Martos House, a compact yet eloquent insertion by Adamo-Faiden in a dense urban context of Buenos Aires, reimagines the single-family dwelling as an infrastructure for vertical biotopias, proposing a syntactical inversion of interior and exterior relationships where the domestic program recedes to allow the vegetal to ascend, the project unfolds in a tight parcel yet articulates a volumetric generosity through its section, characterized by a pronounced setback and inclined plane that hosts a linear garden, this operation not only liberates the facade but turns the building into a mediating membrane between the street and a sequence of layered voids, with public-private gradients defined not by walls but by thresholds of light, vegetation and enclosure, the structural diagram shows a delicate stacking of functions that embrace porosity—service spaces below, living quarters midsection, and an open rooftop garden framed by a mesh fence as a quasi-urban mirador, the facade, clad in corrugated metal sheeting, abstracts the house into a silent monolith by day, yet its subtle folds, the perforated gate and strategic openings generate a tension between concealment and invitation, especially at night when the soft interior light reveals the silhouette of the interior garden, the most radical gesture, however, lies in the way the house acts as a support system for plant life, converting architecture from object to scaffold, as seen in the case of the elevated tree that perforates the second floor and extends toward the open sky, thus Martos House transcends the typology of infill housing to become a prototype of urban ecological infrastructure, proposing a discreet yet firm resistance to overbuilt logics through the performativity of vegetation and sectional invention.
