Essays operate as critical writing, combining theory, poetics, and political analysis across art, architecture, ecology, and urbanism. These texts function as conceptual tools that extend research into discourse, reflection, and experimental forms of criticism
Essays function as autonomous works where language is treated as material. Each text builds situations of urgency, spoken in congresses, written in biennials, rehearsed in classrooms, or composed as immediate responses to political and urban conditions. They operate as critical devices that unsettle clichés, perform critique, and extend the practice of art and architecture into the textual. The form oscillates between manifesto, positional essay, poetic fragment, and theoretical meditation, always demanding intensity and presence. Writing creates architectures of rhythm and attention, producing conceptual spaces where ideas can circulate and transform. These texts carry the same instability as installations or collective actions: open, porous, mutable, ready to collapse or reappear. They do not describe external works; they construct their own terrain of affect and method. Essays generate political infrastructures for concepts like subtraction, ritual, ecology, or simulation, allowing them to move across disciplines. They serve as laboratories of thought, fragile shelters where futures are rehearsed and shared. Across years of practice, essays have acted as a parallel studio—an environment where concepts are tested before becoming installations, films, or urban prototypes. Some texts emerge from fieldwork, others from conflict, others from exhaustion or urgency, but all share a commitment to writing as a spatial operation: a way to carve out gaps, thresholds, and atmospheres in which meaning can shift. Language becomes both tool and terrain, shaping a socioplastic ecology where theory is not ornamental but operative. Each essay functions as a gesture of activation, a temporary architecture that holds tension, ambiguity, and resonance. Their task is not to close arguments but to keep them alive—circulating, reframing, and returning as new material for practice. In this sense, essays remain alive, provisional, and collective: conceptual rooms where thought gathers, disperses, and reorganizes itself in response to the frictions of the contemporary.
