The Gallery House, together with the recently finished Espai Saó, is part of a set of interventions carried out for the Mas Blanch i Jové winery, located in the small town of La Pobla de Cérvoles, in Lleida, province of Catalonia.The house is an encounter between a family house, a small hotel, and an art gallery. In 2017, the owners of the Mas Blanch i Jové winery decided to buy an old house close to the winery, with the aim of reforming it to accommodate the growing number of visitors to the winery, but also to be used throughout the family at their meetings in the Little village.
畫廊之家與 Espai Saó最近一起完工，是為位於加泰羅尼亞省萊里達的小鎮 La Pobla de Cérvoles 的 Mas Blanch i Jové 酒廠進行的一系列參與措施的一部分。 家庭住宅、小旅館和藝術畫廊之間的相遇。 2017 年，Mas Blanch i Jové 酒廠的業主決定在酒廠附近購買一棟老房子，目的是對其進行改造，以容納越來越多的酒廠遊客，同時也可供全家人在小鎮裡聚會。
In the process of the project conceptualization, RSA proposed to relate the house to the artistic experience of the winery itself, represented by the sculpture garden: every year, a renowned artist-sculptor is invited to build a sculpture in the vineyards, with total freedom of subject, location and material. Around the garden there are works by Joan Brossa, Frederic Amat, Evru, or the most recent by Eva Lootz. From now on, each artist will be asked to make a small intervention in the house, creating a joint experience in the visit to the different facilities of the winery.
在專案概念化的過程中，RSA提議將房子與以雕塑花園為代表的釀酒廠本身的藝術體驗聯繫起來：每年，都會邀請一位著名的藝術家雕塑家在葡萄園裡建造一座雕塑，完全自由的主題、地點和材料。 花園周圍有 Joan Brossa、Frederic Amat、Evru 或 Eva Lootz 的最新作品。 從現在開始，每位藝術家將被要求在房子裡做一個小的參與，在參觀酒廠的不同設施時創造一種共同的體驗。
The project proposes a clear and accurate division of the house by means of a cross established in plan and section, which opens four huge windows in each one of the facades of the house, putting it in close contact with the picturesque landscape of the place. This cross occupies and resolves the circulation spaces, widened to accommodate more function than the distributive itself. These spaces are cladded with cor-ten steel plates, an identifying material of the winery itself, omnipresent in the sculptures and works that Josep Guinovart, a renowned artist, intimate friend of the owners, made throughout his life for the winery. The steel, cold and not a domestic material, represents the exhibition spaces, housed in this cross. Around it, the domestic spaces are deployed, with a completely opposite materiality: mortars, cements and gray tones in the common ground floor spaces; and wood, ceramics and mirrors in the bedrooms upstairs. The material collision is direct on the upper floor: from the metallic and cold space of the exhibition areas, one accesses, through a door with different finish on each side, to the warm and comfortable wooden environments of the bedrooms.
該專案通過在平面和剖面上建立的十字架提出了一個清晰準確的房屋劃分，在房屋的每個立面都打開了四個巨大的窗戶，使其與當地風景如畫的景觀緊密相連。這個十字架佔據並解決了流通空間，擴大了以容納比分配本身更多的功能。這些空間都覆蓋著cor-10鋼板，這是釀酒廠本身的一種識別材料，在著名藝術家、業主的親密朋友 Josep Guinovart 一生為釀酒廠製作的雕塑和作品中無處不在。鋼，冷且不是家用材料，代表了位於這個十字架中的展覽空間。在它周圍，家庭空間被部署，具有完全相反的物質性：公共底層空間中的砂漿、水泥和灰色調；還有樓上臥室裡的木頭、陶瓷和鏡子。材料的衝突直接發生在上層：從展區的金屬和寒冷空間，一個人通過兩側不同飾面的門進入臥室溫暖舒適的木質環境。
The crucial point of the house is the center of the cross, solved by a small bridge that flies over the ground floor and from which the four large windows open with no frames: two small benches to admire the landscape finish off the axes of the bedrooms; two double height voids star in the remaining sides.
房子的關鍵點是十字架的中心，由一座跨越一樓的小橋解決，四扇大窗戶從橋上打開，沒有框架：兩個小長凳可以欣賞風景，臥室的軸線 ; 其餘兩側有兩個雙倍高度的空隙。
On the ground floor, the distribution takes place around a kitchen, toilets and warehouses block, connecting all areas in a circular path, increasing interior complexity, and passing through spaces of varying heights, compressing and decompressing the spaces. On the top floor, five bedrooms with their own bathrooms occupy the four corners. The same type of bedroom receives five variants, in particular in the bathrooms, each one of a different color, highlighted by the joint between ceramic tiles, the painting of the walls, and the color of the sinks themselves.
在一樓，分佈發生在廚房、廁所和倉庫街區周圍，以圓形路徑連接所有區域，增加內部複雜性，並穿過不同高度的空間，壓縮和減壓空間。 在頂樓，五個帶獨立浴室的臥室佔據了四個角落。 同類型的臥室有五種變化，特別是在浴室中，每一種都有不同的顏色，通過瓷磚之間的接縫、牆壁的油漆和水槽本身的顏色來突顯。
Outside, some interventions denote the new character of the house: the four new windows, which cross the facades, with a strange scale to the house itself; the carpet-like cladding of cor-ten steel access stairs; the new socles of the same material, as well as the porch of the entrance, and a greater homogeneity in the outer finishings. A new fence of cor-ten steel plates closes the house to the outside, and according to the angle, closes or opens the house in view of the passerby.
在外面，一些參與措施表明了房子的新特徵：四扇新窗戶，穿過立面，與房子本身有一種奇怪的比例； cor-10鋼製樓梯的地毯狀覆層； 相同材料的新地下室，以及入口的門廊，以及外部裝飾的更大同質性。 新的十層鋼板圍牆將房屋與外部封閉，並根據角度在路人的視野中關閉或打開房屋。