"Thus is provided the maximum space for the human drama." — Peter Smithson

This project seeks to address the question of what it means to inhabit in contemporary times: how we appropriate a space and how we integrate it into our own existence. In this search, there arises the intuition that, in contemporary architecture, alongside space, a new raw material comes into play: time.

In response to the program of an artist residency at Nave 15 of Matadero, we were searching for flexible spaces, permeable to change over time—informal spaces capable of hosting unforeseen uses in unforeseen situations.

This leads to the idea of Yves Lion’s active band, but in my case, it takes the form of a passive band, where theoretically, the act of creation does not take place. These bands dynamically colonize the nave’s space, taking advantage of the existing structure. They engage in dialogue with one another, generating a wide variety of spatial conditions at different scales.

Some of these spaces become courtyards, functioning as interaction and gathering points for the artists, open to the outside through the roof. This provides natural ventilation to the dwellings and creates a visual connection between the productive and residential areas.

The project takes advantage of the sectional variation between the different naves of Matadero: in those with greater height, public spaces are inserted, becoming meeting points and hubs of exchange not only for the artists, but also for the building’s relationship with the city. These areas are equipped with tiered seating and other elements that connect different levels and organize the space.

In the lower-height naves, the workshops are located on the ground floor, with living spaces on the upper level. Between these two layers emerge transparent bands, acting as filters between public and private realms, generating a play of transparencies and reflections that foster interaction between visitors and the resident artists.