Combining the production of architectural artifacts and (accidental) artistic objects where to create one is both a pretext and a catalyzer to bring forward the other. There is a limited number of elements, each performing a specific function in the composition: structure and bones support the bodies, walls and skin create boundaries, windows and eyes, doors and mouth perforate the established boundary to allow the inside and the outside to communicate in different ways. While there are many similarities between these artificial and organic bodies, we can say the main difference is the possibility to expand their potential. By not being physiologically restricted to a biological law of development, architectural elements are an open field for perpetual experimentation. Individually expanding the potential of each element may enable us to achieve unexpected spatial configurations to which the human body intuitively relates. In such logic, limits should be transgressed and common logics perverted with invention, intelligence and a sense of irony. Perhaps, the ultimate architectural body is defined in the moment its elements are brought to excess: mixed together, extended beyond their regular scale, tested with uncommon materials, stacked, perforated, cut, and so on... , so much that such experimentation becomes itself a conceptual approach.
