The artist’s home is a museum category in itself. It represents the real experience of the rooms, objects, furniture, and spaces where, in another time, creators not only resided but also produced their works and shared their personal and family life. These places become museums where memory and the past are not only linked to the exhibited pieces but also establish a symbiosis between the author and their work, a relationship very different from what is experienced in a traditional museum. While in the latter, the work is perceived in isolation from its author as a consequence of the change in the context in which it was produced, in the artist’s residence, the observer is inevitably influenced by the space through the senses: the touch of materials, lights and shadows, the smells and sounds of the home, now musealized and inhabited by the memory of the people who lived there. In fact, when a painter’s, writer’s, musician’s, or architect’s residence becomes a museum, the architecture itself becomes part of the exhibited work, a reminiscence of the time it was inhabited and a materialized biography of the artist who lived there. In our personal memories, we retain the experience of places we have visited on various occasions: John Soane’s museum and Charles Dickens’s residence in London, Mozart, and Beethoven’s houses in Salzburg and Bonn, Frida Kahlo’s Blue House in Mexico, Frank Lloyd Wright’s studio in Arizona, Casa Malaparte in Capri, or the Carmen Rodríguez-Acosta in Granada. They are all different, in terms of time and space, just as their former residents and the works they created were. Each of them, of course, possesses unique characteristics that are not easily transferred to a specific architectural typology. And yet, they all have in common the profound impression they left on us, which differs significantly from the sensations we experience in many other museums...[+]