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Zuzanna Gasior
Nov 12, 2021

Ronda House by HANGHAR is an exercise of limited resources, in which the reduction of spatial, material and technological solutions allows the maximum flexibility of use.

In response to the ever-changing uncertainty we currently live in as a society, the project, the renovation of an existing 85m2 apartment, is conceived as an open and undefined system capable of functioning as a backdrop to whoever inhabits it. A propositional system, not a limiting one.

The home distances itself from fixed and conventional distributions through the linkage of a series rooms that are programmatically generic but spatially specific. With this, the home is able to respond to the demands of a contemporary living and not market driven logics. Spatially, the project is resolved through an asymmetric grid that organizes and articulates the given space. Each room, of rectangular proportions, is connected with each other through a series of large, central apertures, creating a spatial enfilade that communicates all spaces and establishes a visual continuity amplifying the space whilst diluting its use limits.

The project’s material palette is direct and bare. The floor, made out of epoxy resin, erases any sense of scale while the ceiling, rough and cavernous, presents itself ornamentally baroque as a result of the splashed plaster’s imprecision. The cooking area, covered in mirrors, simply disappears. Even though the project’s aesthetics could be described as aseptic, recalling Colomina’s analogies between the Modern Movement and 20th century pandemics, the project’s interior architecture is reduced not as a response to newly defined sanitary standards but social ones. An ambiguous system capable of serving the inhabitant it receives, without projecting fixed and immovable living definitions.

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Zuzanna Gasior
Nov 12, 2021

Ronda House by HANGHAR is an exercise of limited resources, in which the reduction of spatial, material and technological solutions allows the maximum flexibility of use.

In response to the ever-changing uncertainty we currently live in as a society, the project, the renovation of an existing 85m2 apartment, is conceived as an open and undefined system capable of functioning as a backdrop to whoever inhabits it. A propositional system, not a limiting one.

The home distances itself from fixed and conventional distributions through the linkage of a series rooms that are programmatically generic but spatially specific. With this, the home is able to respond to the demands of a contemporary living and not market driven logics. Spatially, the project is resolved through an asymmetric grid that organizes and articulates the given space. Each room, of rectangular proportions, is connected with each other through a series of large, central apertures, creating a spatial enfilade that communicates all spaces and establishes a visual continuity amplifying the space whilst diluting its use limits.

The project’s material palette is direct and bare. The floor, made out of epoxy resin, erases any sense of scale while the ceiling, rough and cavernous, presents itself ornamentally baroque as a result of the splashed plaster’s imprecision. The cooking area, covered in mirrors, simply disappears. Even though the project’s aesthetics could be described as aseptic, recalling Colomina’s analogies between the Modern Movement and 20th century pandemics, the project’s interior architecture is reduced not as a response to newly defined sanitary standards but social ones. An ambiguous system capable of serving the inhabitant it receives, without projecting fixed and immovable living definitions.

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