The living, dining, and kitchen module is designed as a basilica: a single, continuous space with side chapels that culminates in the altar of the living.
The layout of Casa Nero has been planned to ensure that different elements and functional areas integrate harmoniously, creating a contemporary, functional, and sustainable environment that meets the clients’ expectations. The spatial distribution unfolds smoothly, much like a film recorded in one continuous take, where different scenes effortlessly cascade into one another. The design, without rigid segregations, promotes fluidity, enabling the space to transition between different areas through changes in spatial compression, decompression, and surface treatment.
One of the key challenges in this project was the design of the large wall that connects the three fundamental areas of this space: the kitchen, dining area, and living room, all overlooking the patio. Guided by the spatial principles of a basilica, this space was conceived with the altar as a frontal element that dictates direction. The lateral surface is divided in side elements that metaphorically echo chapels, each one finished in different materials, adding depth and creating a distinctive spatial composition. Complementing the altar, the strategic use of low furniture respects the guiding axis without interrupting the overall vision of the space.
The use of black is skillfully balanced: it interacts with light and surfaces to create an appealing play of reflections and visual contrasts. The selected materials, such as Neolith Nero Zimbabwe for the kitchen countertops and Neolith Nero Satin for part of the living room furniture, provide an ultra-natural texture and an exceptional level of luxury through their dark tones. Furthermore, some of the furniture has been coated with matte black Fenix. The combination of these three materials, with their darkness and textures, results in a refined design that adds a touch of sophistication to the overall project.
The central core of the house is based on Louis Kahn’s idea of “served spaces” and “servant spaces.” In this case, the central core takes the form of a laundry room, whose outer faces are used for different purposes depending on the associated space. This central core houses the kitchen block, an office with a hidden folding table behind retractable doors, a courtesy closet, an electrical panel, and access to the laundry room itself. This configuration not only optimizes space usage but also simplifies water installations, including inlets and drains. This piece can be opened and closed as needed, creating an austere and monolithic element that articulates the center of the house and adds to the smooth transition between areas mentioned before.
Skylights have been strategically placed to flood the interiors with precise natural light. Ventilation, on the other hand, has been ingeniously addressed, concealed in the false ceiling sections. In this way, the wood-clad false ceiling serves a dual function: technical and ventilation, creating a sense of continuity and cleanliness in the design.
The courtyard has been conceived as a climatic strategy, drawing inspiration from historical examples like the Roman impluvium or the Arabic courtyard, where water collection was of paramount importance. The courtyard’s façades are covered with burnt wood (yakisugi technique), contributing to unifying the interior and exterior atmosphere in the dark-toned palette, which is a constant element in the project.
This outdoor space is not only meant for enjoying the fire but also serves as a key connection point between the house and the rest of the surrounding garden. The wooden floor extends to join the fourth wall of the courtyard, creating an open end that serves as an access point to the garden. This feature enhances the fluidity between indoor and outdoor spaces, adding a distinctive and poetic ambiance.
