Porcelanosa Lifestyle 15·09·2020
The house of CANDELA CORT PORCELANOSA
The designer Candela Cort is preparing for a busy start to the Autumn this September, publishing La Fábrica, a book of her most important works, and opening an exhibition at the Galería Minim in Madrid in November. This exhibition will show her most emblematic works, hanging, shade and nylon headdresses, plastic landscapes and others made with negatives… her active creativity spanning almost 30 years.
Her house, located on the outskirts of Madrid, in the middle of pine forests, is a perfect space. An immaculate white vessel with a circular design and spaces that can be defined by means of sliding panels that can open or enclose areas, depending on her needs. The walls are another important aspect, arranged as a continuous façade of perimeter or sliding windows that transform the house. When they are opened to the outdoors, you can take advantage of the summer breeze or, when hermetically sealed in winter, they shelter the spaces naturally. There are details such as hidden cupboards, invisible handles and a system of hanging shelves that surrounds the whole house so that no holes are required in the walls.
Candela comes from a family with rich ties to architecture, unafraid of a move or a project, and she is fortunate enough to have always enjoyed homes designed by good architects, something she lends great importance. She tells us all about it in an interview she gave to Lifestyle Porcelanosa.
She came across this architect’s house, designed by Miguel de Oriol, which is cutting-edge and avant-garde, but it was built in the 60s, meaning some details clashed with today’s needs and tastes.
Q: What did you do to it essentially?
A: Essentially, I threw it out. When you come to a house that has become obsolete, I have no problem taking a hammer to it. I only kept the pillars and the walls, and we tore down the rest.
Q: Can you describe your house?
A: It is a house made for me, tailor-made, like my shoes. It is perfectly suited to my uses, habits, my obsessions, my personality and my way of life… to me.
Q: What are the advantages and disadvantages of this? Would you change anything?
A: : All the advantages. I feel very happy in this house. I am a home-lover, the only thing I miss is a little garden, a space to eat outside… As for the rest, it hasn’t been long and I am still enjoying it to the full.
Q: You always turn to the Paredes Pino studio (Fernando Pino and Lolo García de Paredes).
A: I’ve known Lolo from a young age, because our parents were friends. When I saw his mother’s house on Calle Darro, refurbished by Lolo, it was love at first sight for me and I thought that if I moved house one day, he would do the remodelling.
Q: You moved to this house from your old house, designed by none other than the great José Antonio Corrales.
A: Yes, that house is untouchable and I have a great deal of respect for it, but I never felt as at home there as in this house. The old house had the stamp of the great architect that Corrales was, it wasn’t a tailor-made house and it was imposing. But I learnt to enjoy good architecture there. The pleasure of working with Lolo and Fernando was that they listened to me, and they have been able to accommodate my way of life. That’s the discovery made by these architects, they empathise and adapt to your needs, they give you solutions and accommodate you.
Q: Your homes resemble your work, in the sense that they are a white, neutral and plain vessel, and the colour is provided by the accessories.
A: Yes, and they are similar in another very important aspect, in the power of transforming spaces. Like my hats, my houses are moulded, shaped, and they can be changed. Lolo and Fernando do the same: they create furniture for a certain space, but you can move it, open it, rotate it, close it and transform it, you can play with the house just like you can play with my hats. We share that concept, that of playing, that of transforming. It is not a stationary house, it is changeable.
Q: Order is a priority and paramount.
A: Yes, I am very orderly. Of course, I shake things up a lot because when I work I am able to create chaos, but I have a ritual of putting everything in order before I begin. I must start from order to reach chaos. Otherwise, I get very uneasy.
Q: Is a session with your architect almost like going to the psychologist?
A: Absolutely. Like when designing a hat, my clients discover themselves in my workshop. Everything comes out, their fears, their insecurities, their complexes, their vanities… to wear something on your head, you have to feel it is a part of you, and it is really the same when you make a home. You have to open yourself up and reveal your inner self so that a sensitive architect (or creator) can empathise and know how to make you feel better and happier. It is the same for a home as it is for a hat.
IN FOUR POINTS
Walls, floors and finishes.
The walls and floors are extremely important. As it is such a white house, they must be impeccable. On okoume wood walls with lacquered finish, an incredible solution to avoid having to paint, and on wooden flooring.
“A discovery, indeed. I am very interested in Krion™, but not only as a superb surface for bathrooms and worktops, but I would also love to use it in my work, applying it to headdresses and collars. I would like to know more about this material and its lightweight and flexible properties to inspire me. I think it has many possibilities. It also meets the requirements of my basic principles”.
In architecture, she prefers white and pale shades, for living she feels better in light and luminous spaces. However, in her work, she uses the colours that suit her.
“They once did a Colour Chart on me and it turns out I’m cold. Although I may have changed somewhat because I did it with black hair“.
The orientation and structure.
Always midday, she does not like the setting sun.
And as for the structure, she chooses circular, an infinite shape that removes corridors and makes the most of the space.
“We made it circular. To do this, we simply open a door that connects with my bedroom and completes the circle”.
Incorporation of nature.
“I bought it for that. When I entered this house, I believed it was the one because it was love at first sight”.
Photos: Álex del Río.