设计师就像是医院的内科医生一样，通过这场住宅改造的“手术”，将巴雷特先生的过往经历融入到建筑内部空间的设计中。

住宅的设计目标是能够积极地参与业主未来的日常生活。因为并不是为某一特定业主设计，所以设计团队为该住宅拟定了一个虚拟的业主：巴雷特先生。巴雷特先生是约瑟夫·洛西（Joseph Losey）电影《仆人》的主角。在由哈罗德·品特（Harold Pinter）撰写的电影场景中，巴雷特先生与他的住宅之间建立了一系列复杂而亲密的关系。住宅的室内空间不仅是非常重要的表演舞台，更成为戏剧中的一部分。电影镜头中的住宅丰富而有多面性。虽然在这次的多项目中，并没有戏剧上演，但设计团队还是希望为小空间引入“现实生活化电影”般的场景。

Internal architecture could name the process through which Mr. Barrett’s House has gone through. An interesting idea, directly borrowed from the medical world, would be to call ourselves internists in this sort of surgical intervention.

The house tries to be a dynamic actor for the future inhabitants, to participate to the everyday life of the users. As the house was not built for a specific user, a fictional character was named to inhabit the project: Mr. Barrett. He is the protagonist of Joseph Losey’s complex movie The Servant. In the scenario (written by Harold Pinter) the house is the play where a series of very complex and intimate relations appear. The interior spaces are constantly utilized as stages for relational dynamics. Mirrors and multiple points of view are shown in the movie; the apartment plays a very active role in the construction of the drama. In our case, there is no drama but a potential occupation of the small space that serves as a plot for a “real-life movie” to come into the house.

▼电影场景，movie scene

住宅原身是一栋旧车库，分为地下车位及地上公寓。改造时，原建筑内部结构被完全清空。建筑原有的木屋结构被抬起，经改造和加固后重新安置于实体建筑上。

An old garage building that was split into a car space basement and small first floor apartment has been completely emptied and worked out from the inside. The upper wooden chalet was entirely lifted, placed on the side of the actual building and then reinforced, re-structured. Only after this operation it was placed back on the top of the basement.

▼住宅外观，木质结构被抬高，exterior view of the house,  the wooden chalet was entirely lifted © Dylan Perrenoud

▼建筑一侧的停车棚，parking shed on the side of the building © Dylan Perrenoud

▼车棚细节，detail of the parking shed © Dylan Perrenoud