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MARTA ORDOVÁS’ HOUSE IS THE RESULT OF A PROJECT BY NULA STUDIO, WHERE RESPECT FOR WHAT ALREADY EXISTS GUIDES EVERY DECISION. THROUGH THE RECOVERY OF ORIGINAL ELEMENTS, THE USE OF COLOUR AND A SENSITIVE APPROACH TO THE PASSAGE OF TIME, THE STUDIO CREATES A LIVED-IN, PERSONAL HOME OPEN TO EXPERIENCE. A SPACE THAT BECOMES A PLACE FOR GATHERING AND A WAY OF UNDERSTANDING ARCHITECTURE.
How was the first contact with Marta and what did she initially ask for?
Marta and I have been friends since we were very young, we know each other extremely well, so we experienced the process from the very beginning. Designing the home of someone so close was a very special experience, not only because of the trust and connection throughout the process, but also because once the work was finished, we spent a lot of time there: it is the official meeting place.
What words would define the concept of the house?
The project starts from the detail to shape the whole. In this case, the fragmented Nolla floor we found on the main level defined a strategy based on three actions: preserve, recover and fill in. This logic was applied at every scale of the project, from the handles to the structure, allowing the house to reveal, layer by layer, the passage of time.
“We are committed to recovering and enhancing existing elements. In this case, the Nolla flooring.”
Which decision was risky but now makes the most sense?
It was an experimental process with no prior guarantees, for which we even set up a small workshop on site to carry out tests. It would have been much easier to demolish and rebuild. However, it is precisely these decisions that define the house today: preserving the trace of the Nolla floor and completing it with mortar, giving prominence to the original railing by finishing it in gloss, or fully opening the bathroom onto the main staircase to allow the old swan-shaped stained glass windows to be admired. In this sense, it was key that Marta shared our vision and our desire to experiment.
How did you balance aesthetics and functionality?
For us, aesthetics are not an ornament, but an integral part of function. A well-designed space is lived with naturalness and emotion. When a place makes you feel good, it is working — and that is what was sought in this house.
What importance do you think colour has in the experience of a space?
In this project, we started from the hierarchy and colour palette of the original mosaic: a neutral background that acts as a unifying base, against which singular elements of colour in red, yellow and green stand out through contrast.
“Colour is an element as important as material or light when it comes to generating sensations.”
If you could take just one design piece from any museum in the world, what would it be?
More than a piece itself, we are interested in processes. We would love to access the complete journey of a design, from the first sketch and prototypes to the final result. What is discarded holds as much learning value as what remains.
Why do you choose THE MASIE?
We choose THE MASIE for its wide product range and its bold attitude towards design. It is a brand that is not afraid to innovate, explore new forms and propose pieces with a strong identity.
What do our furniture pieces inspire in you?
Spaces with personality, open to experimentation and change.
Favourite THE MASIE piece
Your dining chair collection, which can be mixed and matched around the same table.
A colour
We use colour a lot to highlight elements, and we always go for strong, vibrant colours like red.
Favourite style
Any style that does not take itself too seriously.
Countryside or city
My partner Miguel is completely urban; I could perfectly live in the countryside and come to visit him at the studio.