Completed

    Awarded

    Eternally in Process

    Research

    Past Lives  















CV (ES)      CV (EN)





Essence

There is an anciet taoist character that represents the endudring elements upon which the patterns of cutlure and consciousness are woven together, it is undurstood as silk. 

These “patterns”or “cultural wrapthreads are strenghten with those of water and earth. Toghether a third character is formed, which represents the esence of life, of all that lives, human and nature intetwined in one cosmos. 

What we do in the studio is participate in this creation of patterns, we become and help others become through design. 

We are interested in both past and future. Inspired in ancient cosmologies that better understand interconnection to wild earth and wild mind, we design for a future based on beauty, meaning and playfullnes. 

There are no boundarires in our scope of design. We believe that a project becomes stronger when multiple lenses and scales are intertwined, therefore Illustration, Graphic Design, Architecutre, Urban Design, they are all part of one language in which we aproach our way of being in the cosmos and the patterns we create.










Methodology

In all projects I work close to other than human beings, to beter understand how to live more in coherence with that which susttains us. While in the poetic side I tend to sense, observe, analize and try to respond to through visual projects, through the more technical projects I try to design in a way that makes the space architeture or object be in coherence to natures ryhthms and needs. At the end, I am just trying to find ways of living in a more balanced way with our environment, and all that sustains us. Some projects allow me to dwell in this question, and others to respond.

Although all projects fluctuate between the poetic and the technical, the process of creation is different. Art and Research projects have always been through a journey, there must be emobdiment and sensing, to then back to the pragmatic, then to design/produce, and then back to poetic and intuition, starting back again. In these processess body and other ways of knowing beyond the rational are very important.

Design projects with a client have other constraints (time, budget and legal/technical issues) that artistic or personal research does not. This does not imply that there is no space for poetics, nor for intuition, but the opposite. There is a huge need for this, its just a matter of kowing when and in what measures. I believe there is a huge power in being able to swade between poetry and technicality. The idea in these projects is to go beyond what is expecteed by the client and expand the initial desire towards something more, a space or object that activates the senses and imagination through beauty and coherence with the environment (be it the sorroundings and site, or the history and memory of place). 

I like to push myself and the client to think beyond human needs alone, and alow the project to either give to the environment somehting in return (with landscape, local materials, and vernacular building), or help us connect to our emotions and senses (may this be with light, geometry or color). Beauty is for me, about balance and proportion. This can be applied visualy and environentaly.






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