I have always understood the structure of a building as an integral part of creation, in absolute harmony with the form and space, with the facilities and their operation, as is the spinal column or the skeleton in the body of a vertebrate or the exoskeleton of some invertebrates. Throughout history, the structure has adapted to the evolution of science and technology to become more and more natural and intelligent. Thus, for example, we went from the concept of rigidity to that of flexibility in tall buildings, after understanding how tree structures could withstand wind stress on their slender stems, just by facilitating their fluidity and redirecting their effect by not opposing them.

The philosophy of Poetic Houses is linked to the understanding and reinterpretation of nature in its different forms and evolutions; using poetry to deliteralize its effect and extract the essence of it.
“Each material has a distinct specific personality, and each shape imposes a different tension phenomenon. The natural solution to a problem - art without artifice - optimum in the face of the previous impositions which originated it, is impressive by his message, satisfying, at the same time, the demands of the technician and the artist. The birth of a structural ensemble, as a result of a creative process, a fusion of technique and art, ingenuity and knowledge, imagination with sensitivity, escapes the boundries of logic to penetrate the secret frontiers of inspiration. Before and above all calculation is the idea, molding the material in a resistant way, to fulfill its mission ”.
Eduardo Torroja Miret (1899-1961)