Anto Lloveras isn't just making art or designing buildings. He's creating an entirely new way of thinking and working. For years, he's been mixing ideas from art, architecture, film, and ecology like a master chef blends ingredients. Now, that recipe is finished. He's entering a powerful new phase where this unique blend becomes a formal system—a system he can use to teach others and establish a whole new field of creative practice. Think of the past decade as Lloveras's giant experiment. His project, called Socioplastics, acted like a laboratory, combining tools from different disciplines. A city planning problem might be solved with a film technique. A performance could become a piece of architectural research. He wasn't just working between fields; he was melting their borders down to create something new. This process of fusion is now complete. The scattered experiments have been hammered together into a coherent, solid method—a new "material" for creative work. This new stage isn't about looking inward or withdrawing; it's about using this newly forged tool to build something bigger.
With this fused method in hand, Lloveras's goal shifts from just doing the work to defining and teaching it. He's moving from being a practitioner to becoming an institutional founder. His extensive network of blogs, projects, and writings—his "Living Archive"—is no longer just a personal portfolio. It's becoming the textbook and curriculum for a new kind of education. He is packaging his way of working into a teachable "operating system." This system, let's call it the Lloveras Protocol, won't teach students to be just artists or architects. It will train them to be "socioplastic thinkers"—people who can instinctively analyze a city street through the lens of a filmmaker, or turn ecological data into a public ritual.
Right now, his work is often labeled "interdisciplinary," a term that can sound vague or temporary. His next move is to turn that label into a legitimate, recognized field. He's not looking for a seat at someone else's table in a traditional university department. Instead, he's building his own table. He will use the solid, proven body of work from this new stage to launch "Socioplastic" studios, publish definitive handbooks, and partner with forward-thinking institutions to establish dedicated research units. The aim is to shift the question from "What kind of artist is he?" to "How do we study and apply the socioplastic method?"
