In Kamara 4, the mosaic that dominated the building prevails, polished after being found almost untouched. Two internal boxes, defining the sanitary spaces, are clad with ceramic material with the appearance of aged sheet metal, and their ceilings are closed with industrial partitions and glass, creating the feeling of a roof, like the roofs of the inner courtyards of the machine shops that protected machinery and equipment. At times they remind one of a ship’s cabin along with all its accessories, referring to ship’s sheets collected from the sinful road of the sheet metal shops, where the cobblestone girls made their stand. In chamber 3, the stonework on the walls unobtrusively scrapes time, as light leaps through windows with skylights. The elevated bed with stairs creates a representation of being along with a microcosm of sensuality, constructed from woods that were already present in the space. The characteristic black handles draw the eye and refer us to the religious but also sinful image of Saint Dionysius, next to the road where the cobblestone girls made their stand. Kamara 4 is bathed in the light of the inner courtyard with its lush garden.