The human being has always been in need of generating virtuality as a liberation from the limitations of the present. We are involved in a fragmented space that combines the physical and the virtual, while the boundaries between these two dimensions become more porous, fluid, transformative and mutating. The real converges with the virtual in an assemblage of experiences, the physical and the virtual body no longer contradict each other, they intertwine. A hyperreality, where a secondary superstructure occupies almost the place of the real materiality.

Contemporary bodies are made up of the interaction of biological and social elements that show the system of identities as a machine in constant multiplication, reconstruction and destruction. This new changing notion of identity coincides with what queer theory already announced, the understanding of the human being as a construct of borrows, citations, proximity... pure artifice, resistance to standardization and reproduction of the multiplicity of life. A queer aesthetic that is not an escapism from the social sphere, but rather the map for future relationships. 

The domestic architectural space thus acts as an element in constant interaction with self-designed virtuality, facilitating the inclusion of diversity, the multiplicity of being and singularity to test new forms of life that allow the user to be the artifact of their own identity. In Spinoza's thought, expansion, transformation, development, and differentiation correlate with the freedom of the individual. A model based on heterogeneity, inclusivity and change. 

The intense chromatic range of blues and greens, lights, textures, steel, plastics and glass, pure and deformed shapes... make up a network of associations that are revealed in the interactions with the superficiality of the bodies. A superficiality understood as a means of communication that incorporates gradients of difference that modulate thickness, porosity, transparency or thermal absorption. In this way, the atmospheres or environments become a projection of the user's own virtuality. 

The tension between the materials and their shape evidences the design technique and its production, using 3D printing techniques with different industrial finishes, metal laser cutting, and textured glass. We all know the promises of 3D printing, individualized goods, forms freed from the limitations of modern industrial production, exchange of files for production at destination... 

3D printing acts as a mediating artifact between virtuality and reality, an extension of the body itself that short-circuits the distinction between nature and culture, as a trans nature in constant denaturation and artificialization. We find ourselves involved in a social compound in which the limits between living and non-living beings are blurred, a nature-culture continuum.