The intention behind the
identity of a project
Before choosing the material, colour, or design, there is an invisible repertoire that guides the project: memories, habits, everyday rhythms, necessary silences, tolerable excesses. Every inhabitant carries their own way of occupying the world, and it is from here that architecture is founded.
In the erriá, what unites distinct projects is not an imposed identity, but the commitment to translate the identity of those who inhabit the constructed and useful space. Translating is not repeating a style; it is adjusting proportions, balancing solids and voids, limits and atmospheres until the environment responds precisely to the life that will traverse it.
The New York Residence and Natingui
are clear examples of this difference.
In the New York Residence, the space is organized with clear boundaries. Continuous surfaces, defined cut-outs, light that falls intentionally and highlights the design. The material almost withdraws so that the structure emerges. The intention here is expressed in the exact proportion between solid and void, in the way each plane meets the other without excess. The atmosphere defines and the space asserts itself in the framing.
In Natingui, the light spreads. The wood retains heat, the green deepens perception, and the shadows make the environment denser. Transitions are more gradual. The space imposes itself not by its outline, but by its permanence. There is a noticeable deceleration in the way the planes meet, how the materials absorb the time of day, and return another shade to the environment.
Every project begins before the form. It starts with listening: who inhabits, how they circulate, how much silence they need, how much presence they can bear. From this understanding, the material gains direction. Light ceases to be a mere resource and becomes a decision, altering the very temperature of the environment.
When observed side by side, the projects do not cancel each other out nor draw closer through similarity. They reveal choices. And it is in this revelation that the process appears, not as a declared method, but as coherence between intention and form.
