Besides occupying those residual deltas left under tilted roofs, and in the same way as Hockney’s inverted perspectives, the vertical body is sliced with slight diagonal deviations that attempt to elude its most immediate neighbors and absorb the freedom left by two nearby, fallow, small squares. The program tries to solve the voluntary reclusion of someone who’s just renewed his marriage. The services, vertical spiralling circulation and different storage spaces help confine the oppressive lateral distances of the site. In the longitudinal direction, the two major and most voluminous rooms occupy different ends and levels: towards the back of the site is the room for social uses that connects them with the natural ground; towards the street (and looking over the unfortunate neighboring houses) the space allowing more informal and familiar reunions is located (under the authoritarian, almost indiscreet guardianship of the private study located on the third floor). The central bay is composed by the repetition of four rigid steel frames. The coating is a continuous texture that guides the rainfall, in a bronze tone (unstable with the variations of natural light) that is barely interrupted by the glossy crystal cut-outs, aligned with the outside wall.[+][+]