Occupying the central part of the ground floor of a building located between gardens and the sea, on Altea's city top, is this house located. A house that originally lived almost oblivious to its surroundings due to its high degree of compartmentalization. The first project decision had already been made: let the floor as a free space and release it shares in its two poles, the back and, above all, the sea.

Following this decision the house was divided into two longitudinal strips south to north. In the first, the nord-west, the main room and services are located and in the rest of the house: living room, kitchen, laundry room and second bedroom, all in a flexible and continuous space. This, undoubtedly, needed to have a distinctive character, the definition of a piece that was able to give unity and meaning, continuity without abrupt breaks, it was necessary to define a curve, starting from the bottom of the housing the scour heading towards the sea. However, not everything was valid, it was necessary to make a reference, the work of an artist that captures well the beauty of curves and quiet movement. The reference is the work of the photographer Edward Weston H. born in 1886 in Illinois. Specifically one of his nude photos taken in 1936, a picture in which are defined, among others, three longitudinal curves. These curves make possible to design a piece of furniture at three levels that runs throughout, each level corresponding to a major curves model photography. Subsequently screened, geometrizan and built in wood.

The cabinet defines one of the six boundaries main living space, allowing accommodate the fronts of a second hidden room with two folding beds camouflaged on the facing itself, access to laundry through a door that even mimics the handle opening the front of the kitchen containing the main service of the same except the oven, microwave and refrigerator, the furniture in the living room and the outside terrace. The facing located on the opposite wall defines the second of the limits and serves as a counterpoint to the first being completely flat and built with different wood, contains several closets, access to the master bedroom, hidden kitchen appliances and access to the house. The floor and ceiling are two other important limits that define the heights of housing and different levels furniture. The housing section is sized based on the Modulor of Le Corbusier and its consequences at the level of proportions and relations with the human body which also establish a subtle relationship with the photograph of E. Weston. Based height measuring 226 cm, the other levels are fractions thereof: 86 cm for kitchen bed, 43 cm to 70 cm or banks for the tables. Finally the northern fronts (garden) and south (sea) end up defining the main living space. A large carpentry, provided the above criteria, defines the front facing the sea. The rear is configured with a protective grille on the rear window formed by corrugated steel bars occupying the entire wall on the inside of the housing unlike the external position usual and also serves to place a natural leather vertical garden made with laser cut.

The second strip defines housing is marked by the transformation of the original bathroom looking for their relationship, not only with the room, but also with the sea. This bath becomes a large shower space configured by a transparent glass front and a bottom mirror so that the sea is reflected and part of this humid space. The sink out of the bathroom and then stands as one of the sides of the bed heading towards the terrace and the sea. In it is also the sea reflected and therefore, introduced inside the room.

The union of the references to the human body, dimensions, proportions and materiality make factors related to the feelings of the people caused by the intense perception of space. Psychological factors are important when using this way to project the living spaces which, together with its functionality, comfort, technical solutions, or needs of owners.