Books are one of the threads of humanity. Contributors to transmit knowledge from generation to generation, from them, build a new wisdom.

Have help to shared. The feelings of the human being, created wars, strains, affection and hatred found. Through them, you can baste the recent history from a thousand different perspectives, to plunge into the chaos of confusion.

Alicia Martín (Madrid, 1964) based his artwork on the books. Not as a writer, but as raw material for their works. Cascades of thousands of books coming out of a window and rushed into the street. Books that seem to emerge from the doldrums in the soil wall, two steady hands to break a book in two …

Using the book as a leitmotif in his work, Alicia Martin wants to highlight the informative role of the written work, but information overload in society today.

There has been limited to the sculpture, but has traveled the plastic medium from the video or photography to printmaking. His works include among others. The series of sculptures “Contemporary” “Biography,” a facility located in an old mill by the Roman bridge in Cordoba, or “Polyglot”, a video version of the labyrinth of the Minotaur computer-animated 3D, where the books dealing with the roles of Theseus, Ariadne and the Minotaur himself, lost in the maze of the Tower of Babel today.

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Residence for a Sculptor is presented frontally on a hillside frankly expressing opposition, or additions, with which it was conceived. The number of issues may well be skin and muscle, stage and expectation, exposure and publicity. Certain environment are an extension of the building climate, which in turn, increase the larger pieces of ceramic sculpture.

A soft and smooth facade rises on the slope and reflects the linear displacement of the spaces. Supporting this is a steel structure, exposed in the back up the hill. The dialogue here is between fineness and unrefined, between an outward force and physical effort required to file.

The first impression of the house emphasizes its horizontal organization and suggests the view to the east. It comes from behind on the uphill side is far from the suggested view. Although the expectations promise a horizontal and outward, the first reality is a strong vertical space, introverted, where the sculptor presents his pottery. This space is on one side of a curved wall and twisted steel, 7 feet high, and a curved staircase against the opposite wall. Only after venturing through this space, up the stairs and across a bridge, it reveals itself in the long exterior view of Valle de la Luna.

Input space, twisted, dark, vertical, and introverted, is based on the characteristics of large pieces of ceramic sculptor, some of which are displayed at the foot of the stairs. Since the beginning of the project, the strength of this ceramic sculpture meant a profound influence on the construction of the spaces of the house.

The receiver vessel and the large living room that gets the ladder are specially designed to expose the fruit of the work of the sculptor. The house has a certain pride in the work of the artist.

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The best public view of the Hydraulics, where nearly every major industrial building can be witnessed in a single, striking panorama, is from the Hamburg Street bridge looking east over Exchange Street.

From here, one can capture a view of the :
• F. N. Burt Co. (1901-1927), once the largest small box manufacturer in the world
• Great Atlantic & Pacific Tea Co. warehouse (1917) and bakery (1930) complex
• New York Central rail corridor (1843)
• Larkin Power House (1902)
• Larkin L/M Warehouse (1904)
• Seneca Industrial & Warehouse Complex (1897-1913), the interconnected Larkin factory buildings containing upwards of 1.5 million square feet of affordable space, ideal for upstart urban entrepreneurs.
• Larkin Terminal Warehouse (1912), now one of Buffalo’s most successful Class A office buildings, dubbed Larkin at Exchange
• Iroquois Door Co. (1903), designed by female architect Louise Blanchard Bethune; and
• the Buffalo Lounge Co. (1901?), a loft building that is now tenanted by artists, start-up firms, and creative industries.

The Hydraulics is a small quarter, but is quite vast in terms of its scope of architectural and industrial history. Looking over Exchange Street, one can comprehend nearly all of it in a single urban montage.

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