• The house is located in front of the Mediterranean, in a place where an imposing dune protects the coast from storms. This starting point defines the configuration of the project. The house is materialized with two volumes arranged perpendicular to each other. In order to have views of the sea, (...más)

  • The project consists of making a musician’s studio coexist with his home. Located in a residential area near Valencia, where neighboring houses are very close to each other. It is decided to generate a semi-buried volume on the ground floor that configures the recording studio. (...más)

  • We like the virtue of architecture which makes possible constructing a house on air, walking on water… An abrupt plot of land overlooking the sea, where what is best is to do nothing. It invites to stay. A piece that respects the land’s natural contour is set in it. Above, (...más)



  • 03/04/2023

    The complex is made up of 4 plots, and in each of them there is the same type of housing that is organized on the ground, highlighting the particularities of its environment. All the villas are designed with wide open spaces at different orientations, ideal to enjoy the porches and (...más)

  • 20/03/2023

    The Sphinx project has been published in issue 187 of the Japanese magazine GA Houses along with other residential projects from studios such as Aires Mateus, Tadao Ando and Kengo Kuma. In addition, the project can be seen until June 11 at the GA Gallery in Tokyo, an exhibition where (...más)

  • 13/03/2023

    New monograph for the renowned publishing house Rizzoli, leaders in interior design, fashion, art, architecture, cooking, entertainment and pop culture publications. The publisher has recently published the following: In 2005, Fran Silvestre founded his Valencia-based interior design studio and architecture firm, Fran Silvestre Arquitectos. content (...más)



  • Architects Spain. The first thing one might notice about the houses and other projects of Fran Silvestre and his studio of architects in Spain is their particular atmosphere of extravagantly understated elegance and luxury, which is as recognizable in its own right as the work of, say, John Lautner or John Pawson. While this first impression may seem rather superficial, it points us towards a difficult-to-define quality in the works, what we might call an overall “geist” or “gestalt”, that runs very deep, and that is far more complex and interesting than a mere question of “style” or “branding”.

    One approach to this depth and complexity begins with the evident tension in these works between formal and practical questions. Silvestre’s designs are
    not simply solutions to given design problems, though he tends to present them as such. They absorb and distill the myriad issues of program, site and context, structure, building technologies and so on, subsuming them into the play of space and form that could be understood as the true subject of his architecture.

    The designs transform the particulars of each building into simple schemes of expansive spatial relations, using a formal vocabulary of abstract lines, planes and, in certain cases, simple curves, in a rather Miesian idealization of Modernism. Silvestre’s works comprise a series of repetitions and variations on these spatial themes, which in their chronological development trace his growth as an architect, the expanding reach of his formal investigations, and the impact of adapting this formal repertoire to new problems and larger programs.

    But at the same time, and as is to be expected, this formal play embodies the practical questions that it so vigorously dominates. The spaces that result may often seem generic, and apt for any possible function or purpose, but this is not the case. The space labeled on the plan as the “living area” assumes the spatial configuration and practical provisions this functional category requires. In the same sense, the garage is a garage, even if it’s floor is paved in the same white marble tiles as the rest of the house, and its opening to the street is enclosed in the same sheer plane of floor-to-ceiling glass (as in the Hofmann House).

    Thus, the distillation of the program, context and material process of building also meets a certain point of resistance that, in turn, conditions the formal play. In this sense, it would be difficult to define the perfect form of a given design in a Platonic sense. Any hypothetical movement towards such an idealization finds its limits in these conditioning circumstances, which in practice profoundly determine the actual design.

    For example, the deep roof overhangs and projecting walls that often frame the continuous walls of glass, like a bookcase, serve mainly to control the penetration of sunlight through different seasons. We could thus argue that they represent an adaption of the generic Miesian pavilion, as in the Farnsworth House, to a Mediterranean setting. These enclosing planes generally have a considerable thickness, which conveys an implicit association with the typical masonry construction of the Mediterranean, rather than the lighter, framed structures of northern Europe which were the implicit point of reference for the Miesian pavilion. Thus, seemingly abstract features harbor important cultural and contextual cues.

    The greatest point of practical resistance to the will-to-form of Silvestre’s designs is found in the question of their supporting structures. Silvestre
    pushes against the limits of normal structural practice in his effort to achieve seemingly impossible spans of unsupported and uninterrupted spatial enclosure. This singular battle against gravity, and in search of weightlessness, is I think
    the factor that contributes most to the particular character of his work, its atmosphere of extravagant but understated luxury, which is based not so much on fine finishes and materials, but rather on an expansive ease of spatial extension achieved through a great but largely invisible effort.

    The standard Miesian and Corbusian formula would have offered him a simple structural solution for his open plans: the structure is expressed in a grid of columns independent of the non-structural vertical planes. But Silvestre rejects the march of columns, window mullions and other repetitive elements that
    would break up the free flow of space into rhythmic intervals. Thus, the work of structural support in his designs is integrated into the walls, as we have noted, as well as hidden inside partitions and cabinetry. And as a result, his efforts to represent these vertical elements as apparently free and de-materialized planes always requires a degree of sleigh-of-hand and structural daring, a game he evidently relishes.

    For example, the roof of the Hofmann House is supported exclusively by four steel columns hidden in the interior core of bedrooms and service spaces, allowing the window wall to be completely uninterrupted on three sides, and leaving enormous cantilevers on either end, which span the open spaces of the living area and studio. Furthermore, the massive wall at the back of the house, which towers over the roof to block views of a neighboring house, is lifted off the ground across its entire length so as to provide natural light to the core. This structural flourish frames the house, and the terrace in front of it, like a splendid peacock’s tail. The roof assembly is thus a massive, asymmetrical T in section, which provides a greater degree of stiffness for the large cantilevers than the roof plane alone, although the support columns on the far side of the T must work as much in tension as in compression.

    In other projects, such as the Balint House, Fran Silvestre uses the bedroom partitions of the upper floors as structural elements, together with the floor and ceiling, in a full-story Vierendeel truss, in order to achieve the free spans of uninterrupted space for the ground floor living area.

    In other projects the structural drama is more evident, as in the Casa del Acantilado or House on a Cliff in Alicante, where the dwelling is cantilevered over an abrupt slope, supported only from the back and by a single, towering side wall, in a striking asymmetrical arrangement, with the rest of the house projecting away from it into space.

  • Silvestre’s feats of structural prowess, however, are at the service of his spatial vision, which must be analyzed in its own right. His residential work falls into three main types, with variations and exceptions: projects that are organized around a terrace, a garden and a view. The first, which we might call the “court house” type, is a single-story pavilion (though with a nearly-hidden lower floor), which is spatially integrated with an expansive outdoor terrace, as in the Hofmann and Atrium houses. The pavilion is set against the edges of the lot, with private and service spaces facing the protected back of the site, and living spaces connecting directly with the terrace via an uninterrupted curtain of nearly frameless sliding glass panels. The interior organization is linear, with private spaces lined up beside the living area along a long corridor facing the terrace, almost like the compartmented car of a train.

    The second type is generally a two-story house set in a garden, with bedrooms on the upper floor. Here each story is often articulated as an independent “bookcase” volume, with continuous glazing on two opposing facades, looking towards the street and the back garden, and more solid walls on the narrow sides. Silvestre always misaligns the two floors, shifting them horizontally in relation to one another to create more dynamic compositions. In the House in a Pine Forest, the top floor overhangs the front of the house and shifts back on the opposite side, something like an open box of matches. In the House of Silence, the upper floor is a windowless rectangle that floats over the largely-glazed lower level; the continuous glazing of the bedrooms is enclosed in walled terraces. In the small, single-story Breeze House, Silvestre creates the illusion of two overlapping horizontal volumes. Two deeply-framed “bookcase” windows are set at 90o to one another; one is raised off the ground and the other has a lowered ceiling, so that they seem to be the projecting ends of overlapping, coupled volumes. In the Balint House, the two floors are fused together into a streamlined oval, with the continuous windows on each end deeply recessed behind cantilevered balconies.

    It is worth pausing a moment to take a look at the ground floor of one of the most expansive versions of this type, the Aluminum House in Madrid. The roughly square plan is divided inside into three unequal spatial bands that run from one end of the volume to the other. The bands of the large “day area” and the narrower dining room and kitchen are located behind the continuous glazed facades on opposite sides of the volume, which overlook the front and back gardens respectively. The entry and circulation hall occupies the central band, together with a strip of smaller service spaces beside it. This central hall is expressed on the more solid side walls with glazed openings, thus marking the interior spatial division on these facades.

    The plan is much like those of the simplified neo-Palladian plantation houses of colonial North America, with their central stair halls and rooms to each side, or the Neoclassical Miesian versions of Philip Johnson and others of the 1950s, as analyzed by Colin Rowe in “Neoclassicism and Modern Architecture”.(1) But the differences are notable as well: the plan is not symmetrical, and it is not frontally organized.

    The circulation axis is perpendicular to the view axis, which it partially interrupts, resulting in a rather Janus-headed division between the living spaces on either side. The successive turns in direction from the street to the entry, and then into the living spaces, bring to mind similar complexities studied by Kenneth Frampton in “Frontality vs. Rotation”. (2) In short, these subtle formal differences give the plan a considerable dynamism when compared to the models cited by Rowe.

    Returning to our review of domestic types, the houses organized around a
    view include the clifftop projects of Alicante, the Costa Brava, the Villa Zarid in Tarifa and the Hollywood Hills. Here the organization follows the model of Mies’ Tugendhat House, with entry from above and interiors organized in a line behind the continuous glass facade overlooking the view. The structural means required to achieve these “hanging” terraces becomes an important expressive factor.

    In the Alicante House, the stair from the house to the pool deck penetrates the supporting wall in its descent, again producing a dramatic duality. In the project for the Hollywood Hills, the base supporting the house angles slightly inwards, creating a handsome shadow play of subtly folded planes at different levels, which meet along a knife-sharp edge. Silvestre first introduced such angled modeling in the House Below a Castle, again in order to differential the floors, and to integrate the openings in the angled wall planes, so that they read almost as weightless folding screens. In Tarifa, on the other hand, much of the sculptural incident appears to arise from the descent from the point of entry into the house via a series of rooftop terraces and stairs that are integrated into the rocky site.

    The sprawling House of Seven Gardens would appear to break with these types,
    if only for its size. The project extends over the site via building volumes that
    are fragments of overlapping circular arcs. Again, the tangential, knife-edge overlapping intersections and splits between these arcs, expressed across different levels, are one of the project’s sensual pleasures. The opposing arms of two of these semi-circular arcs frame the two larger volumes of the living area and a suite that includes guest bedrooms and a game room, much as in the framing end walls of the Aluminum House. Though the repetitive patterns of the design may bring to mind the cellular composition of Mansilla & Tuñón’s MIUSAC museum in León, for example, here Silvestre breaks with the self-referential quality of such Neo-Organicist precedents to create a flexible system for integrating the large program in the landscape.

  • Despite obvious differences, Silvestre’s designs for interiors and large programs explore many of the same spatial values we have observed in his domestic work. The curving Wind Tower, for example, with its cuts and folds, seems entirely uncharacteristic, but its plan parti arises from the triangular shapes of intersecting arcs of the House of Seven Gardens, in this case extruded upwards. Silvestre’s stone table base for the Petra Atelier of Stone is another variation on the theme. Andrés Alfaro, the son of the Valencian artist Andreu Alfaro, is Silvestre’s close collaborator, and perhaps the series of Alfaro’s sculptures composed of repeated arcs in tubular steel have had an impact here.

    While Fran Silvestre uses these broken arcs as expansive shapes, he has also experimented with closed ovoids and circles, as in the Balint House, the circular meeting room of the Petra showroom and the donut or drum-shaped volume of the MDK Factory, as we shall see below. While the solid elliptical disc of the Balint House is cut away for light and access, in these last two examples, the closed forms represent the maximum geometric expression of spatial interiority and continuity, with seamless walls offering no spatial orientation and no obvious point of contact with the exterior, complete in themselves. They are, in a way, the antithesis of the open flowing living spaces and endless glass facades of the houses. But at the same time, the circular interiors of the MDK drum are a kind of endless space in their own right.

    These closed circular forms may be related in part to Silvestre’s commercial interiors, where he has often worked with virtually windowless spaces. The Vegamar wine bar and store, like the Petra showroom, features a deep and narrow entry passage that culminates in a wider space at the back where much of the activity is concentrated. The designs draw visitors into these back rooms and seek to enlarge and lighten them. (Another project, the ARV offices, offers a variation, in which changing planes of color and a web of ceiling lights mark the deepest part of the irregular space as a point of arrival).

    At Vegamar, continuous strip lighting at different heights on the walls of the access corridor converge towards the back, lengthening and dramatizing its perspectival depth. They come to focus on the backlit luminous membrane of
    the dining and wine tasting area, where Silvestre develops the cross-axis to help make the space feel self-sustaining and centered. In the Petra Showroom, this interior space of arrival is more static and centered. The large, high, skylit room is occupied by the mysterious circular form of the small meeting room in its center, Silvestre’s “Stonehenge”, as he calls it, which, like the rest of the showroom, it is lined with doors concealing stone samples around its exterior.
    Here the solid circular volume contrasts with the ample open space around it,
    in a kind of counterpoint that is not so different from the play of solids and voids in many of the houses. We can look back, for example, to the opaque prism of the bedroom floor atop the House of Silence, the back wall of the living space
    in the House of Breeze and others, or the closed volume of the bedrooms in the Atrium and Hofmann houses. These service and private spaces all function in the composition as solid forms in contrast to the open, glazed living areas.

    This dialogue of solid and void reappears in the project for the Auditorium in Alfafar, where half of the enormous rectangular building is cantilevered one story off the ground, hovering over an open-air entry space and the glazed lobby beyond it. The space above the cantilever contains the skylit expiation hall, while the auditorium rises beside it, with the seating and stage sloping below grade in order to maintain the contained, prismatic volume of the whole. Here the play of solids and voids arises from eroding an otherwise perfect prism. This subtractive sculptural process is repeated in the project for the Hotel Arcadia, with deep slits of different heights that wrap around the volume in horizontal bands.

    The MDK Factory would at first appear to be a dialogue between two contrasting solids, with the circular drum raised over a solid square base. The walls of the drum are finished in a translucent membrane which will admit natural light while reading as a continuous, closed surface. Gentle arcs lift the drum off the roof of the square base, a rhythmic spacing that is unusual in Silvestre’s work, and that draws our attention to these virtual voids, appearing and disappearing that separate the base and the drum, and that seem to set the drum itself into rotary motion.

    After studying in Valencia, Silvestre worked for Álvaro Siza, particularly on a large house in Mallorca. But like Eduardo Souto de Moura, he avoids anything that might resemble Siza’s highly eccentric and personal vocabulary, though his work shares with Portuguese master’s the unspoken conviction that architecture remains essentially a Modernist idiom. Silvestre’s work belongs more to a new, emerging generation of architects, together with figures such as Fabrizio Barozzi and Alberto Veiga in Barcelona or José María Sánchez García in Madrid. The work of all these studios stands out for its geometric clarity and forcefulness.
    Yet Silvestre’s designs are at the same time very different from these contemporaries. A certain air of monumental heaviness can invades Barozzi Veiga’s projects, while García Sánchez relishes rough textures and rude materials such as galvanized steel. In contrast, Silvestre’s structural daring, his floating planes and sheer walls of glass, and his insistent sublimation of materiality into surface and line, give his designs a quality of effortless weightlessness that is almost futuristic.

    The rather Minimalist forms of these studios may have affinities as well to certain Swiss architects, as represented by Peter Zumthor, and to the influential example of Alberto Campo Baeza in Madrid. But Fran Silvestre is not an essentialist, in search of some lost, rooted authenticity, nor do we find him tuning in to the divine harmonies of perfect geometric form under the light. His art, for all its abstraction, is more about the problem at hand, and how to create a setting
    for daily life that lifts us out of the ordinary, and towards a more complete and awakened sensual engagement with our surroundings.

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  • Jardín de las Arquetas. Urbanismo – Teruel, España

    Pabellón en un campo de limones. Architects Spain

    Pabellón en la Colonia Güell de Gaudí. Arquitectura – Barcelona, España

    Centro de alto rendimiento deportivo (Colaboración con Álvaro Siza). Arquitectura – Panticosa, Huesca, España

    Edificio Zaida. Arquitectura – Granada, España

    Rectorado de la Universitat de València. Arquitectura – Valencia, España

    Edificio de investigación. Arquitectura – Paterna, Valencia, España

    Viviendas en Alboraya. Arquitectura – Alboraya, Valencia, España

    Casa en la ladera de un castillo. Arquitectura – Ayora, Valencia, España

    Jardín público, centro comercial y edificio de viviendas. Arquitectura – Bétera, Valencia, España

    Casa en un acantilado. Arquitectura – Calpe, Alicante, España

    Centro de arte y auditorio. Arquitectura – Alfafar, Valencia, España.

    Arquitectos Valencia

    Casa del atrio. Arquitectura – Godella, Valencia, España

    Silla Alis. Diseño de producto – Valencia, España

    Casa en un campo de olivos. Arquitectura – Ayora, Valencia, España

    Casa entre el jardín. Arquitectura – Godella, Valencia, España

    Tienda Prada. Diseño interior – Valencia, España

    Casa en el centro de la ciudad. Rehabilitación – Madrid, España

    Casa de las aristas. Arquitectura – Caudete, Valencia, España

    Torre Eólica. Arquitectura – Valencia, España

    Sala de exposiciones. Diseño interior – Valencia, España

    Centro de ocio. Arquitectura – Valencia, España

    Casa sobre la pinada. Arquitectura – Valencia, España

    Sala polivalente en Tinglado. Rehabilitación – Valencia, España

    Instituto Tecnológico de Informática. Arquitectura – Valencia, España

    Casa de aluminio. Arquitectura – Madrid, España

    Oficinas Fain. Diseño interior – Madrid, España

    Fundación Arquitectura Contemporánea. Arquitectura – Córdoba, España

    Casa sobre el paisaje. Arquitectura – Altea, Alicante, España

    Casa sobre la ciudad. Diseño interior – Valencia, España

    Edificio 1995. Rehabilitación – Valencia, España

    Edificio de viviendas en Valencia. Arquitectura – Valencia, España

    El jardín azul. Diseño interior – Valencia, España

    Canopy. Diseño de producto – Valencia, España

    Casa en el bosque. Arquitectura – Valencia, España

    Casa en el Carmen. Diseño interior – Valencia, España

    Ático en Blasco Ibáñez. Diseño interior – Valencia, España

    Ático en la Gran Vía. Diseño interior – Valencia, España

    Casa entre la ciudad. Diseño interior – Valencia, España

    Casa en Ruzafa. Diseño interior – Valencia, España

    Ático en Antiguo Reino. Diseño interior – Valencia, España

    Plaza urbana Petrés. Arquitectura – Valencia, España

    Sostre. Diseño de producto – Castellón, España

    Casa en Bruselas. Arquitectura – Bruselas, Bélgica

    Showroom L’Antic Colonial. Diseño interior – Castellón, España

    Casa entre la pinada. Arquitectura – Paterna, Valencia, España

    Casa Balint. Arquitectura – Bétera, Valencia, España

    Casa Hofmann. Arquitectura – Valencia, España

    Casa en Plaza América. Diseño interior – Valencia, España

    Vivienda en Gran Vía. Diseño interior – Valencia, España

  • Casa en Santorini. Arquitectura – Santorini, Grecia

    Vinoteca Vegamar Selección. Diseño interior – Valencia, España

    Casa de la brisa. Arquitectura – Castellón, España

    Architects Spain

    Oficinas ARV. Diseño interior – Valencia, España

    Blau. Colección Gandiablasco. Diseño de producto – Valencia, España

    Architects Spain

    Casa Conde Orgaz. Arquitectura – Madrid, España

    Casa L y T Conde Orgaz. Arquitectura – Madrid, España

    Termas de Alzahara. Arquitectura – Granada, España

    Hotel Impluvium. Arquitectura – Toledo, España

    Casa Antiguo Reino. Diseño interior – Valencia, España

    Casa en Gran Vía. Diseño interior – Valencia, España

    Casa en el Álamo. Arquitectura – Madrid, España

    Átic Blau. Diseño interior – Valencia, España

    Local comercial en Xilxes. Arquitectura – Castellón, España

    Oficinas OAV. Diseño interior – Valencia, España

    Casa en Ruzafa. Diseño interior – Valencia, España

    Casa espejo de agua. Arquitectura – Calpe, Alicante, España

    Yate Topaz. Diseño interior – Valencia, España

    Vivienda en Alameda. Diseño interior – Valencia, España

    Casa de Aaena. Arquitectura – Cullera, Valencia, España

    Vivienda en Cirilo Amorós. Diseño interior – Valencia, España

    Conjunto de viviendas en Tres Cantos. Arquitectura – Madrid, España

    Hotel Room. Diseño interior – Castellón, España

    Casa entre Medianeras. Arquitectura – Alginet, Valencia, España

    Casa en Altea Hills. Arquitectura – Altea, Alicante , España

    Casa en el horizonte. Arquitectura – Santa Pola, Alicante , España

    Hotel Arcadia. Arquitectura – Villajoyosa, Alicante , España

    Casa en Hollywood Hills. Arquitectura – Los Ángeles, Estados Unidos

    Casa de los siete jardines. Arquitectura – Sotogrande, Cádiz, España

    Casa del silencio. Arquitectura – Valencia, España

    Proyecto en la Albufera. Arquitectura – Valencia, España

    Showroom Levantina. Diseño interior – Madrid, España

    Zaguan Lauría. Diseño interior – Valencia, España

    The Stone Atelier. Diseño interior – Valencia, España

    Casa Zarid. Arquitectura – Tarifa, Cádiz, España

    Residencia de estudiantes. Diseño interior – Rocafort, Valencia, España

    Nave industrial en Ribaroja. Arquitectura – Ribaroja, Valencia, España

    Flat. Diseño interior – Valencia, España

    Casa en Sotogrande. Arquitectura – Sotogrande, Cádiz, España

    Casa en Rublyovka. Arquitectura – Moscú, Rusia

    Espacios Exteriores. Colección Gandiablasco. Diseño de producto – Valencia, España

    Sede MDK. Arquitectura – Elche, Alicante, España

    Casa en Orihuela. Arquitectura – Orihuela, Alicante, España

    Dos casas en Dénia. Arquitectura – Dénia, Alicante, España

    Casa Fababú. Arquitectura – Chiva, Valencia, España

    Casa en Costa Brava. Arquitectura – Girona, España

    Showroom Petra. Diseño Interior – Valencia, España

    A Chair. Colección Capdell. Diseño de producto – Valencia, España

    La cuarta habitación. Diseño interior – Valencia, España

    La casa vacía. Rehabilitación – Godella, Valencia, España

  • Complejo residencial y oficinas. Arquitectura – Estepona, Málaga, España

    Faus Group. Dirección Creativa – Gandía, Valencia, España

    Espai Alfaro. Diseño interior – Godella, Valencia, España

    Edificio Ribalta. Arquitectura – Castellón, España

    Edificio Tres. Architects Spain

    Edificio Embajador. Arquitectura – Murcia, España

    Sede TBK. Arquitectura – Elche, Alicante, España

    Casa del lago. Arquitectura – Girona, España

    Casa en Burriana. Arquitectura – Burriana, Castellón, España

    Casa en el Lago Como. Arquitectura – Como, Suiza

    Ático en Benidorm. Diseño interior – Benidorm, Alicante, España

    Rascacielos en Benidorm. Arquitectura – Benidorm, Alicante, España

    White Palace. Arquitectura – Vis, Croacia

    Living Quart. Arquitectura – Quart de Poblet, Valencia, España

    Complejo residencial en Qingdao. Arquitectura – Qingdao, China

    Showroom en Pekin. Diseño interior – Pekín, China

    Masterplan en Zibo. Urbanismo – Zibo, China

    Casa en Lisboa. Arquitectura – Lisboa, Portugal

    Ático en Calpe. Diseño interior – Calpe, Alicante, España

    Colección Martínez Medina. Diseño de producto – Valencia, España

    Oficinas BAV. Diseño interior – Burjassot, Valencia

    Showroom en Nigeria. Arquitectura – Lagos, Nigeria

    Colección Viccarbe. Diseño de producto – Valencia, España

    Club de Tenis Valencia. Arquitectura – Valencia, España

    Barraca en el Palmar. Rehabilitación – Valencia, España

    Campus Cerámicas Vives. Arquitectura – Castellón, España

    Complejo residencial y comercial. Arquitectura – Jingzhou, China

    Compac. Dirección Creativa – Valencia, España

    Catedral anglicana. Arquitectura – Manchester, Reino Unido

    Proyecto stand Gandiablasco. Diseño interior – Milán, Italia

    Alquería del Pi. Rehabilitación – Valencia, España

    Jesús Orrico. Diseño gráfico – Valencia, España

    Hotel Arcadia. Diseño gráfico – Alicante , España

    Idur. Diseño gráfico – Murcia, España

    Alfaro Siza. Ideas encontradas. Diseño gráfico – Valencia, España

    Niu. Design Construcion Company. Diseño gráfico – Valencia, España

    Las casas del lago. Arquitectura – Girona, España

    Colección Punt Mobles. Diseño de producto – Valencia, España

    Arquitectos Valencia

    Campus Zumex Group. Arquitectura – Valencia, España

    Casa en Cala Conta. Arquitectura – Ibiza, España

    Hotel en Moscú. Arquitectura – Moscú, Rusia

    Hotel en Ibiza. Arquitecura – Ibiza, España

    Plaza pública. Urbanismo – Barcelona, España

    Centro cultural. Arquitectura – Chella, Valencia, España

    Casa en Rocafort. Arquitectura – Rocafort, Valencia, España

    Centro de Ocio y Cultura. – Valencia, España

    Casa del Sol. Arquitectura – Madrid, España

    Hotel Ópera. – Valencia, España

    Jardín privado y pabellón. – Madrid, España

    Hotel en Valencia. Arquitectura – Valencia, España

    Fran Silvestre

    Arquitectos Valencia

    Architecture concepts

    Luxury villas

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