Desierto Square in Barakaldo

The answer is a creative process that brings together the abstract will of thought that accompanies the search for the unknown and the useful understanding of the fringes of the historical fabric of the place, primitive, torn and seemingly chaotic. We discovered a nothingness dotted with streaks of talking night lights, aerial steel pipes, ragged sleepers with rails, grey coals and intermittent puddles interspersed with wild bushes. It is this strange amalgam and the memory of which he speaks that we try to make survive in the new landscape as a link between past and future, far from a concrete image but close to a powerful kaleidoscopic vision.

In a first moment of physical confrontation, we quantify each type of material that participates in this chaos, endowed however with a strange atmospheric quality caused by the presence of the hidden order of its mixture. It is these relations of one material to another, their comparative quantitative presences, which we preserve in the new space through the homogeneous distribution of each material on the plane identified with an abstract chromatic code. This is done with surface measures that we call "urban lounges" with dimensions approximating those of a private living room transferred to the public space and which generate a grid of material rooms that enable various empathies between users.

Without forgetting that we are in an environment of future building with variable shadows, traffic noise, fire brigade accesses or visuals obliged by the planning, we establish a series of rules for the behaviour of each material in the face of these solicitations, such as "if there are fire engines passing by, there is no water or trees" or "if there is a visual axis, there will be no trees" and so on, until completing a sufficiency of orders that allow the correct behaviour of the system. Once the task of displacing materials due to their incompatibilities has been carried out, a redistribution appears with new mixtures such as stone and trees, water and stone, concrete and steel or wood and trees, which we translate into spatial and constructive realities. In those spaces where steel appears unmixed, the topography of the square is particularised by rising up with structures that define static rooms to discover the hidden order of the place and that scribble the night together with algorithmic constellations that guide the hesitant walkers. The vegetation as part of the system acquires a second specificity with different densities, pruning, heights and colours that emphasise the degree of privacy of each urban room.

The public space has self-generated without a priori defined uses and forms a board of multiple opportunities to be discovered, lovers hiding in shaded lounges, old people gathered around their stories or children with their boats on the sheets of water admiring the ethereal skateboarders. Perhaps it represents only the complexity of thinking in the service of life.