Four curves facing the sunset.
Between the plot and the sea, there is a hotel site that has not yet been developed. This fact, which might seem like a temporary limitation, becomes the key to the project: if future construction is to block the views, one must find the angle from which they will still exist. The diagonal axis that organizes the four blocks originates from there—from the desire to look out at the sea by bypassing what is to come.
The blocks are curved and arranged along that west-facing axis, positioned symmetrically in relation to it. The curve is not a formal gesture but a response to the movement of the sun and the opening of views: it allows more homes to capture the horizon, the terraces to fan out towards the west, and the evening light to enter each floor differently. The porticoed galleries, terraces, and solariums act as transition spaces between the home and the exterior, serving as filters that make the passage from the intimate to the open, from the house to the garden, and from the garden to the landscape more gradual.
The interior of the plot is treated as a fully accessible, equipped garden at a practically level elevation. Cars disappear directly into the basement from the north street, leaving the interior free of traffic. Between the common areas and the ground-floor galleries, there are private-use gardens directly connected to the dwellings.
This is a project that takes a stand from the very first stroke, and that stroke always points in the same direction.