“I cannot do a building without building a new repertoire of characters, of stories, of language and it’s all parallel. It’s not just building per se. It’s building worlds” J. Hejduk

We have been affected by a strange form of spatial Pareidolia. We are obsessively looking for anthropomorphic traces - hidden in the built apparatus that shapes the world. Our designs could not exist without the invention of the bizarre troupe supposed to populate them. Their stories, fears and love affairs intimately inform the architectural substance itself. Each building becomes a peculiar persona.

We practice only forms of knowledge based on physical experience: direct or emerged through the tangible re-enactment of empirical conditions. Speculation isn’t understood as pure invention or as a biased device to fill the gaps left by our uncertainties, but as a lens to frame and relentlessly process reality through design culture. The project is a journey articulated through a series of spatial performances. For us, performing has little to do with practical efficiency or quantitative variables. Rather, it is an evocative tool to activate symbolic links, to claim back identitarian needs and to depict qualitative hedonistic traits into physical spatial compounds.

The design process is nurtured through the assemblage of composite filters to enhance or alterate the human perception of coexisting beings, objects and spaces. Through a palimpsest of precise drawings and short films, we engaged with the architectural effects they produced on the real. The performative representation of space, together with its peculiar synthases and syntax, is an effective tool for a linguistic self-liberation: architects are provided with an appropriate vocabulary that finally re-connects them with a wider public.