The cavernous interior located in Barcelona’s Poblenou neighbourhood is part public and part private.

A series of architectural devices such as mezzanine levels, built-in furniture and curtains helps articulate the adaptable programme of work, exhibition and coffee shop. The earthy colour palette and masterful handling of light, both artificial and natural create an organic and enveloping space.

Tempo by Vibia presides over the kitchen table adjacent to the planted courtyard, the most private area of the project. We asked both Isern and Ezequiel to explain the reasons behind their choice of materials, colours and fittings throughout this innovative interior.

Tell us about how the collaboration came about? And did you know one another beforehand?

E: I was familiar with Isern’s work and then we coincided in person at a talk given by Flowers by Bornay, in and around 2018. I was looking for something that would make me feel at home but in the work place. I really liked the refurbishment he’d done for his workshop home that he shares with Valeria Vasi, together with other offices that I knew about; I thought that he could be the ideal designer for my studio.

I: it was a great honour for him to call me and commission the design of his work space! I had been following his work for some time before.

Ezequiel what were the instructions you gave, or the briefing, for the studio when starting out on this project? What were you looking to achieve with this new space?

E: From the start I was clear about wanting a multi-disciplinary space where there would be several distinct zones, defined but at the same time part of a continuum. Being warm and welcoming was also key, it had to be inviting.
Other more specific requirements were to do with the showroom, a small workshop and a separate air-conditioned area for computers; I also wanted to include a space that could be used for meetings, when necessary, as well as the main work space.

Isern what was the greatest challenge with the project?

I: There wasn’t any main challenge as such, it’s been a very fluid and pleasant project to work on, Ezequiel trusted in me from the beginning and it’s true to say that our thinking was along the same lines. Perhaps the only difficulty was fitting the programme into the existing space and finding the right degree of texture for the walls …. something that was intrinsic to the material but not just decorative. Warm but raw at the same time… this led to many experiments with different materials.
Finding the exact tone and being able to transform it with the different materials included in the project took quite a lot of time and research.

Six n’ Five is a creative studio, how is this idea of creativity expressed in the new space and what sensations or feelings do you want to transmit?

E: Isern had a lot to do with that. At the initial stage we went through several ideas, different approaches and layouts. I was more comfortable with a more minimal and neutral approach. And we were in complete agreement about the warmth and wellbeing that the space had to evoke. That sensation of being at home seemed fundamental to me in a place where you spend such a lot of time. I like to have visitors while I’m at home, get-togethers for dinner, sharing time. I think the space gets that across and much more than we expected.

What decided the choice of neutral and clear tones both for the furniture and the walls and flooring? Was it a given requirement?

I: Well we both wanted it to be warm, very neutral and calming and that came about through playing around with the colour palette.

The final result also displays great attention to the materials and craftsmanship ….

I: Yes, absolutely…. we loved the contrast between the material and the ethereal that Ezequiel’s practice does so well. We wanted the final result to have a crafted quality, that the hand made sensibility would be present throughout, that’s why choosing micro-cement as the finish for all of the constructed elements built in-situ by hand, was key. The formwork table, the different levels, the stairs that lead to the kitchen – all are treated as architectural elements but expressed at a human scale that lends a remarkable tranquillity when you’re in the space.

What role does light play, both natural and artificial, in a setting like this?

E: For me natural light is fundamental for any activity. I always say that I’ve got a built-in solar panel, natural daylight and the sun fill me with energy to keep going or start the day. When looking for a property the windows and the way light comes into a space are key to deciding. At night the light is warm and soft. As it gets dark outside earlier it invites hanging around a while longer.

I: Light is another element that we had in our favour, the afternoon sun that further emphasised the sanctuary concept, of calm and quiet that we were looking for.
And with the external landscaping that includes a great variety of plants, the shadows that are projected inside are really beautiful.
At night we were looking for a home like, welcoming feel, avoiding the typical office lighting. It’s very specific and welcoming, light delimits the various zones within the open plan space and defines different corners within.

I + E: How did you come to choose Tempo by Vibia, what were the characteristics that made you think that it could work well with respect to the overall environment?

E: It was suggested by Isern and I really liked it.

I: It was one of the few things that were clear to me from the start. I’m a big fan of the work of Lievore Altherr. I liked the contrast that was created between the formality and materiality of the space and the two subtle and delicate lights hanging over the table appealed to me. A focused light over the table that integrated seamlessly with the landscape of the space.

Where did you decide to place it and why?

I: I was convinced that it had to be in the kitchen over the table that forms the backdrop of the work space …I loved its simplicity and elegance as well as the light it provides.
Undoubtedly a beautiful and timeless lamp, two concepts closely linked to my projects.

Credits:
– Photography: Salva Lopez