Andreu Carulla is responsible for TRAMO’S staging and furniture, based on modularity as the constant construction throughline in all elements. Carulla has created a system with over one thousand ceramic modules that are craftsman-made. They form part of a natural heating and cooling system based on Provençal wells, integrated into the space through a series of continuous benches. These extrusion-molded ceramic modules, produced by Ceràmiques Est, in La Bisbal (Girona), have a double role: they thermally channel air from outside, and also act as a seat for the diner. In addition to the ceramic conduits, modularity was applied to the rest of the furniture in TRAMO (chairs, tables, and lamps), with a system of extruded aluminum parts that can be assembled inside the premises, like a construction set.

TRAMO is an almost 100% energetically self-sufficient restaurant. It is also a PPA space (Power Purchase Agreement), meaning that it generates green energy. TRAMO uses a misting system to naturally manage the temperature and humidity in the restaurant. In addition to watering the plants in the venue, this misted water moistens the space, as well. The space also has different systems to reuse rainwater, sink water, and moisture from the earth.

Acoustic comfort is provided at TRAMO by Geopannel, panels made of recycled and pressed wool under the ceiling. All leftover material after putting it on the ceiling was used to cushion the continuous benches. Reclaimed textiles were also used for the lamps designed by Andreu Carulla which are made with sections of threaded rod reclaimed from construction on the venue, which are normally used in false ceilings. The paper disk was made with recycled cotton and by hand by Sastres Paperers, a craftsman paper workshop in Molino de la Farga (Banyoles, Girona).

Text provided by the architect.

Until we started writing this text, September 21, 2014, we have worked with this project in an intense and very fast process, all done in less than eight months, and now when the construction has already begun and the intensity is emphasized, because it must be completed by the end of November, we got out a small interval on a flight to a work that flies, allowing us to reflect a little on the project, its motives, needs and possible realities or virtues. We understand that one of the first questions that everyone will ask, ourselves included, is why is there such an exaggerated use of the curve, why a simple space with an orthogonal layout of original pillars, eventually becomes a complex space dense and at the same time smooth and continuous?

The answer to the first question is, in fact, so banal as all realities usually are: It is purely an economic issue. The concept of secondhome involved the unavoidable need, quite achieved finally, of occupying with small work spaces every corner and every area bathed in daylight, and, of course, the need to access each of these different areas spread the ends; the need for there to be nothing wasted, there is no corner that is not used for something, there is no angle where someone can’t sit, work, talk or relax. This handling of the economy, in its broadest and original meaning, up to its maximum limit, is something that always leaves us very satisfied with the accomplishment; but on the other hand, this high density implies full occupancy and use of space to the limit, it becomes one of our greatest unknowns about how it will really work in the future, with so many people working together in highly concentrated areas.

Therefore, we try to limit this potential chaos that could result in a maze of complexity, with two tricks: First with a permanent visual and physical fluidity of the whole, which prevents you from feeling lost or locked in anywhere; and second with full control of the sound, not only with absorbent carpets and ceilings, but also the continuous curve that spreads the sound in all directions. And also to use this continuity as an antidote to the density, we achieve side reactions that increase the strength of the entire space, making it a whole, unique and united, appearing larger and endless. And that is exactly our question these days: Will it really be like this in the end? Will it really be a space in which the transparency and reflections run out while simplify and make it so complex that they open the space and make it infinite and cozy at the same time? And more importantly, will we end getting a space where architecture is dissolved in a homespun air, to do just that … which is exactly what Sam and Rohan commissioned us at the start: An office as a home? …… Or was it a house as an office?

“In five to ten years we will all work at home. But then we will need bigger homes, big enough to use for meetings. Offices will have to be converted to homes” Rem Koolhas, The Generic City 1994

Text provided by the architect.