Blown-up Windows are structural elements positioned to highlight the most interesting views to the exterior or the interior of the building. They act as spatial frames of both interior and exterior spaces. Interior spaces are extended through Blown-up Windows onto balconies, loggias and terraces and the landscape beyond; external conditions such as views and orientation affect the size and use of interior spaces and determine the shape of the built mass. Blown-up Windows blur the distinction between interior and exterior space, as well as between supported and supporting elements.

Within an open volume, the repetition of a single structural element that follows a changing rhythmic or dimensional sequence defines a certain spatial configuration and provides dynamic views inside and outside the building. The Cinematic Structure modifies the volume into micro-ambiences depending on one’s position and movement through the building: low, high, dark, bright, shallow, deep...

Compressed Containers are structural elements that maximize the surface area to volume ratio, reducing the total volume for a given plan. The structure of the Compressed Container is designed to increase surface use while retaining a monolithic character. It is applied whenever spatial conditiones require minimum volumes for maximum surface areas.

Can one conduct a path through a building? Can the experience of its exterior and interior ambiences be defined with precise space-time sequences of a storyboard?
The visitor's path through the building is determinated not only by defined spatial parameters such as volume, materials, lighting, colours, sound, etc, it is also governed by the duration of an individual spatial sequence. The Conducted Path involves all the senses. The building's interior becomes a film in which we are the actors. Does this mean that the object is more powerful than the subject? Who or what is intended for whom? Are we for the building or is the building for us?

1. Take two or more vertical surfaces of different colours, textures, translucency and material structure.
2. Place them within the deep wall and leave spaces between them in order to create a cavity space and ensure that they are illuminated from above.
Due to the different characteristics of the individual surface materials and the distances between them, the image of the Deep Wall building will change optically. The change will depend both on one’s distance from the deep wall and on one’s point of view. In effect, perception compresses the qualities of the Deep Wall’s individual surfaces into a rich cinematic image. The cavities between the surfaces of the wall also enable us to experience a changing image inside the Deep Wall, in a canyon-like space. Amid pure surface and pure space, the interface between the second and the third dimensions is revealed.

Objects in the background are smaller than they appear. The superposing of a grid onto an existing building disrupts our perception of the scale of the original volume. The newly unified flat surface becomes a neutral support for the scenographic arrangement and and display of natural and artificial elements whose movement and transformation is highlighted by the homogeneity of the grid. The gridded surface over the building’s façade eventually becomes the background to new features in front of it.

This formula highlights the character of the different elevations of a house and organizes their sequencing in a cinematic experience. The specific form and appearance of each front interlock with those of the neighbouring fronts without transition elements, as different realities that collapse into one another at the edges. The resulting cinematic experience recalls the sequencing of 3D representations in the stereographic slide viewers we used in our childhood. The application of this formula is only possible in buildings with three or more fronts.

The Landscaper assigns landscape characteristics to the scale of an autonomous object. Its form is participatory; it stimulates the active involvement of individuals who come in contact with it. Landscaper represents a concentration of diverse landscape characteristics within a single building.
The multiplication of Landscapers produces an urban leisure environment.

The Matrix Enfolder is the systemic wrap of a building that is subject to local modifications on account of different interior or exterior conditions imposed on its surface. The modifications cause the creation of a continuous three-dimensional surface. The Matrix Enfolders are creased, pleated, broken, bent, cracked, ribbon-like  surfaces. Every geometrical modification simultaneously catalyses the outer and the inner conditions of the building. Because the Matrix Enfolder is a unified surface, it produces a monolithic effect from a distance. As we move closer, its surface becomes more irregular and more fragmented and we are ultimately drawn in through its cracks or enveloped by one of its creases.

The Matrix Volume applied to a monolithic building enhances local responses to interior and exterior conditions. As contextualizing tool, the manipulations of the geometry of a given building - i.e. the twist, fold, push and pull of its volume- adapt it to its surroundings and to its inner functions, while preserving its monolithic, individual quality.

How can a structural element be applied in order to generate atmospheric qualities in a building or an urban fabric? And how can ‘superfluous’, insubstantial ornamental qualities be reconciled with structural and organizational building elements? The Ornamental Structure formula produces three-dimensional atmospheres, sensuous spaces that derived from enlarged organic or geometric structures.

1. Take three or more horizontal structural slabs.
2. Drill several holes of different sizes through each slab.
3. Place slabs on top of each other so that vertical openings will allow the passage of light, people and goods.
Permeable Slabs provide horizontal buildings with virtual vertical spaces defined by the penetration of natural or artificial light, by vertical circulation , and by views upwards or downwards.

Walls are understood here as layered structures whose surfaces expand to accommodate in-between cavities - Rooms in Walls. The spatial analogue to objects in cabinets of curiosities, the Room in Wall formula offers unexpected spatial experiences and the possibility of discovery. Interconnected by a single structural element, the implanted rooms modify the spatial organization and character of the building.

The most striking architectural effect is that which appeares to defy gravity, where a built volume floats in the air. Suspended Monolith is the formula that suspends a heavy monolith whose supports are rendered invisible. How is this effect achieved? Do we use natural and artificial light, filtering through the building, to create a visual illusion of a hovering mass? Or do we literally erase the contact of the monolith with the ground by means of powerful water jets?

1. Take a thin vertical surface.
2. Select its materiality, so that the surface functions as an interface between the outer and the inner spaces.
3. Place the surface as a building skin.
The spatial and atmospheric character of the interior and exterior spaces will be projected onto the surface in such a way that their contrast and differences will be amplified.
Thus, we get a building with a Switching Surface, where the character of the inner spaces is effectively grafted onto this given location. The Switching Surface grafts the character of the interior spaces onto a given location, while displaying he immediate surroundings on the façade. The view from the building’s interior coincides with the image projected onto the façade.

The basic characteristic of the Tuned House is that both its inner spatial organization and its openness to the outside are equally determined by the residents' seasonal occupation of the spaces and their desire for natural comfort over the whole year. The Tuned House is bio-climatic and energy-saving, constructed from the materials best suited to the energetic scheme of the house. Permeable to climatic variations and to the changing seasons, the spatial organisation of the Tuned House naturally responds to the cyclical transformations of lifestyles and the uses that these imply, fostering the development of a domestic nomadism.

Contrary to the traditional hall that organizes activities horizontally across a vast ground floor level, the programme is distributed among several smaller units inside a vertical volume. According to activity, each level can have a unique ambience and still maintain a visual connection with the other levels and their respective ambiences. The compact space of the Vertical Hall stimulates the connection between activities and interaction between people in the building.