Certain Freshness

 

Nestled within an expanse of snow-blanketed terrain, this architectural monad embodies the paradox of contemporary retreat, where transparency becomes shelter and the elemental contrast between interior heat and exterior frost cultivates a unique experiential dialectic, the circular glass enclosure dissolves boundaries between the domestic and the wild, while the thatched, pyramidal roof acts as a primordial gesture reconnecting human habitation with vernacular wisdom, forming a thermal cap above an otherwise technologically nuanced envelope, inside, the minimalist interior is curated with warm hues, organic textures and restrained furnishings that allow the flickering hearth to assume symbolic and functional centrality, the soft glow of artificial lighting bathes the sculpted walls in amber, transforming spatial perception and reinforcing a mood of protective stillness, an analysis of the floor plan reveals a carefully orchestrated programmatic choreography, in which the opaque central core houses service and sleeping functions, creating a sense of enclosure without impeding the panoramic gaze, an exemplary case is the alignment of seating and hearth facing outward across the open landscape, enabling users to inhabit the liminal space between comfort and exposure, a spatial metaphor that underlines the monad’s ethos of introspective solitude and environmental immersion, ultimately, this structure transcends the notion of cabin or refuge by reconfiguring the aesthetic of isolation into a sophisticated architectural proposition that leverages material honesty, volumetric clarity and site responsiveness to construct a retreat that is not an escape from the world but a recalibration of our presence within it.

Tectonic Lightness

This project articulates a way of living that merges contemporary comfort, rational assembly and refined architectural style, where formal economy does not equate to expressive poverty but rather to a serene elegance grounded in essentials, starting with its elevated placement that detaches the volume from the natural ground, protecting it from dampness and enhancing cross-ventilation, while the pitched galvanised roof evokes the archetypal rural house without falling into nostalgia or mimicry, consolidating a clear, timeless image expressed through a rhythmic modular façade that conceals an interior of precise, fluid organisation, where spaces unfold without marked hierarchies and longitudinal circulation connects the intimate and the communal in a single spatial logic; the extensive use of wood panelling throughout the interior generates a warm, enveloping atmosphere, with iconic furniture and soft lighting reinforcing a sophisticated domestic ambience free from ostentation or noise, achieving equilibrium between constructive rationality and sensory experience, as exemplified in the dining-study area where multiple uses coexist seamlessly, and the bespoke furniture resonates with the overall materiality to reaffirm a cohesive identity; a paradigmatic case is the integrated storage-library wall, which both organises the technical core and subtly delineates rooms without closing them off, demonstrating how functional assembly can simultaneously be structural support and spatial poetics, concluding that this architectural approach aspires to be both efficient and emotional, not imposing itself upon its surroundings but coexisting through constructive honesty and a restrained aesthetic that does not renounce beauty.

 

Cubismo de barra * Manuel Maqueda

Maqueda Merino, M. (1989)

La serie La Tasca de Grazalema (1989) de Manuel Maqueda Merino (MMM) constituye una meditación visual sobre el entorno rural como detonante, donde un sencillo bar de pueblo se transforma, a través del filtro expresionista y geométrico del artista, en un dispositivo de análisis formal y resonancia afectiva; nacida de un apunte realizado en 1985 dentro de una tasca en Grazalema, esta serie de 18 obras en tinta, acrílico y óleo, convierte el fragmento del recuerdo en composiciones de planos rotos, figuras curvas, mesas angulosas y fondos que se desdoblan, haciendo del lugar una reinterpretación abstracta del espacio social, en las que el sujeto es retratado como presencia diluida en la coreografía del trazo y el color, entre figuración y descomposición. Una escena coral donde los personajes, apenas insinuados, se funden con los objetos.

Precarious Monumentality

The paradox embodied by the so-called Cathedral of Mejorada del Campo, an edifice initiated in 1961 by the self-taught builder Justo Gallego and subsequently transformed into a locus of symbolic devotion, architectural singularity and social assistance, now subject to municipal closure on the grounds of lacking formal licences, thereby foregrounding the tension between charismatic construction and regulatory sovereignty. Conceived without approved plans and assembled through recycled materials, the structure emerged as an act of personal faith materialised in brick, concrete and improvised engineering, progressively acquiring media resonance and communal attachment despite its juridical irregularity; its unfinished towers, circular drum and eclectic historicist references evoke both aspiration and fragility, situating the building in a liminal condition between sanctuary and anomaly. The recent decree issued by the Ayuntamiento of Mejorada del Campo in February 2025, affecting public visits, exhibitions and the humanitarian activities undertaken by the NGO Mensajeros de la Paz under Padre Ángel’s presidency, crystallises a fundamental dilemma: can an architecture born outside normative frameworks sustain public use without institutional validation. As a case study in informal monumentalism, the cathedral exemplifies how individual agency can generate spatial magnitude yet remain structurally and administratively vulnerable, particularly when programmes expand to include food distribution and temporary accommodation for vulnerable persons, intensifying the demand for safety compliance. Ultimately, the closure does not merely suspend access; it reasserts the primacy of procedural legality over affective legitimacy, compelling reflection on whether architectural meaning derives from devotion and social function or from adherence to codified standards, and revealing how the boundary between visionary persistence and regulatory infringement defines the destiny of unlicensed monuments in contemporary urban governance. informal architecture, Mejorada del Campo cathedral, Justo Gallego, architectural legality, unlicensed buildings Spain, vernacular monumentalism, NGO Mensajeros de la Paz, urban regulation Madrid, self built cathedral, architectural governance The municipal closure exposes the conflict between visionary self built monumentality and institutional regulatory authority.

Semantics Ascendant

The intellectual trajectory of Alfred Tarski constitutes a decisive inflection in twentieth-century logic, wherein the concept of truth was emancipated from metaphysical opacity and reconstituted as a mathematically disciplined notion. Educated within the exacting milieu of the Lwów–Warsaw School and later consolidated at the University of California, Berkeley, Tarski advanced a semantic programme that reoriented metamathematics from proof-theoretic introspection to model-theoretic analysis. His seminal articulation of truth for formalised languages—encapsulated in Convention T—stipulated material adequacy through biconditionals of the form “‘p’ is true if and only if p”, thereby forging a correspondence schema immune to semantic paradox via hierarchical language stratification. This conceptual architecture found technical reinforcement in the undefinability theorem, demonstrating that sufficiently expressive languages cannot internally define their own truth predicate, thus delimiting formal self-reference with surgical precision. Parallel to these semantic innovations, Tarski’s work on logical consequence reconceived validity as preservation of truth across all models, instituting the now-canonical model-theoretic criterion. A concrete illustration emerges in the celebrated Banach–Tarski paradox, where set-theoretic decomposition defies geometric intuition, exemplifying the latent power of axiomatic abstraction. Collectively, these contributions synthesise into a coherent vision: logic as an invariant structural discipline, continuous with mathematics yet reflexively aware of its own expressive limits. Tarski’s legacy, therefore, resides not merely in discrete theorems but in the institutionalisation of semantics as the sovereign method of modern logical inquiry.

Recalibrating Analytic Self-Image

The entrenched self-conception of analytic philosophy as intrinsically wedded to formal logic has long functioned as a legitimating mythos within twentieth-century intellectual history; yet a rigorous quantitative interrogation of five flagship journals between 1941 and 2010 decisively unsettles this orthodoxy. Through systematic corpus analysis, the study reconstructs the empirical footprint of logic according to three calibrated indices: presence, functional role, and technical sophistication. Strikingly, nearly three-quarters of the surveyed articles exhibit no substantive logical content, thereby challenging the narrative of ubiquitous formalism. Where logic does appear, it predominantly serves an instrumental rather than constitutive function, deployed as a clarificatory apparatus rather than as the architectonic core of argumentation. Although the data indicate a gradual increase in formal complexity over time, the overall level of technical elaboration remains comparatively modest, undermining claims of pervasive mathematical rigour. A salient case synthesis drawn from mid-century philosophy of language illustrates this pattern: symbolic notation is frequently invoked to regiment arguments, yet rarely elaborated into fully fledged proof-theoretic frameworks. The cumulative evidence compels a reconceptualisation of analytic philosophy not as a monolithic enterprise of formal derivation, but as a heterogeneous practice in which logical method operates contingently and often superficially. Consequently, the so-called prevailing view collapses under empirical scrutiny, inviting a more historically nuanced and methodologically pluralistic account of the discipline’s evolution. Bonino, G., Maffezioli, P. and Tripodi, P. (2021) ‘Logic in analytic philosophy’, Synthese, 198(11), pp. 10991–11028. Available at: https://www.jstor.org/stable/48692753

Residual Depth

The publication of Deep Residual Learning for Image Recognition by Kaiming He, Xiangyu Zhang, Shaoqing Ren and Jian Sun at IEEE Conference on Computer Vision and Pattern Recognition 2016 constituted a decisive epistemic rupture in the evolution of deep learning. Their central innovation—the formulation of residual learning through identity-based skip connections—addressed the degradation problem that had hitherto constrained the effective training of very deep convolutional neural networks. Rather than compelling stacked layers to approximate a direct mapping, the architecture reparameterised the objective as the learning of a residual function, succinctly expressed as F(x) + x, thereby stabilising gradient propagation and enabling networks exceeding one hundred layers to converge reliably. Empirically validated on ImageNet, the proposed ResNet achieved unprecedented accuracy while exhibiting remarkable optimisation efficiency, rapidly becoming a foundational scaffold for subsequent architectures across vision, language, and multimodal systems. A compelling case study of its intellectual diffusion is observable in applied domains such as Asian food classification, where hybridised ResNet variants incorporating attention mechanisms and data augmentation strategies demonstrably elevate top-1 accuracy. Thus, the ResNet paradigm exemplifies how a mathematically economical reformulation can precipitate a paradigmatic transformation, rendering it one of the most cited and structurally generative contributions in contemporary artificial intelligence scholarship. He, K., Zhang, X., Ren, S. and Sun, J. (2016) ‘Deep Residual Learning for Image Recognition’, Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition, Las Vegas, 27–30 June, pp. 770–778. https://doi.org/10.1109/CVPR.2016.90

Tactical Humanism

Saul D. Alinsky inaugurates a manifesto of radical pragmatism, positioning revolution not as revelation but as disciplined, cumulative action grounded in political reality. His opening proposition—that transformation must begin “from where the world is”—constitutes a decisive repudiation of utopian abstraction and doctrinal rigidity. Against ideological absolutism, he advances a supple framework of relativist power analysis, contending that effective change arises from organised pressure, calibrated tactics, and an unflinching recognition of the probabilistic nature of political outcomes. The dialectic between revolution and counterrevolution, reform and retrenchment, is treated not as anomaly but as structural inevitability; every advance generates its negation, and strategy must anticipate this duality. Alinsky’s tripartite schema—the Haves, Have-Nots, and Have-a-Little, Want-Mores—provides the sociological engine of mobilisation. It is within the ambivalence of the middle stratum that transformative energy incubates, for contradiction begets creativity. His Chicago Seven anecdote illustrates a central axiom: political moments are volatile fields of probability, and squandered initiative concedes narrative control to power’s custodians. Thus, organisation becomes the crucible in which dispersed grievances are transmuted into collective leverage. Ultimately, Alinsky redefines revolution as the slow forging of popular capacity, wherein democracy is neither static ideal nor rhetorical ornament, but an instrument for redistributing power. The enduring insight is austere yet emancipatory: power concedes only to organised, strategic, and adaptive pressure, and without such discipline, indignation dissolves into spectacle rather than structural change.

The roof ridge is not a residual geometric consequence but a deliberate environmental instrument capable of orchestrating light modulation, thermal regulation, and spatial hierarchy within vernacular and contemporary architecture alike.

Traditionally conceived as the culminating line of pitched construction, the apex becomes, when consciously articulated, a mediating diaphragm between interior enclosure and atmospheric flux, capturing prevailing breezes, channelling rising heat, and admitting calibrated zenithal illumination. The inclined planes converge not merely in structural resolution but in performative opportunity, transforming the summit into a passive bioclimatic mechanism that reduces mechanical dependency and enhances experiential quality. Through sectional manipulation, apertures aligned along the crest can induce stack ventilation, while translucent inserts refine daylight penetration, generating chiaroscuro effects that dignify otherwise modest materials such as brick, timber, or clay tile. As a case study, consider a tropical dwelling embedded within dense vegetation, where the pronounced ridge integrates continuous clerestory glazing beneath overlapping tiles; here, the apex operates as a thermal chimney, expelling accumulated heat while diffusing softened daylight across textured masonry walls, thus producing comfort through geometry rather than machinery. The resulting interior is neither hermetically sealed nor vulnerably exposed, but dynamically attuned to climatic contingencies, exemplifying architectural resilience through formal intelligence. In conclusion, to “exploit the ridge” is to recognise the summit of the roof as an ecological hinge, a tectonic and atmospheric threshold where structure, climate, and perception converge into a coherent spatial thesis, reaffirming that sustainable innovation often resides not in added technology but in the latent potential of elemental form. roof ridge design, passive ventilation architecture, tropical house section, bioclimatic strategies, clerestory lighting, sustainable roofing, stack effect ventilation, vernacular construction, environmental architecture, architectural section design The roof apex becomes a climatic device, enabling ventilation and daylight through form rather than mechanical intervention.

Perceptual framing

 

Conceived as a prototypical structure rather than a permanent edifice, this intervention situated in Italy reinterprets the defensive terrace of a historic maritime bastion as a site for experimental inhabitation, where the introduction frames the project as a research artefact testing the spatial, structural and climatic capacities of timber within a saline Mediterranean context, and the development unfolds through a rigorous examination of its curved shingled roof, whose continuous surface operates simultaneously as protective canopy and formal manifesto, articulating a dialogue between vernacular memory and parametric abstraction, while the exposed dark frame, composed of triangulated beams and calibrated joints, asserts constructive legibility and underscores the didactic intention of the prototype, namely to demonstrate how minimal material deployment can achieve maximum environmental modulation through shade, ventilation and orientation; elevated delicately upon a stone plinth and accessed via a linear stair that transforms ascent into perceptual preparation, the artefact does not enclose but rather frames the seascape, converting the horizon into programme and redefining refuge as a condition of measured exposure instead of defensive withdrawal; as a case study in coastal experimentation, the Italian setting intensifies questions of corrosion, wind load and solar incidence, thereby positioning the structure as a laboratory for maritime resilience and reversible occupation.

[500] SOCIOPLASTIC-MESH * CONSOLE * SYSTEMIC-LOCK * STEADY-STATE-GATEWAY

Welcome. This is the clear front door to Socioplastics, the long-term system initiated by Anto Lloveras. This page is written as a console: simple, structured, legible. It explains the whole system in compact units. A node in the Mesh is not a casual post. It is a structured epistemic unit. Each node is divided into some short paragraphs, each paragraph functioning as a micro-component. Together they compose one load-bearing idea. Nodes connect through deliberate citation, forming a relational architecture of knowledge. Socioplastics is a sovereign epistemic infrastructure. It treats architecture not as object production but as the design of durable meaning. In this system, buildings, texts, exhibitions, and tags become structural elements in a living network. The key shift is this: knowledge must be constructed like space. In an era of algorithmic noise and digital forgetting, ideas dissolve unless they are hardened, linked, and metabolized. Socioplastics proposes that architecture becomes infrastructure for thought.

Atmospheric intimacy

 

Emerging seamlessly from the cultivated slopes of the Tyrolean landscape, this architectural intervention reveals a deliberate synthesis between built form and geological memory, evoking a monumental serenity through its triangular silhouette that mirrors the dramatic alpine backdrop, while embracing a spatial poetics grounded in material authenticity and sensorial warmth, the building's sweeping roof gestures downward like an earthen mantle, enfolding a luminous interior where natural light cascades through expansive panes, choreographing the rhythms of daily life and seasons into the heart of the space, the choice of materials – local stone, pale timber, and mineral textures – transcends mere aesthetic coherence to become a tactile strategy for climate and comfort, anchoring the edifice in both geography and memory, inside, the sculptural helical staircase becomes the spatial nucleus, a dynamic axis around which flow work, rest, and reflection, while the monumental rock fragment encased in glass evokes deep time, rooting the visitor in a sense of elemental continuity, this stone, neither ornamental nor symbolic, functions as the geological soul of the building, a fragment of origin standing still amidst fluid human activity, its thermal mass resonating with the gentle heat circulating through the structure, offering not just physical shelter but emotional refuge, a warming of the psyche as much as the body, thus, the architecture operates as both tectonic homage and sensorial strategy, harnessing the vernacular essence of Tyrol to articulate a future-oriented yet context-sensitive design, where climate, culture, and atmospheric care converge into a luminous and grounded gesture that speaks of presence without spectacle and comfort without excess.

SHEMAN * TRANS-HUMANOID * Portable Ontologies, Urban Prosthetics, and the Weightlessness of Radical Presence

Conceived as an alter ego, SHEMAN operates through displacement rather than representation. The body that animates it is never fully visible; instead, authorship dissolves into a hybrid silhouette, producing what might be termed distributedSubjectivity alongside urbanEmbodiment. This is sculpture as delegated action: a form that exists only through being carried, negotiated, and risked within real circulation systems. Its activation in the street converts infrastructure into dramaturgy, foregrounding friction, fatigue, and attention as sculptural materials. The city does not host the work; it resists it. SHEMAN Trans-Humanoid emerges not as an object but as an operative condition, a vertical anomaly that infiltrates the city with deliberate awkwardness. Its exaggerated limb, elongated and unstable, rejects anthropomorphic coherence in favour of a prosthetic surplus that dislocates the human scale. Here, postMonumentality collides with corporealDelegation: the work abandons the fixity of sculptural sovereignty and redistributes agency across carrier, street, and passerby. The sculpture’s extreme lightness—both physical and symbolic—functions as a counterweight to the historical burden of statuary, replacing permanence with exposure, and endurance with vulnerability.

BACKUP * 260211 SOCIOPLASTICS

 

::::::::: SOCIOPLASTICS

[500] SOCIOPLASTIC-MESH * CONSOLE * SYSTEMIC-LOCK * STEADY-STATE-GATEWAY

Welcome. This is the clear front door to Socioplastics, the long-term system initiated by Anto Lloveras. Welcome to the clear front door of Socioplastics, the long-term system initiated by Anto Lloveras. This node is written as a console: simple, structured, legible. It explains the whole system in compact units. A node in the Mesh is not a casual post. It is a structured epistemic unit. Each node is divided into some short paragraphs, each paragraph functioning as a micro-component. Together they compose one load-bearing idea. Nodes connect through deliberate citation, forming a relational architecture of knowledge. Socioplastics is a sovereign epistemic infrastructure. It treats architecture not as object production but as the design of durable meaning. In this system, buildings, texts, exhibitions, and tags become structural elements in a living network. The key shift is this: knowledge must be constructed like space. In an era of algorithmic noise and digital forgetting, ideas dissolve unless they are hardened, linked, and metabolized. Socioplastics proposes that architecture becomes infrastructure for thought.

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ARCHIVE Red Bag * Relational Infrastructure Exploring social practice, relational aesthetics, and urban interventionism. SPANISH BAR _________ BAR ESPAÑOL ***** CONTEXT AS READYMADE _________ UNSTABLE INSTALLATION SERIES The traditional Spanish bar, once a vibrant hub of community life, is fading into memory. These spaces, where neighbors gathered for a morning coffee or an evening caña, are giving way to generic cafes and themed eateries that lack the charm and authenticity of the old taverns. What was once the beating heart of local culture—a place for debate, laughter, and camaraderie—is now being replaced by polished, impersonal establishments. This shift reflects a broader transformation of urban landscapes, driven by gentrification and changing social habits. With each bar closure, an era ends. NTNU CITY CAMPUS 2050 * INTERNATIONAL URBAN DESIGN COMPETITION BY URBANAS Proposal by Urbanas for the international design competition imagines a fjord-connected, compact, and sustainable campus. A visionary blueprint blending architecture, ecology, and pedagogy. I International Congress of Ecological Humanities Universidad Autónoma de Madrid — May 22–24, 2023 The Trans-Lighthouse Manifesto * Ecological Humanities and the "Fifth City" FRAMING THE LANDSCAPE Fredrik Lund’s playful 2012 visors—wearable frames crafted from cardboard—resurface as prescient tools for spatial empathy; once worn in NTNU’s studio and Oslo’s landscapes, they transformed bodies into mobile apertures, merging architecture, performance, and critique; these early experiments, blending poetry, pedagogy, and ecology, now echo in Lund’s hybrid teaching and Some Houses, where built forms mirror terrain with tactile humility; in a world shaped by AI and climate urgency, Lund’s socioplastic ethos invites us to wear architecture, not as armor, but as dialogue. PURPLE LEGS * MONOCHROME SELF SCULPTURE SERIES - LONDON PROVENCE - COLLECTION PAULA LUND Purple Legs as Urban Taxidermy and Instant Sculpture Chromatic Machines in a Prefab Factory Lilac and orange modules, once playful contrasts in prefab factories, return as tools for ecological transition—hosting air systems, rest pods, or EV hubs. Beyond aesthetics, they frame a socioplastic ethic: color as mediator between body, machine, and atmosphere. In a post-brand landscape, these forms persist—adaptive, affective, and quietly radical. LAPIEZA is an experimental art project founded by Anto Lloveras and Esther Lorenzo The Rhizomatic Vanguard of Relational Aesthetics * Decolonial Sequences and Temporal Ecologies in LAPIEZA's Experimental Praxis Stage Series *Double Sided* is a conceptual dance and film series by Anto Lloveras and Mateo Feijoo, exploring themes of duality and minimalism through real-time, two-channel performances. Each movement echoes the previous one but varies subtly, emphasizing the ephemeral nature of process-based art. Inspired by Beckett, 1960s American minimalism, Erwin Wurm’s sculptures, and Paul Preciado’s philosophy, the series uses minimal scenic elements and standardized wardrobe to focus purely on bodily presence and rhythm, creating an aesthetic of deliberate simplicity and raw expression. Designing the Urban Grid of ARCO’05 This project, developed under the @TABLE unit, functioned as a temporary city that challenged the rigid structures of the traditional art fair. By utilizing industrial materials such as shipping containers, wooden battens, and DM boards, the design addressed the friction between global commerce and the need for human-centric social nodes. Mineral Choreographies The Anatomy of a Rustic Wall * Organic Assemblies and the Harmony of Irregularity Twins on a Slope * Architecture as Gravitational Ethics * NORWAY Architecture, like skiing, requires balance, foresight and the ability to read the slope LAPIEZA * GALERÍA EXPERIMENTAL ARTÍCULO EL VIAJERO DIARIO ELPAÍS Landart Fjord Museum * Architecture as Land Art * The Museum as Ecological Interface Designed to merge with the forested fjordscape of Hardanger, Norway, the Landart Museum presents a refined example of low-impact architectural integration, combining energy efficiency, material responsibility, and experiential depth. The building minimises energy consumption across all systems through passive design strategies: its structure, primarily raised on pillars, reduces land occupation and environmental disruption while promoting air circulation and visual permeability. Constructed with locally sourced timber, it echoes regional construction traditions and reduces embodied energy. SUPERNOVA BORDADOS SISTER * EL INTRUSO 2024 BACK IN PROVENCE * CORRENS 2019 The Relational Topography of Provence: Hegelian Synthesis in the Socioplastics of Anto Lloveras * A Dialectic of Landscape and Body VELÁZQUEZ 100 SITUATION ___ PLANCTON * Situación Velázquez 100 * The Architecture of Compression Conceptual art action centered on temporal and situational art practices, where artists intervene in a defined space for three hours. The project critiques the traditional boundaries between the artist, artwork, and audience, emphasizing collaborative creation and the transformation of personal artistic narratives into a collective memory. 360 º TV SET Television set for Disney Channel, designed by TABLE and published in the Official College of Architects of Madrid (COAM) magazine. The 15 x 15 meter set was conceived as a playful and versatile space for 360-degree filming. The design emphasizes creating a flexible environment to accommodate various television activities within the same set. A mound of rubble sits behind the glass (Lloveras, 2025) Occupying the gallery * LAPIEZA HIDDEN FORCES The “Hidden Forces” project is a conceptual land art series set in the dunes of Cádiz. It transforms graffiti-covered concrete into minimalist art using solid black rectangles, drawing on Suprematism’s geometric aesthetics. The intervention contrasts the organic dune forms and the stark black shape, symbolizing the tension between human impact and nature. As the winds and sands shift, these markings will inevitably fade, emphasizing the impermanence and invisibility of human presence. This ephemeral act becomes a dialogue between concealment and revelation in the landscape’s context. CADÁVER EXQUISITO___2020 ACCIÓN MUSEOGRÁFICA ESPACIO CRUCE The performance "Cadaver Exquisito" took place at Cruce, Doctor Fourquet 5, on October 31, 2020. It was a collective action where each participant played a role: one threw, another dissected, another narrated, another carried with care, and another prepared a ritual. The form of the "corpse" was influenced by various elements—mass quality, spatial tangency, conversational dynamics, body temperatures, and interest in dissolution. The "Exquisite Corpse" is a method of collective creation, originally from literature, where each participant adds to the work without knowing the previous contributions, resulting in an unpredictable and emergent final composition. TAXIDERMY I _________________LONDON 2015 THE CITY IS AN ANIMAL URBANAS - Critical Urban Praxis URBANAS is an international urban research practice led by Paula Lloveras and Anto Lloveras, working between architecture, art, and critical spatial investigation. Their projects activate cities as analytical and experimental frameworks where design, narrative, and fieldwork intersect to examine infrastructures, bodies, and territorial transformations Unstable Light * Entangling the Social Fabric A transdisciplinary investigation where the body, the light, and the net converge into a single "Social Sculpture". Activated in the landscape of Provence, this work visualizes the invisible threads of collective memory and human rights. It is a process-based investigation into how shared materials can bridge cultural gaps and foster sustainable coexistence through a continuous state of mutation. re-(t)exHile IV Lagos Art and Architecture Biennial * Resistance in the Afterlife of Cloth Presented at the 4th Lagos Art and Architecture Biennial in February 2024, re-(t)exHile occupies the symbolic space of Tafawa Balewa Square, a former colonial racecourse turned civic arena, to address themes of sovereignty, displacement and material memory; curated by Folakunle Oshun and Kathryn Weir, the Biennial challenges conventional exhibition models, favouring open-ended and collaborative formats where artworks act as generative gestures rather than final forms, and in this context, re-(t)exHile materialises as a relational installation composed of discarded textiles, ephemeral structures and found materials that trace the movement of global waste across African territories; created by Martinka Bobrikova, Óscar De Carmen, Adebola Badmus, María Alejandra Gatti and Anto Lloveras, the work is informed by prior field research, a photographic archive by Mide King, and digital storytelling, forming a living document that explores refuge, exile and repair through the lens of textile circulation and environmental violence; more than a static piece, it acts as a critical fabric, stitching together postcolonial narratives and the overlooked economies of secondhand clothing in Lagos. YELLOW BAG - UNSTABLE INSTALLATION SERIES - SITUATIONAL FIXER 2014-2024 The Yellow Bag is an active object in Anto Lloveras’s work, functioning as both carrier and witness within performances, installations and walks across Europe, Africa and Latin America its symbolic presence gathers meaning through its travels, from the streets of Madrid to the beaches of Mexico, where it collects, connects and transforms materials and memories into ephemeral art it acts as a situational fixer, adapting to place and gesture while retaining its identity as a living artwork THE LIGHT IN PROVENCE On form, color and affection - situational performance - Broth Broth Ritual (2020) is a journey through the primordial fluid from which we emerge, where floating particles and incandescent light evoke the energy of creation and the origins of matter. The KIWI * Camarote Experience * Post Industrial Domesticity and Relational Epistemologies Camarote (2003–2008) is a transformation of a Madrid workshop into a living-thinking art lab that fuses architecture, theory, and domesticity. HUSØY ARENA //// SOCIAL CLUB /// NORWAY / 2012 * WITH FREDRIK LUND / PAULA LLOVERAS Husøy Arena * From Playing Field to Civic Surface Cuerpos Filmados: 10 Years of Active Socioplastics. A decade-long meta-film archive- Dive into the rhizomatic archive of Cuerpos Filmados. This ten-year longitudinal study (2008–2018) captures the intersection of architecture, epistemology, and art. A transdisciplinary laboratory of filmed agency, documenting the collective survival of the urban subject across Madrid, Mexico DF, and beyond.

ICONIC BUILDING NEXT TO TRAIN TRACKS __ 24 ATELIER UNITS. MADRID M-40 The Trole Building, designed by Anto Lloveras and Alberto Sánchez Cabezudo, is an iconic structure located in the south of Madrid. Initially an old coffee factory, it was transformed into a modern office space with a striking facade of white zinc panels. The design emphasized creating a contemporary aesthetic in contrast to the surrounding brick buildings. The project required complex planning and adjustments to comply with local regulations, including fire safety measures. The building’s minimalist exterior and clean lines make it a standout in its industrial context. MUDAS - Mexico City The MUDAS installations consist of a single fresh banana leaf pinned to the wall, which gradually dries out, changing color and releasing a distinct aroma that fills the space. This process is inherently social as visitors are photographed interacting with the piece, creating a participatory experience. The artwork connects to local culture, using the same banana leaves traditionally employed in making tamales, adding a layer of contextual significance. As the leaf transforms over time, it symbolizes change and ephemeral beauty, blending installation art with a tactile, sensory engagement rooted in local customs. The Duna-Dunaj Double Symposium Socioplastic Rituals and the Vernacular Readymade Everything Changes in This Place in Malasaña Imagine a place where installations undergo constant changes, where every artistic work, exhibition, or performance leaves its mark. LAPIEZA embodies this concept. It is a container and a platform for “relational art.” LAPIEZA is a collective work, with periodic performances called “mutations.” Every week, an artist contributes a recently executed piece, which is created live. The audience can witness the realization of the artwork in real time and interact with the environment. Small Orange Tag * Sculpture Translational Tactics for a Weightless Aesthetic KINGDOM SERIES A small geometric removal in moss and leaves, almost invisible. The work resists monumentality, existing only as fragile alignment between body, ground and season. Quickly reclaimed by fungi and weather, it proposes subtraction as care, a solitary practice of listening to landscape and its transient, biotopic rhythms. MEAT — Unstable Installation Series PAN DE NEVE Pan de Neve proposes a scene-as-score structure rooted in minimalism, animism and real-time improvisation, drawing from the prior project Sons-Nús – Catro Nubes but expanding its scope through a refined sensorial dramaturgy, the performance unfolds across ten sound fragments—or places—activated by five bodies on stage The Digital Prosumer and the Archive of the Connected Subject * YouTube Breakfast as an Epistemic L Already in 2009, Anto Lloveras presented YouTube Breakfast at a doctoral seminar at UAM, focusing on how the accumulation of video content online is a form of collective intelligence. The workshop highlighted that historical film archives, videography, and recorded conferences, once accessible only in museums, are now part of a digital “new school” accessible to everyone on platforms like YouTube. This session emphasized the need to engage with this vast digital knowledge as a form of public memory and evolving cultural practice. Chromatological Displacement and the Nomadism of the Object: An Analysis of Socioplastic Rupture * T A portable sculpture and positional fixator * Part of the UNSTABLE INSTALLATION SERIES (2014–2024), it has traveled across multiple locations, including Madrid, Mexico, Norway, Croatia, and Lagos. The briefcase transforms spaces into ephemeral artworks, blending urban mobility with conceptual art. In continuous use, it transcends conventional exhibition formats. From Physical Lots to Hyperlinked Clouds Socioplastic Frames and Relational Semionautics (2011–2015) WALL RITUALS * THE LIGHT IN CÁDIZ Ephemeral Rituals and the Supernatural Wall * A Dialectic of Consumption and Sacred Space * The Light in Cádiz as FoodArt Synthesis EL PALMERAL * Sustainable Neighbourhood Manifesto (Lloveras & Lloveras * Urbanas, 2017) El Palmeral received an honourable mention in the 2017 COAM Urbanas competition under the theme Manzana Verde – Sustainable Neighbourhood in Málaga. Designed by Paula Lloveras Caminos and Antonio Lloveras Caminos, the project envisions a dense, walkable, mixed-use neighbourhood anchored in environmental responsibility, historical continuity, and social cohesion. At its core, El Palmeral proposes a city that requires no fossil fuels, based on efficient land use, compact housing typologies, and a focus on green infrastructure and low-carbon construction. The urban layout integrates 11 tower buildings (up to 18 floors) surrounded by low-rise housing, urban gardens, shaded boulevards, and collective open spaces, fostering both environmental performance and community life. Presented at the Urban Center at Morlaco in Málaga and published in Revista Arquitectura COAM 373 Manifiesto, the project stresses the value of traditional urbanism, historical street networks, and adaptable public-private interfaces. Its diagrams explore emissions reduction, building typologies, and flexible modularity, advocating for a city model that is sustainable, inclusive, and resilient. Microscale Green Infrastructures as Everyday Therapeutic Landscapes: The Restorative Potential of Sm Small urban green spaces in central Madrid offer restorative benefits closely linked to vegetation, safety, and time spent on-site. Using psychometric scales, the study finds that these areas promote mental restoration, especially when designed to support social interaction and environmental quality. The results underscore the importance of integrating green micro-infrastructures into dense urban settings as part of public health and urban planning strategies. What Is The Word * The Architecture of Affection and the Monochromatic Satellite Beyond the gallery fetish, the Light Social Sculpture Series redefines the art object as a "situational fixer." A nomadic intersection of Beckettian inquiry and chromatic intervention, these works transform the urban trajectory into a living archive of memory, affection, and radical presence. SKOGFINSK MUSEUM The Norsk Skogfinsk Museum in Svullrya, Norway, integrates architecture with the forest landscape, reflecting the heritage of the local Forest-Finnish community. The design, called "Opening in the Forest," emphasizes sustainability with passive building strategies, natural materials, and renewable energy. The spatial layout includes public exhibition areas, a library, and a café, seamlessly connecting interior and exterior spaces, creating a respectful blend of culture, architecture, and nature. Portable Memory and Ritual Affection The blanket, featured persistently across the Unstable Installation Series (2020–2024), operates not as an object but as a device of affect, circulation and performative presence. Stripped of its domestic singularity, it reappears across geographies—draped on chairs, hanging from walls, wrapped around bodies in winter landscapes or layered over furniture in modest interiors—accumulating narrative tension through repetition. This continuous activation resists aesthetic fixity, privileging gesture over monument, use over preservation. The blanket becomes a surface of interaction where time, bodies and context inscribe meaning, generating a fluid archive rooted in relational encounters and situated rituals. Threads of Meaning * The Emotional, Political, and Healing Power of Contemporary Textile Art The international panel at the Guimarães Biennial 2024, curated by Lala de Dios, explored the evolving role of contemporary textile art in addressing personal, political, and healing themes. Artists showcased how textiles transcend their traditional functions, becoming powerful tools for emotional expression, activism, and storytelling. Projects like Re-(t)exHile emphasized sustainability, while works by Barbara Long and Meghan Price highlighted intimate narratives. Qualitätskontrolle III: A Synesthetic Installation FIT 2021 CÁDIZ Qualitätskontrolle III transformed the former tobacco warehouses of Cádiz into a synaesthetic installation where film, choreography, sound and architecture merged into a single organism. Rather than staging a theatre piece, the work unfolded as a process of composition in situ: a haute cuisine dish “served warm,” without script or fixed narrative. Each participant—dancers, musicians, technicians, even the audience—functioned as ingredients of a collective recipe. The scenography was built from sacks of coarse salt, blankets, scaffolding, banners and cables, combined with the colossal emptiness of the nave itself. Two large suspended screens projected a film that mirrored the live action, binding reality and representation in a continuous feedback. LIGHT CONCRETE SCULPTURE BLITZ BETON WORKSHOP ______ ROTTERDAM MUSEUM PARK NATURE BOY SUPERNATURAL - SERIES 2023 - TWIN FILM INSTALLATION Cultures, Representations, and the Cultural Study of Science Science and Culture Studies was a research network based in the Madrid Region focused on the intersection of cultures, representations, spaces, and practices. It provides a shared platform for reflection, research, and education, positioning science as a core element of cultural interest. The network supports the study of public knowledge spaces—political, artistic, economic—and promotes scientific knowledge dissemination within cultural contexts. CREP fosters collaborative research and training initiatives across diverse groups. Activities include seminars, exhibitions, courses, and symposia, such as the 2011 Strategic Seminar featuring Daniel Martín Bayón and Kira O’Reilly, hosted by LaPieza. ART MEETS FASHION * SETS AND CLIPS 2011 MADRID LAPIEZA Art Meets Fashion is a hybrid visual project where ephemeral garments, sculptural fashion and urban scenography converge. Part of LAPIEZA’s Unstable Installation Series, it reimagines the body as a mobile platform for site-responsive installations. Shot in Madrid in 2011, the project offers looped clips and striking imagery where models interact with precarious materials and symbolic props. The result is a poetic critique of aesthetic systems, consumption, and identity, framed under the concept of Socioplastics. OPEN AIR GALLERY / NORWAY COLLABORATION WITH FREDRIK LUND / PAULA LLOVERAS - Nordic Landscape and Dialogues of Wood and Site COSMOTIDIANO A "mutable collective habitat"—a temporary occupation that addresses the friction between institutional space and the raw vitality of collaborative practice. EL DORADO * Socioplastic Sculpture (Madrid, 2013) AFFECTION IS FUEL The Twenty-Gram Monument * Sculpting Shared Proximity LEMON KISS - UNSTABLE INSTALLATION SOLO SHOW AT PULA CROATIA / NEVER SOLO / 100 ARTIST AT DISPLAY 2014 informe "CASOENAC Colima, México Proyecto que se enmarca dentro de una colaboración académica y de investigación relacionada con la psicología ambiental y el urbanismo. Específicamente, proviene de un proyecto conjunto entre la Universidad Autónoma de Madrid (UAM) y la UNESCO, en el que participaron José Antonio Corraliza, psicólogo ambiental, y Anto Lloveras, arquitecto. El trabajo se centra en la evaluación y mejora del espacio público en Colima, México, con un enfoque en el bienestar de las personas mayores y la accesibilidad. El proyecto implicó trabajo de campo, reuniones con instituciones locales y recomendaciones de intervención en urbanismo y diseño inclusivo. La participación de la UAM resalta la conexión entre la investigación académica y las soluciones prácticas aplicadas a proyectos de desarrollo urbano​. LEGAL About Privacy Policy Cookies Policy Legal Disclaimer (Terms of Service) Contact Information The Experience of the City: Public Space, Nature and the Right to Urban Meaning This course examines the configuration and crisis of urban public space from multiple perspectives —architecture, psychology, ecology— emphasising nature as a structural and symbolic component of urban life. Doube Sided — Residence on an Island Double Sided operates as a diptych in motion—two parallel bodies, two lines of thought, approaching without collapsing. What emerges is a legible scenic language built from graphic syntagms, everyday objects, and subtle sonic fields that translate the affective texture of the ordinary. The project advances through serial actions. Each body composes its own sequence while remaining porous to the presence of the other. This dual focus—autonomy and resonance—structures a didactic system that is rhythmic, self-regulating, and experimental. Stability on one side; intelligibility in the fold. The scene becomes a testing ground where elements are distinguished, pruned, and reassembled without redundancy. RESTORAN SPLENDID ___ SOCIOPLASTICS BY LLOVERAS - WITH ::::: BRIGITTE BRAND, KOSIA, RUDI BENETIK, ME Restoran Splendid is a site-specific socioplastic installation by Anto Lloveras that redefines traditional hierarchies in visual representation. The concept centers around the idea of equality and shared presence, where each artist in the Rabbit Island residence occupies every position within a series of eight photographs. By rotating the artists through identical settings, Lloveras eliminates the notion of a fixed protagonist, ensuring that every individual takes a turn at the forefront and the background. This structured repetition blurs distinctions between subject and context, producing a visual and social equilibrium where all participants are equally highlighted and obscured. The effect is a looped, democratic tableau that resists singular narratives, celebrating the fluidity and interdependence of each contributor’s role. This approach, termed socioplastics, engages the viewer in a contemplation of communal presence, challenging the typical focus on individual prominence in art.

::::::::: Architecture Urbanism Teaching Research Exhibitions Essays Series Art Films Collectives BLUE BAGS ::::::::::: UNSTABLE SOCIAL SCULPTURE - TRANSLATORIAL 2014-2019 SITUATIONAL FIXER The Blue Bags embody the concept of the Unstable Social Sculpture, where the most basic elements — a simple plastic bag — become the most complex. These bags operate in duality: as art and as functional objects, their role shifting depending on context. They function as Translatorial pieces, transforming environments through minimal yet intentional placement. Acting as Situational Fixers, they adapt to and highlight the uniqueness of each setting, questioning the boundaries of art, utility, and visibility, thus becoming symbols of impermanence and fluidity in conceptual art. CAPA * Hegemonic Dissolution through Synthetic Cognitive Morphologies CAPA is a transdisciplinary platform rooted in agonistic theory, where philosophers, theorists, and artists co-develop micro-essays, graphic concepts, and rhizomatic dialogues. Emerging from LAPIEZA, it fosters asymmetric, non-linear conversations guided by thinkers like Foucault, Deleuze, Bourdieu and others, generating a cloud-based archive (BRAIN) of synthetic ideas. Each concept (CAPA 001–999) blends epistemology, visual language, and symbolic capital, creating a replicable, open-source model for intellectual cross-pollination and narrative experimentation. TRIENAL ***** I-II-III-IV-V ***** SERIES URBANAS * TRANSURBANISM (PHOTOGRAPHY) YOUTBE BREAKFAST * http://youtubebreakfast.blogspot.com YouTube Breakfast: Rhizomatic Pedagogy and the Decentralized Classroom * Disruption as Methodology in the Socioplastic Network The Semiotics of the Cloud: * Active Socioplastics in the Frozen Heat Series The Architecture of the Invisible * Active Socioplastics and the Digital Satellite in the LLLL Light Social Sculpture Series Bordados Sisters * The Sonic Legacy of El Intruso SOUND IS KEY THEWOODWAY Norway with Fredrik Lund @ NTNU Video series documenting a pedagogical architecture experiment in Norway (NTNU, 2008), reveals the power of collaborative construction as both educational strategy and spatial research. The project involved eighty first-year architecture students building a one-to-one wooden superstructure, generating eighteen distinct spatial concepts under the guidance of faculty and professionals. Filmed and edited as short episodic reflections, the series frames architecture not as static output but as a processual practice, grounded in participation, negotiation, and continuous interpretation. Teaching as a Critical Dissemination Tool The NTNU Architecture Masters Series (2019) represents a pivotal intersection where academic instruc SNAKE Redefining Small-Lot Living at Calle Gravina in MADRID BLUE PANTS The repeated motif of the blue trousers—sometimes worn, sometimes arranged on the sand, sometimes painted into a landscape—anchors a body that is both present and absent, material and spectral. The garment becomes a stand-in, a proxy through which identity is negotiated in unstable contexts, shifting from performance to installation, from drawing to landscape action. LACALLE * A Right-to-the-City Device 2010-2026 A performative-urban project emerging from an urgent artistic and political intuition: to return poetic action to the street as a form of civic presence, affective protest, and spatial listening. Rooted in the collaborative matrix of Maite Dono (voice), Hectruso (MiniRoc system) and El Intruso (live sound), LACALLE unfolds as a series of mobile performances across different Spanish cities—Ferrol, Madrid, Gijón, Sevilla, Almería—where the act of walking, sounding, and speaking becomes a situated reappropriation of public space. The MiniRoc, a wearable sound apparatus carried like a backpack, is more than a tool—it's an expressive prosthesis that turns the performer into a walking amplifier, a poetic antenna. Each episode—filmed and archived by Tomoto—transforms overlooked urban environments into sites of encounter and disruption: from whispering to a market wall to amplifying voice in a salt mine or a decaying square, these gestures are minimal yet deeply charged, forming a poetics of the infrastructural. TAXIDERMY III RIGO GALLERY CROATIA 2017 Taxidermy as Installation involves the cutting and rearrangement of objects to create a fragmented but cohesive visual language. By dissecting materials like fabric, leather, or even furniture, each piece transforms into an abstract composition, exploring themes of absence, presence, and reconstruction. Minor Letter e * From Industrial Ruin to Socioplastic Memory * LAPIEZA 001e LAPIEZA ART SERIES 001 A compact visual reflection on how a typographic sign—specifically the letter “e”—can embody both fracture and memory. Through domestic spaces, studio walls, scorched ruins, and gestures, the video tracks the symbolic collapse and persistence of cultural remnants. The letter is more than a glyph; it becomes a witness, carried, broken, and recontextualized across time and space. The visuals move from warmth to desolation without explanation, embracing discontinuity as a form of narrative. This approach foregrounds the poetic in the fragment, where meaning isn’t stated but sensed. By refusing clarity, the work invites us to dwell in the gaps between object, body, and ruin, rendering the typographic symbol as a relic of both language and loss. RECREO SPACESHIP __MOVEMENTS FOR AN UNSTABLE SYMPHONIC RITUAL - SERIES 118 - 1389-1397 SERIES 117 - Recreo Art Space is a dynamic 100 m² venue for interdisciplinary projects blending art, performance, and spatial exploration. “Movements for an Unstable Symphonic Ritual” series navigates themes of fluidity, ritual, and transformation. The evolving installations—spanning several series—invite collaboration and spontaneous creation, bridging the gap between artistic experimentation and shared space. VENUS The Phenomenology of the Generic Skin EASY RIDER Inspired by the free-spirited ethos of motorcycling culture, the building is conceived as a "street garage" — an infrastructure that integrates private living with communal systems of mobility and recreation. The architectural layout takes on a dynamic zig-zag form, optimising solar exposure and allowing for efficient spatial sequencing across floors. Plans include shared patios and multi-functional rooftop terraces, enhancing community interaction. The ground floor and vertical core are configured as shared circulatory spaces that mimic urban streets, painted in bold graphic lines to simulate roadways, further blurring the boundaries between public and private space. Ecocritical Mediations in the Duna Series The Sunflower Fields art residency in Bokros, Slovakia, part of the Supernatural Series, is an ongoing project that integrates nature and local culture. The residency, hosted by artist Yuri Dólan, provides a collaborative space for artists to engage with rural landscapes, working in a historical farm setting surrounded by sunflowers, cornfields, and the Danube River. The event includes installations, lectures, and performances, emphasizing relational and situational art. Central themes include temporality, nature, and context-based narratives, resulting in exhibitions and film productions. A renovation involved the complete removal of all partitions * CJCM MADRID The workstations were separated by sheet metal shelving units that served both sides. The design featured wooden floors and exposed electrical systems, resulting in an affordable yet elegant transformation. Urban Punch Love Agonistic Urbanism and the Anthropomorphic Interface * The Radical Affectivity of Urban Punch Love * Relational Ethics in the Post-Municipal Public Sphere Colador Shelf in Camarote Geometric Synthesis * Spatial Reconfiguration FRESH TEXT The mesh is live * Chemotaxis engaged Socioplastic-OS has bootstrapped into operational sovereignty . Architected by Anto Lloveras as an auto-reflexive epistemic kernel, it tran... THE 300 BLOWS OF THE MESH * Withdrawing From Explanation THE METABOLIC BODY: ARCHITECTURE OF AFFECTION Node 300 is the  Operational Spine  of a body that has become a  Living Archive . It is an  Ar... [500] SOCIOPLASTIC-MESH * CONSOLE * SYSTEMIC-LOCK * STEADY-STATE-GATEWAY Welcome. This is the clear front door to Socioplastics, the long-term system initiated by Anto Lloveras . Welcome to the clear fron... Nodal Profile (Synthetic Overview) Transdisciplinary Praxis Anto Lloveras | Transdisciplinary Praxis Anto Lloveras (b. 1975) is a Spanish architect and visual researcher whose work navigates the fric... Nourishing the Transdisciplinary Body with Epistemic Nutrients from Biophilic Urbanism to Decolonial Ecologies and Beyond * The First 100 Protein Entries in Socioplastics Mesh: The inaugural 100 Protein entries within the Socioplastics mesh represent a vital infusion of conceptual nutrients, metabolizing diverse thr... A Protocol for Urban Recursion Thesis in Synthesis:  The Socioplastic Mesh presents a terminal urban theory that refutes descriptive, object-based paradigms, positing the ... SOCIOPLASTIC-OS-PATCH-460 460-SOCIOPLASTIC-MESH-LIKE-PLANT-TOWARD https://holaverdeurbano.blogspot.com/2026/02/460-socioplastic-mesh-like-plant-toward.html 459-SOC... Some Proteolytic Enzymes In the entropic substrate platform culture—where semantic mass decays into engagement residue and meaning volatilizes under algorithmic pred... Language as Infrastructure   The Topolexical Engine - This is the Mesh’s operational core, its methodological coup. It dismantles the "Disciplinary Silos" t... Immanent Validation We are terminally bored with comparison. The critical reflex to triangulate a new praxis against extant lineages—relational aesthetics, inst... FAST HEARTBEAT * NORWEGIAN FJORD * IN ICE COLD WATER The nocturnal dimension intensifies the work’s ontological stakes. Darkness erases orientation, transforming the fjord into an abstract void where perception falters. This withdrawal of visual certainty foregrounds proprioception and fear as primary materials. THERMODINAMIC ESSAYS ^* FALL 2018________STONE FIRE WATER_____NEGRADAS Fire, Stone, and Ocean as Durational Praxis NETWORK LAPIEZA ART SERIES URBANAS YOUTUBE BREAKFAST TWINS RED LINE PORTABLE SCULPTURE SERIES UNSTABLE LOVE SERIES *PHOTO FILM NARRATIVE INSTALLATION CONCEPT Unstable Love and the Physics of Affection * Photography’s Duration Versus Video’s Collapse * ULS 1000 HUMAN RIGHTS AND CULTURE CONGRESS ___________________ POSTORY :::::::: Gentrification, Turistization Socioplastics, as articulated by Antonio Lloveras Caminos, serves as an evolving concept that aligns artistic practice with cultural ecology and transformation. In a world grappling with urgent socio-political, economic, and cultural challenges, socioplastics emerges as a framework for fostering creative engagement in the face of these crises. It embodies the intersection of relational art and the dynamics of cultural environments, proposing artistic interventions as tools to reshape collective consciousness and reclaim public spaces House and Dome: Minimal Architecture as Conversational Sculpture Belonging to the Minimal Architecture Series, exemplifies an aesthetic of radical simplicity, where the structure is reduced to the most elemental gestures: lines of bamboo and threads barely outlining the memory of a shelter. What emerges is not a model of construction but a diagram of inhabitation, a fragile articulation between geometry and void. Its architectural vocabulary resists solidity; instead, it thrives on instability, exposing the precariousness of all spatial definitions. Presented within the context of the Unstable Installation Series at Zuccato Gallery in Poreč, Croatia, and in dialogue with Danino Bozic under the curatorial direction of Jerica Ziherl, the work functions as both installation and conversation. Here, architecture becomes performance, a medium for negotiation and encounter rather than permanence. The Rhizomatic Vanguard * Relational Synthesis of LAPIEZA An analytical critique of LAPIEZA, exploring its digital network integration, relational aesthetics, and the mutative avant-garde. PAN 009 LAPIEZA ART SERIES 2010 Crushed Memories and Toxic Affections *The Relational Ecology of SERIE PAN * Decolonial Sequences and the Sociology of Superjunk H I T S 1,608,054