The open-plan apartment presents a fundamental design challenge. Without walls to separate functions, how does a space become a living room, a bedroom, or an entrance hall? One experimental project in Vilamoura, Portugal, by Corpo Atelier approaches this question through architectural abstraction. Three yellow objects sit inside a white box: an architrave, a fallen column, and a plinth arranged separately like puzzle pieces. The viewers perception of the space changes depending on how these objects are interpreted, as architectural fragments, as furniture, or as abstract sculpture. This ambiguity is deliberate and reveals something important about how people read and understand interior space.
The Challenge of Defining Space Without Walls
In a conventional apartment, walls dictate movement and use. The kitchen stays in the kitchen because the walls say so. In an open plan, those boundaries must be created through other means: changes in floor level, ceiling height, lighting, material transitions, and the placement of freestanding objects. The Corpo Atelier project pushes this idea to its logical extreme.
How Sightlines Replace Barriers
The white box has no internal partitions at all. The three yellow objects are the only elements that organize the space. Their arrangement creates an immediate perceptual shift. The previously empty room suddenly has zones, even though nothing physically separates them. One area becomes an entrance hall. Another becomes a central living room. A third zone claims the best light for a bedroom with a panoramic view.
The Viewer as Active Participant
A key insight from this project is that spatial definition requires an active viewer. The three objects only make sense when the observer mentally places them together, like solving a puzzle. This cognitive engagement makes the space feel more dynamic than a room with fixed walls. The experience of moving through the installation, discovering the relationships between objects, and constructing meaning from the arrangement becomes part of the architecture itself.
| Spatial Cue | Physical Element | Effect on User | Permanence |
|---|---|---|---|
| Level change | Step up or step down | Signals transition between zones | High |
| Material shift | Different floor or wall finish | Subconscious zone boundary | Medium |
| Color accent | Painted wall or colored object | Visual anchor and attention grabber | Low to medium |
| Furniture placement | Sofa, cabinet, or sculpture | Functional zone definition | Low |
| Lighting zone | Pendant, track, or spot | Activity-specific illumination | Medium |
| Ceiling treatment | Dropped or raised ceiling | Implies room within a room | High |
Abstract Architectural Elements as Space Organizers
The three objects in the installation each reference a classical architectural element. The architrave is the beam that spans columns in classical buildings. The fallen column lies horizontally, suggesting collapse or transition. The plinth is the base that elevates a structure. Together, these fragments tell a story about architecture itself while performing a practical organizing role.
The Architrave as a Horizontal Boundary
The architrave-shaped object, when placed in the room, suggests a threshold. It marks the transition from one zone to another, much like a doorway lintel marks the boundary between rooms. In a wall-less apartment, a horizontal element at eye level or above can define an entrance area without blocking sightlines. The same effect can be achieved with a low-hanging pendant light or a floating shelf that extends across the width of a room.
The Fallen Column as a Directional Marker
The fallen column creates a linear axis in the space. It directs movement along its length and separates areas on either side. This is similar to how a low bench or a long credenza can divide a room without fully enclosing it. The horizontal line draws the eye and establishes a visual boundary that pedestrians instinctively respect.
The Plinth as a Destination Point
The plinth elevates whatever sits on it. In the installation, the plinth object anchors one corner of the room, creating a destination that the other two objects relate to. This anchoring effect is directly useful in apartment design. A raised platform or a distinct floor finish can mark the dining area or the sleeping zone, telling the occupant this spot deserves attention.
Color as a Spatial Device
The use of yellow in the installation is deliberate and effective. Against a pure white background, yellow objects command attention immediately. The color creates a visual hierarchy that overrides the neutrality of the surrounding space.
Color Temperature and Spatial Perception
Warm colors like yellow appear to advance toward the viewer, while cool colors recede. By using yellow objects, the designers ensured that each piece reads as foreground against the white background. This creates the perception of depth even in a shallow room. Color affects how people perceive the size and distance of objects in a space, making it one of the most cost-effective tools for shaping an open-plan layout.
Selective Color Application
Using color on only three objects rather than on walls or floors keeps the space flexible. If the color were on the walls, it would be permanent. Because the colored objects are freestanding, they can be repositioned or removed, allowing the spatial configuration to change with the occupants needs. This is a practical consideration for renters or homeowners who expect to rearrange their space over time.
Hierarchy Through Object Placement
The arrangement of the three yellow objects is not random. Each occupies a distinct position that suggests a different function. The architrave sits near what would be the entrance, marking a threshold between public and private zones. The fallen column stretches across the central area, dividing it into two functional zones. The plinth sits near the window wall, claiming the best light for itself.
This tripartite arrangement creates a clear spatial hierarchy: entry, circulation, and destination. The same principle can be applied to any open-plan apartment by placing key furniture pieces at strategic points rather than against walls.
Practical Object Placement Strategies
- Place a low console perpendicular to the entry door to create a visual buffer between the entrance and the main living area.
- Float the sofa 12 to 18 inches away from the wall, with its back to the room, to define the seating zone without blocking sightlines.
- Center the dining table under a dedicated light fixture to anchor the eating zone as its own territory.
- Use a tall shelving unit or fabric screen to create a partial visual barrier around the sleeping area.
- Position a desk facing into the room rather than against a wall so the work zone feels integrated rather than hidden.
Furniture as Architecture
The installations ambiguity about whether the objects are architectural elements or pieces of furniture is intentional. In a wall-less apartment, furniture must do the work that walls normally do. A bookshelf becomes a room divider. A long console marks the transition from entry to living area. A rug defines a seating zone within a larger volume.
Multifunctional Objects in Small Spaces
When every object carries spatial responsibility, multifunctional design becomes practical. A piece that serves as both a room divider and storage eliminates the need for separate furniture. A platform bed with built-in drawers can define the sleeping area while providing closet space. Understanding the relationship between scale and spatial effect helps homeowners make informed decisions about what goes where and why.
Scale and Proportion in Open-Plan Layouts
The scale of each object in relation to the room determines its spatial effect. A tall object reads as a wall replacement. A low object reads as a furniture piece. A horizontal object directs movement along its axis. The Corpo Atelier objects are deliberately oversized for their room, making them read as architecture rather than furniture. In a real apartment, a large bookcase or a substantial dining table can achieve the same effect without looking out of place.
The project demonstrates that spatial definition does not require permanent construction. Movable objects, changes in material, and strategic use of color can define a space as effectively as walls. Homeowners planning an open-plan refurbishment can start with small interventions: a single brightly colored piece of furniture to anchor a reading corner, a low bookshelf to separate the entry from the living area, or a change in flooring material to mark the dining zone. These approaches cost less than moving walls and can be adjusted as family needs change over time. Understanding how architects discuss space, form, and object placement gives homeowners a vocabulary for describing their design goals to professionals and making informed choices about their own living environment.