Pep Admetlla, The articulated form, 2008. Courtesy: Catalonia architect’s institution (COAC) and Generalitat de Catalunya.

This project is the result of the synthesis of a career which works out the spaces, the architecture between body and enigma, the perception and the possession. From the boundaries, without any complex, with intuition and accuracy, with a clear resistance to reductionism and an excessive simplification, we reach a reformulation of a lived architecture which invites you to go through. A transition of solid and rambling bulks in search of that light among the shadows of Piranesi; a subtle transition of scriptures that build up the architectures of the senses in the invisible cities of Italo Calvino.
The architecture must delve into the mysteries of the human condition. But Between Body and Enigma – Architecture of the senses – goes beyond its own interests, from design engineering up to the world of anatomy, poetry, science, art, reflection, light, shadow, the silence, the absence, the disappearing, the enigma… Eventually the virtues of ephemeral as a poetic essence.
This project has been built up merging the experience with the technique, letting oneself be swept away by the enigma given off by the atmospheres when you cross the space, and you find yourself with a set of variables which branch off setting different paths. What you imagine in its inside, the journey as a sequence of transition, lives according to the influence of light on the material and how it would be translated into what you will see. There is a kind of architectural poetry trying to articulate the shapes to the limit, always bearing in mind the engineering that holds up the structures. Even though the spaces can be dreamed, they come to us in a very intuitive manner, many things merging in the inside that may seem opposed because the structure is controlled so it can be projected as a walk-through sculpture in a symbolic architecture. In short, we are dealing with a type of art that can be used and which allows us to be inside it, and where structures are defined by themselves without omitting the art of poetry.
The proposal of application of this project, articulated in a historical and natural environment, focuses in the city of Girona as a new open chapter to explore in the invisible cities of Italo Calvino would be: Il viaggiatore gira gira e non he che dubbi: non riuscendo e distinguere i punti della città, anche i punti che egli tiene distinti nella mente gli si mescolano. From the end of the ancient wall, raising up the missing space, it can be traced with an accessible bridge where the routes and the ephemeral sensations blossom: how light changes, the sound, the wind, the water, the shadow... The structure, with its own internal logics, surrounds and wraps like an exoskeleton the anatomy with its edges. The skin changes from surface to surface in a singular line integrating morphological traits of its own powerful geometry. That being so, it seems it exists on its own as a temple surrounded by its soul. Poetry of space contained and articulated, incorporating a mixture of glasses, creating and absorbing a set of atmospheres through cuts and rhythms imposed by the light and shadows, by the silence and the textures of materials, by the slow pass between fog and wind filtering the light in a polyhedron-like view towards powerful ancient landscapes, spaces to rest, unknown images to the eyes of travellers who would not ever see that from any other place.