破碎的空间布置对比，这些不同材料的选择体现了不同空间区域，让布局也明朗起来。

高大的旧门和百叶窗被换成一扇未加太多装饰的新门，手工涂饰上以三种颜色为基色调的蓝色，贯穿在公寓空间中，添色不少。几何图形、纹理和材料的叠加，及抽象性的白色背景，让公寓的特色一下子活跃起来。

The 120㎡ apartment, built in the turn of the 19th century, presented a fragmented arrangement of rooms and an erratic (almost negligent) overlay of successive interventions by previous owners abandoned the original character of the space. By erasing all the previous interventions, the separation between night and day areas became clear. One single wall, half-circular in plan, was proposed. 

The brief requested the preservation of the old plaster ceilings, the inclusion of the remaining structural elements, the partial rising of the pavement and an adjusted and coherent programmatic distribution. The eccentricity of the proposed inner volume is a studied logical deduction from the given parameters. The living area is a limbo composed of three clearly defined moments while being just one space. Contrasting with the building original fragmented typology, the choice of materials allows for a clearer understanding of the different moments.

The old tall doors and shutters were replaced by new ones, non-ornamented but painted by hand with three different tones of blue: the planes of color become spatial actors in the apartment routine. The overlay of geometries, textures and materials, contrasting with the abstract white background and the unapparent rational rhetoric of the spatial intervention, stipulated an identity.