The Morería Studio project, work of the architectural studio KAL A, if it locates in the Morería, what was one of the mudéjares suburbs of Madrid, which still maintains part of its sinuous and irregular pattern typical of Islamic and medieval urbanism, marked by constant level changes and perspective.
Its buildings, trace their construction in most part to a century or two ago, although the plans reveal that their perimeters are preceded by many more.
All of them emerge with different but similar languages but with a proportion in tune that orders their fronts.
Between foundations of brick and granite caves, and structure of factory and wood walls, many of these volumes are erected that preserve the elegance and scale of the construction of another time.
The premises with a door to the street, as is the case of Morería Studio, have always been especially deteriorated spaces. Dedicated to business, storage or intermittent use for decades, no attempt has been made to adapt to a habitability typical of the home or similar to that which contemporary crafts require.
The walls and partitions of Morería Studio reveal the multiple treatments and injuries that have suffered over time and at the same time speak of obsolete traditions that are worth keeping.
Therefore, the reform of this space for its intensive and constant use as a study, required the modification of its initial conception.
Morería Studio needed to be a vital, warm place, which allowed to receive throughout the day and at the same time take advantage of the little natural light that comes from the northwest.
The walls are dyed white to bathe the walls of the reflections of the distant light of the exterior and the tenuous courtyards and the pine wood will cover the accesses, the floors and the furniture made by hand by the studio to endow it with a haptic heat inevitably inherent in the poetics of the material.
The material by its color or by how it reacts to light, has an implicit “thermodynamic” capacity, which does not directly and only affect the senses but also the spiritual.
It is able to calm or avoid the coldness and hostility of a space. It is in day to day, and greatly conditions the configuration of the spaces we inhabit.
Listening, touching or seeing the effects that each material emits, requires attention, care and calmness. It is always a slow process, a close look generated by mere curiosity and the search for authenticity, but not as a single or reserved vision of what something should be, but of what something really is.
Photography: Javier Bravo