Regarding the relation they build (establish) with the human body, a piece of fabric and an architectural object can be considered as being very similar. If we set aside the notion of scale, a common vocabulary exists between textile work and architecture: texture, atmosphere, structure, shelter, pattern, intimacy, action, etc., and even though some of their definitions belong to a material imaginary and others rather to a more perceptual one, all of them illustrate the parallelism we could establish between both disciplines.

Although textile work and architecture connect with the body in similar ways, it is precisely their relationship with it’s movements that represents a breaking point. Fabric follows movement; architecture restricts or induces it. Consequently, even if they find themselves in a common imaginary, this is also where their opposition lies.

When taking this conclusion as a starting point, surges the idea of transposing the fabric’s abilities of motion and fluidity to common architectural materials such as concrete and plaster. The result is two groups of objets: the first one, the gesture objets, try to connect Nido's work with architectural materiality by taking movement as the intersection point between both praxises. Specific actions, portraying the relationship between textile and body, were turned into physical forms. The second one, considering a larger scale, creates a transposition of textures. From this method result hybrid objects, crystalizing building materials with patterns and motions of textile.

The collaboration with Nido experimented simple relations, trying to combine Julieta’s working philosophy with my own methodology. We wanted to emphasize primary materials and controlled gestures that create, through handcraft practice, unpredicted results. A surprise only made possible by the natural origin of the materials and a non-standardised creation process.

—Charlotte Bovy