{"id":833,"date":"2021-08-30T10:12:08","date_gmt":"2021-08-30T14:12:08","guid":{"rendered":"https:\/\/blogs.bsu.edu\/cap\/?p=833"},"modified":"2022-07-20T13:45:04","modified_gmt":"2022-07-20T17:45:04","slug":"ana-de-brea","status":"publish","type":"post","link":"https:\/\/blogs.bsu.edu\/cap\/2021\/08\/30\/ana-de-brea\/","title":{"rendered":"Ana de Brea"},"content":{"rendered":"

Since early stages of my academic career, I have been interested in understanding the meanings and the processes of making \u2018geometrical bodies\u2019 in contemporary architecture. Over the years, studies of different interpretations and theories, and the development of a number of projects have helped me clarify my inquiry by bringing new, unexpected design-questions about ‘volumetric language’ and ‘physicality’ mainly in today’s digital, global geography.<\/p>\n

My practice of architecture and my scholarly research have always been very intentional and based on conscious strategies. Both, understanding architecture as a tool of action and challenging the architect to be \u2018more than just somebody who gets buildings built\u2019 -as Aaron Betsky would inspire us, have been common denominators in my work at different levels.<\/p>\n

\"\"

photo Collin Flesner<\/p><\/div>\n

My deep intent puts attention to apply those considerations and tactics in any \u2018type\u2019 of undertaking: in developing traditional architecture projects, but also in the fashion of scholarly work as well as into and out of functional pieces that describe a very open arch: from garments to furniture.<\/p>\n

From those points of views, and in particular relationship to \u2018furniture\u2019 I produce long-performance or more ephemeral pieces engaging hand-woven techniques along with processes of stretching; folding; and pleating. The design aspires to cross-examine predetermined structures and fixed geometries and forms as well as it interrogates preconceptions and established etiquettes. In addition, the imperative use of discarded material and implementing a [purposely] very low budget in most of the pieces have expanded the line of inquiries plentifully.<\/p>\n

A more robust architectural lexicon in which conceptual words such as \u2018outstanding;\u2019 \u2018repurposing;\u2019 \u2018flexibility;\u2019 \u2018domestic;\u2019 \u2018residuum; \u2018gravity;\u2019 \u2018leftover;\u2019 \u2018protocol;\u2019 \u2018unimportant;\u2019 and \u2018valueless\u2019 among others become of topical interest, and invariably motivate me to deepen my curiosity and my architecture knowledge.<\/p>\n

The pieces highlighted here are just a few images of a lengthy succession of actions questioning and contrasting knowledge and pieces of information to finally understand better the meaning of Latin American architecture + from shows at international venues to an even more responsible expedition including different studio settings and languages + personal or group visits to projects + independent professional investigations along with academic affairs + multinational workshops & studio talks … And MORE. It has been a seemingly endless junket. And will not stop here.<\/p>\n

 <\/p>\n

By Ana de Brea<\/strong>
\nProfessor of Architecture<\/p>\n\n\t\t