If my poetry has a meaning at all, it is this spatial, unlimited tendency, which is not satisfied with one habitation Pablo Neruda Among Neruda's many quotes about his houses, the quote above explains much about the intrinsic relation between his poetry and his living spaces. The dynamic of his houses, with their incremental processes through time, is the concrete expression of this "spatial, unlimited tendency". Neruda's poetry was so extended, intense and plural that it needed different, emblematic and creative spaces. It is as if Neruda spatialized his poetry; therefore, it does not become "satisfied with one habitation". Neruda's houses enchant and acquire a sort of idiosyncrasy, reflected on their form, on the mixture of building materials, and also on their growth process, with multiple construction stages. They have been the object of several books and articles (Bottiglieri, 2009; Vial, 2010; Canales, 2007); however, the approach has been fragmented, analyzing them part-by-part or space-by-space. Valenzuela (2000), for instance, believes that the fact that the houses have been built in parts, or little by little, prevents them from being analyzed as a global project. This understanding seems also to prevail when Mayorga (1996) explains that her analysis would be made by plans in an independent spatial reading, due to the absence of related spaces among the floors. For some scholars, Neruda's houses were built based on his collections: those elements that he found and wished to gather in one same space (Vial, 2004). There is no doubt that "things" - as some refer to the acquis of collections, furniture and memorabilia brought home from many places - play a fundamental role in the work and life of Pablo Neruda (Vial, 2010). In fact, some authors consider that his houses were not houses in a strict sense, but numerous parts, each one a sort of trunk to keep and shelter the things that he had collected along the years (Bottiglieri, 2009). This line of thought is supported by the fact that although Neruda wrote abundantly about "things" (the snails, the ship figureheads or the ode to onions), he did not write about space. The premise of this paper is that space, as much as the collections it contains, has much to say about Pablo Neruda. His direct participation in the conception and construction of his houses gives us the opportunity to try to understand the poet as an architect and not only as a builder Given the importance of the history of these spaces in the life of the poet, the present paper is a contribution to the studies about Neruda's houses through a perspective that privileges both the totality (instead of the parts) and the process (instead of the final product). The parts, and the stages of growth are analyzed in their relation to the other parts or stages of the houses. Space Syntax methods and approach have much to offer in this perspective. The paper corresponds to the first part of a post-doctorate research in progress, using the Space Syntax theory and methodology. Although this paper only refers to one of Neruda's houses. Isla Negra, the intention is to study his other houses as well: Michoacàn, La Chascona, La Sebastiana and La Manquel. In the following paper a morphological study of the house of Isla Negra1 is presented, considering each stage of its growth and change, until the last of Neruda's intervention in 1973.