在西班牙的Formentera岛内陆，存在一个历史地名“Es Pou de Can Marianet Barber”。这是一个农村地块，几个预先存在的条件插入了这座小型第一住宅。其中最引人注目的是百年干石墙网络和作物组织。该地块位于西部地区，平行于超过一公里长的痕迹，并面向南方，在大量植被保护下释放出最肥沃的土地，以延续现有的农业活动。
提案分为三个体量，在为其提供较小的纹理的同时，按照景观的规模，对项目进行排序。从南到北，第一个体量容纳了一个提供太阳保护的门廊，第二个包含更多的公共项目，第三个有两个卧室。其中横向条纹在物理上分离了体量，为它们提供了通风和照明，同时也为它们提供了服务和连接。
在房子前面，有一个水池，使其在供水方面自给自足，同时为一年中最冷的月份提供日光浴室。
从内部和通过门廊，可以看到小麦和燕麦田的平坦景观，那里的土地柔软温暖的颜色和杏仁和无花果树的柔和绿色占主导地位。由于陶瓷和木材这两种高贵的材料以微妙和永恒的方式结合在一起，来自外面的光、颜色和材料进入了房子内部。
土地的温暖被转移到天花板和路面上，通过马略卡风格的陶瓷拱顶和压制的陶瓦解决。同样，这些瓦片被用于解决各种其他元素，如立面包层、屋顶饰面、主卧室的床头板或鹅卵石碎石，原位处理所使用的陶瓷元素的损失。与与植被颜色相关的新鲜感在潮湿的区域占主导地位，其中一些垂直墙壁覆盖着稀释的绿色瓷砖，其尺寸与其他部件相同。光线通过陶瓷格栅的通道向内过滤，反过来产生光影的不断演变。
连贯性和材料的和谐导致了白色瓷砖电气机制的解决，在独特的地方，如主卧室的床头板，以及其他更常见的灯座和厕所等，安装的集成。一套灯和特殊件，用我们工作室制作的模板手工制作，也专门为这个项目设计，在涂料的背景下寻求其色彩和尺寸的集成。
大多数家具都是定制设计，集成到建筑本身，而标志性建筑，如托雷斯·克拉维扶手椅，来自1934年，或来自佛罗门特拉的传统椅子向地中海手工艺传统致敬。其他更当代的物品，如Marià Castelló和Lorena Ruzafa为Diabla Outdoor编辑设计的D12系列中的桌子和咖啡桌，为该系列提供了轻微的材料和色彩对位。

该项目中的一些解决方案的起源与并行发展的艺术项目“建筑碎片”密切相关。

“Es Pou de Can Marianet Barber” is a historical place name in the interior of the island of Formentera (Spain). A rural plot where several pre-existents condition the insertion of this small first residence in the territory. Among them, the network of centenarian dry stone walls stands out, as well as the organization of the crops. The intervention is located in the western area of ​​the plot, parallel to a trace of more than a kilometer in length, oriented to the south and protected from the setting sun by a mass of vegetation, thus releasing the most fertile area to give continuity to the existing agricultural activity.
The proposal is divided into three volumes, which order the program while providing it with a smaller grain and in accordance with the scale of the landscape. From south to north, the first volume houses a porch that offers solar protection, the second contains the more public program, and the third two bedrooms. Among them are transverse strips that physically separate the volumes, giving them ventilation and lighting, as well as providing them with services and connections.
In front of the house, there is a cistern that makes it self-sufficient in terms of water supply while offering a solarium for the coldest months of the year.
From the inside and through the porch, deep perspectives are discovered towards the flat landscape of wheat and oat fields, where the soft and warm color of the earth and the muted greens of the almond and fig trees predominate. The light, color, and material from the outside enter the interior of the house thanks to ceramics and wood, two noble materials that are combined in a subtle and timeless way.
The warmth of the earth is transferred to the ceiling and pavements, resolved by means of Mallorcan-style ceramic vaults and pressed terracotta tiles. Likewise, the tiles are used to solve various other elements, such as façade cladding, roof finish, the headboard of the master bedroom, or pebble gravel, processing in situ the losses of the ceramic elements used. The freshness associated with the color of the vegetation predominates in the humid areas, where some vertical walls are covered with vitrified ceramic tiles of a diluted green color and identical dimensions to the rest of the pieces. The light filters inwards through its passage through ceramic lattices, generating, in turn, a constant evolution of lights and shadows.
The coherence and material harmony have led to solving with white vitrified porcelain electrical mechanisms the integration of the installations in unique places such as the headboard of the master bedroom, as well as other more common such as lamp holders and toilets. A set of lights and special pieces made by hand with formwork made in our studio have also been specifically designed for this project, seeking their chromatic and dimensional integration in the context of the coatings.
Most of the furniture has been custom-designed integrated into the architecture itself, while icons such as the Torres Clavé armchair, from 1934, or the traditional chairs from Formentera pay homage to the Mediterranean artisan tradition. Other more contemporary pieces such as the table and coffee tables from the D12 collection designed by Marià Castelló and Lorena Ruzafa for the editor Diabla Outdoor, provide a slight material and chromatic counterpoint to the set.

The origin of some of the solutions in this project are closely linked to the artistic project “Architecture Fragments”, developed in parallel.