Es

5

 

Technique

The process is highly technological, but it becomes something artisanal and manual. Technology, trade and craftsmanship are combined throughout the process. From the initial two-dimensional drawing, the starting point, it shifts to a digitised environment. Change is constant and two-directional: from technique to technology, from manual to digital. It’s paradoxical. Technology offers a new opportunity to introduce design, manually tailored to each specific case. That’s luxury.

5

 

Technique

The process is highly technological, but it becomes something artisanal and manual. Technology, trade and craftsmanship are combined throughout the process. From the initial two-dimensional drawing, the starting point, it shifts to a digitised environment. Change is constant and two-directional: from technique to technology, from manual to digital. It’s paradoxical. Technology offers a new opportunity to introduce design, manually tailored to each specific case. That’s luxury.

5

 

Technique

The process is highly technological, but it becomes something artisanal and manual. Technology, trade and craftsmanship are combined throughout the process. From the initial two-dimensional drawing, the starting point, it shifts to a digitised environment. Change is constant and two-directional: from technique to technology, from manual to digital. It’s paradoxical. Technology offers a new opportunity to introduce design, manually tailored to each specific case. That’s luxury.

Can it be big? Pablo and Ana show up. I know Pablo from the sea urchin days. They show me the garden, that wall and that fig tree in whose shade Ana used to play. This project came about through people brave enough to believe in something even before seeing it. The 3D print we had in our hands was barely 8.2 centimetres in diameter and 4.2 centimetres high. Can it be big? That’s what my pieces are always waiting for an opportunity to be. It all starts with drawing the exact dimensions in great detail. I print 3D scale models of the different variations; it’s a highly architectural process that I find natural to work with. I assemble a catalogue, explore variations, and discard by comparison.

Can it be big? Pablo and Ana show up. I know Pablo from the sea urchin days. They show me the garden, that wall and that fig tree in whose shade Ana used to play. This project came about through people brave enough to believe in something even before seeing it. The 3D print we had in our hands was barely 8.2 centimetres in diameter and 4.2 centimetres high. Can it be big? That’s what my pieces are always waiting for an opportunity to be. It all starts with drawing the exact dimensions in great detail. I print 3D scale models of the different variations; it’s a highly architectural process that I find natural to work with. I assemble a catalogue, explore variations, and discard by comparison.

Can it be big? Pablo and Ana show up. I know Pablo from the sea urchin days. They show me the garden, that wall and that fig tree in whose shade Ana used to play. This project came about through people brave enough to believe in something even before seeing it. The 3D print we had in our hands was barely 8.2 centimetres in diameter and 4.2 centimetres high. Can it be big? That’s what my pieces are always waiting for an opportunity to be. It all starts with drawing the exact dimensions in great detail. I print 3D scale models of the different variations; it’s a highly architectural process that I find natural to work with. I assemble a catalogue, explore variations, and discard by comparison.

Preliminary variations

 

 

  

Preliminary variations

 

 

  

Preliminary variations

 

 

  

Final variations altering the order of segments A and B (2B/4A/2B) (8A) (8B)

Final variations altering the order of segments A and B (2B/4A/2B) (8A) (8B)

Segment A is opaque; segment B has three large oval openings. Segment B is the result of projecting three circumferences, each with a different radius, onto the axis of the floor plan of segment A; when vertically transferred to the plane of the piece, those circumferences become ellipses. Geometrically, each segment is a four-centimetre-thick profile with thirty-degree radial extrusion. The entire piece consists of four opaque segments (A) and four perforated segments (B) arranged in a 240-degree radial sequence (2B/4A/2B).

Segment A

Segment B

The sea urchin's extravagance is derived from the fact that its interior is hollow and only exists when the repeated individual segments that form it are joined. Almost a mystery. A hollow column. The proportions are not arbitrary. They follow the Fibonacci sequence in every parameter.