Every building is in continuous exchange with its surroundings. Light, casted shadows, temperature and wind act on its surfaces constantly, altering how it feels to be on its surroundings, how air and sound travels through it, how it reads at different hours. These forces are real and measurable. They are also almost entirely a subjective perception.

Strata makes them tangible. Each sculpture is built from hundreds of individual layers derived from two sources: the architecture of a specific building, and environmental data recorded around its perimeter over time. The result is a three-dimensional timeline, shaped not by design decisions but by the actual conditions of a place.

The base of each sculpture corresponds to sunrise. The top to sunset. Between them, hundreds of layers accumulate, each one registering a specific moment within a condensed day. Small fluctuations in light and temperature modify the layer’s contour slightly from one to the next, amplifiying its departure from the original architectural plan. No single variation is dramatic. Together, they build a complex profile.

The final form resembles landscapes eroded by climate over centuries. The process is the same, only compressed from sunrise to sunset.

Each layer is derived from measurable, unalterable data. The data does not change. Perception does.

The sculptures are designed to be malleable. Layers can be rotated, shifted, reconfigured. The same information generates different volumes depending on how it is handled. People can alter the amount and direction of rotation of the sculptures to experience new configurations. The same building, different readings.

This is not a flaw in the system. It is the point. Strata sits at the intersection of what can be measured and what can only be experienced. Measurement provides structure. Experience provides meaning.

Strata does not explain a building. It offers a portrait of it shaped by the building’s dialogue with its environment. The sensors record what happens at each point around the perimeter, taking into account orientation, height, the position of courtyards and corridors. The architecture itself determines how climate moves through and around it.

The resulting sculpture is specific to that structure at that moment. It cannot be produced elsewhere or at another time. A Strata made from a building in winter is not the same as one made from the same building in summer. Same structure, different moment. The aesthetic difference is not a choice, it is the reality of the moment.

Strata operates across scales, from monumental architectural installations to intimate tabletop pieces. In each case the work transforms the same invisible relationship into tangible form.
Every structure is continuously negotiating with its context. We inhabit these negotiations daily, rarely perceiving them. Here, that negotiation becomes volume.