There is and probably will be a need to perceive what our great cities lack above all: still, wide, extensive places for reflection; places with tall, spacious, lengthy colonnades for inclement or unduly sunny weather where no traffic noise or street cries can penetrate, and where a finer sensibility would forbid even a priest to pray aloud: buildings and places that express as a whole the sublimity of stepping aside to take thought for oneself (…) We want to have ourselves translated into stones and plants; we want to have ourselves to stroll in, when we take a turn in those porticoes and gardens.
The building contains an unfinished wooden sculpture that joins its two floors. It incentives contemplation, admiration to the process and to simple things.
The simple structure from outside is revealed as complex when examined from the inside.
It generates the feeling that you walk into a seashell with an open space at its core that contains a big sculpture and a glass ceiling.
The living experience is about the spaces and the materials of the house that incentive contempation.
The second floor is a Japanese garden with rocks, plants and water fountains around which benches welcome you for lingering.
The house has four skylines that connect the sky to the living area from which the one above the dining table is a fountain with fish in it.