Bårbara Pérez
Architect AA Dipl. 2003 COAM 15747
+34 620 03 25 37
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Thanks to Pablo and Ana, for believing in ideas and showing support for the imagination.
To Xavi Amat (Quotaller), Planas, AÌngel Arribas (Empty), OÌscar AndreÌs, Antonio Mailan (engineer), Vanesa AÌlvarez (installation photographs)
To Jaime NarvĂĄez for Lodging in a Sea Urchin book design and Gonzalo Golpe for editorial coordination.
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Translation: Art in Translation
Copyediting: Philip Sutton
Photographs of the Work: Esi Seilern
Design: Marina Meyer
Code: Readymag
Creative Commons BY-NC-ND
Bårbara Pérez
Architect AA Dipl. 2003 COAM 15747
+34 620 03 25 37
Â
Bårbara Pérez
Architect AA Dipl. 2003 COAM 15747
+34 620 03 25 37
Â
Thanks to Pablo and Ana, for believing in ideas and showing support for the imagination.
To Xavi Amat (Quotaller), Planas, AÌngel Arribas (Empty), OÌscar AndreÌs, Antonio Mailan (engineer), Vanesa AÌlvarez (installation photographs)
To Jaime NarvĂĄez for Lodging in a Sea Urchin book design and Gonzalo Golpe for editorial coordination.
Â
Translation: Art in Translation
Copyediting: Philip Sutton
Photographs of the Work: Esi Seilern
Design: Marina Meyer
Code: Readymag
Creative Commons BY-NC-ND
Thanks to Pablo and Ana, for believing in ideas and showing support for the imagination.
To Xavi Amat (Quotaller), Planas, AÌngel Arribas (Empty), OÌscar AndreÌs, Antonio Mailan (engineer), Vanesa AÌlvarez (installation photographs)
To Jaime NarvĂĄez for Lodging in a Sea Urchin book design and Gonzalo Golpe for editorial coordination.
Â
Translation: Art in Translation
Copyediting: Philip Sutton
Photographs of the Work: Esi Seilern
Design: Marina Meyer
Code: Readymag
Creative Commons BY-NC-ND
I study Form; I would define myself as a formalist with an architectural background. Studied at the Architectural Association in London where I graduated in 2003. After that I worked for the Olympic bid London 2012, Richard Rogers (today RSHP), in Madrid and London from 2004 to 2009 and Estudio Lamela, in Madrid from 2010 to 2017. At the AA I started studying parametric design and 3D printing during my last year (diploma Unit 5 with George LiaropoulosâLegendre and Lluis Viu RebĂ©s). Here I learnt my basics. These sculptures are born from getting two different things to generate a third one. Form-making. Any shape or form, when beautiful, hides some master numbers beneath. I depart from existing things that have an impact on me by their nature. Nature is the most developed form of design examined by evolution removing unsuccessful models by not allowing survival and further reproduction. I analyze and study its geometry, repetition, proportion, regulatory paths, rhythms of growth. These are variable parametric surfaces generated by extracting data and defining parameters (laws). Today data is accessible to all from almost any field. I apply basic mathematical principles to turn numbers into physical forms. I morph them until I consider them stable. This abstract scenario provides a unique condition of freedom. The scale is ultimately ambiguous by the detail and its architectural influence. The similarity to architectural models accentuates the desire to be larger. For this same reason they keep an experimental prototype character. 3D printing has obvious limitations regarding size. The challenge is scale. How to make larger pieces: Printing by segments, moulds, casting, discovering materials which acquire enough detail, structurally strong and light at the same time. In my experience each of these pieces started with a full technological base that transformed its process into pure handmade craft and alchemy. Today boundaries are found when materializing the previous abstract phase. Cost and Weight are the first to appear nevertheless Research&Design will work towards perfection in new ways of free form & large scale making technologies. Construction systems are experiencing a technological and chemical revolution towards precision and reliability. It can only get better.
I study Form; I would define myself as a formalist with an architectural background. Studied at the Architectural Association in London where I graduated in 2003. After that I worked for the Olympic bid London 2012, Richard Rogers (today RSHP), in Madrid and London from 2004 to 2009 and Estudio Lamela, in Madrid from 2010 to 2017. At the AA I started studying parametric design and 3D printing during my last year (diploma Unit 5 with George LiaropoulosâLegendre and Lluis Viu RebĂ©s). Here I learnt my basics. These sculptures are born from getting two different things to generate a third one. Form-making. Any shape or form, when beautiful, hides some master numbers beneath. I depart from existing things that have an impact on me by their nature. Nature is the most developed form of design examined by evolution removing unsuccessful models by not allowing survival and further reproduction. I analyze and study its geometry, repetition, proportion, regulatory paths, rhythms of growth. These are variable parametric surfaces generated by extracting data and defining parameters (laws). Today data is accessible to all from almost any field. I apply basic mathematical principles to turn numbers into physical forms. I morph them until I consider them stable. This abstract scenario provides a unique condition of freedom. The scale is ultimately ambiguous by the detail and its architectural influence. The similarity to architectural models accentuates the desire to be larger. For this same reason they keep an experimental prototype character. 3D printing has obvious limitations regarding size. The challenge is scale. How to make larger pieces: Printing by segments, moulds, casting, discovering materials which acquire enough detail, structurally strong and light at the same time. In my experience each of these pieces started with a full technological base that transformed its process into pure handmade craft and alchemy. Today boundaries are found when materializing the previous abstract phase. Cost and Weight are the first to appear nevertheless Research&Design will work towards perfection in new ways of free form & large scale making technologies. Construction systems are experiencing a technological and chemical revolution towards precision and reliability. It can only get better.
I study Form; I would define myself as a formalist with an architectural background. Studied at the Architectural Association in London where I graduated in 2003. After that I worked for the Olympic bid London 2012, Richard Rogers (today RSHP), in Madrid and London from 2004 to 2009 and Estudio Lamela, in Madrid from 2010 to 2017. At the AA I started studying parametric design and 3D printing during my last year (diploma Unit 5 with George LiaropoulosâLegendre and Lluis Viu RebĂ©s). Here I learnt my basics. These sculptures are born from getting two different things to generate a third one. Form-making. Any shape or form, when beautiful, hides some master numbers beneath. I depart from existing things that have an impact on me by their nature. Nature is the most developed form of design examined by evolution removing unsuccessful models by not allowing survival and further reproduction. I analyze and study its geometry, repetition, proportion, regulatory paths, rhythms of growth. These are variable parametric surfaces generated by extracting data and defining parameters (laws). Today data is accessible to all from almost any field. I apply basic mathematical principles to turn numbers into physical forms. I morph them until I consider them stable. This abstract scenario provides a unique condition of freedom. The scale is ultimately ambiguous by the detail and its architectural influence. The similarity to architectural models accentuates the desire to be larger. For this same reason they keep an experimental prototype character. 3D printing has obvious limitations regarding size. The challenge is scale. How to make larger pieces: Printing by segments, moulds, casting, discovering materials which acquire enough detail, structurally strong and light at the same time. In my experience each of these pieces started with a full technological base that transformed its process into pure handmade craft and alchemy. Today boundaries are found when materializing the previous abstract phase. Cost and Weight are the first to appear nevertheless Research&Design will work towards perfection in new ways of free form & large scale making technologies. Construction systems are experiencing a technological and chemical revolution towards precision and reliability. It can only get better.