2026
3PRISMS
PROTOTYPE: 3P202602
creation project in public space
Introduction
Geometry of Interdependence
The installation 3 PRIMS (#3P202602) is an investigation into volume, balance, and the challenge to the topological nature of geometry. This installation is based on the physical interdependence of bodies in space, situated between Euclidean geometry and the paradox of the visual.
These three geometric bodies do not touch each other, but are held in a delicate levitating equilibrium by a system of iron chains that connect the two suspended prisms to the central prism.
The logic of the impossible object, a drawing in the air.
INTRODUCTION
THE AESTHETICS OF THE CONCRETE
TP202512, analog collage, 15.5 x 21 cm, 2025 (detail)
From the series Landscape Transformation
Geometric figure of the Three Interlocking Bricks
3PRISMS (3P202602) is born from the transformation of drawing into matter, from the creation in space of the figure of the “Three Interlocking Bricks,” a geometric figure drawn on a plane. It is a three-dimensional derivation of the principles of the Penrose Triangle, conceived by the artist Oscar Reutersvärd (1915-2002) in 1934 and analyzed by the mathematical physicist Roger Penrose (1931) in the 1950s.
Three Interlocking Bricks deceives the eye through perspective and its apparent representation. In 3PRISMS, the impossibility lies in the autonomy of the prisms; one cannot be removed without breaking at least one of the other two. It is part of the series I started in 2023, and it refers to Impossible Geometries, where the search focuses on the representation of infinite continuity, the challenge of existence and the representation of unreal figures in a four-dimensional space.
CONCEPTUAL DEVELOPMENT
TENSEGRITY - INTERDEPENDENCE - LIBERATION
The theoretical core of the work rests on two fundamental concepts that bring art, nature, and time into dialogue.
The work operates on the basis of tensional integrity, where the edges of the three iron prisms do not touch each other, but are instead linked by chains. Pinamar was sculpted by the wind, and the strong gusts of the ocean, through the friction of the links that hold the prisms together, generate a minimal and organic soundscape.
This tension in equilibrium functions as an urban metaphor, a delicate and tense balance between the architectural intervention and the natural environment. Accumulated force, a prelude to inevitable rupture. The work is created from the foundation of interdependence and in search of liberation. The separation of these three prisms is the destiny of this work. By placing this work outdoors in a maritime climate, exposed to salinity, humidity, and rain, it is nature that will separate the prisms when rust begins to slowly devour the metal. Rust doesn't destroy; rather, it's the agent that liberates the prisms.
3PRISMS presents itself as a concrete geometric entity that engages with the scale of the coastal landscape. It speaks of interdependence, of the equilibrium achieved through a cycle of tensions and a form of temporary resistance. It doesn't impose itself on the forest; it is a real object governed by its own physical laws and those of nature.
Views
PRODUCTION AND MATERIALS
VIABILITY AND SCALE
3PRISMAS is a three-dimensional drawing created in the air. Three rectangular prisms are constructed using only their edges, with 120 x 120 x 3.2 mm square structural iron tubing. There are no faces, allowing the landscape to flow through the interlocking prisms.
Dimensions of each prism in meters: 5 high x 3 wide x 1.6 deep.
The central prism, resting on its smallest face, is the base of the entire system. It will be firmly anchored to the ground by four concrete blocks, each supporting an iron plate to which the structure's "legs" will be welded.
3PRISMAS has an immersive scale that respects the environment, allowing the viewer to observe the tension of the chains and prisms without feeling overwhelmed. It is a solid sculpture anchored to the ground, yet lightweight, as its empty faces ensure unobstructed views of traffic in the roundabout and do not detract from the familiar landscape of the neighborhood. The "empty" nature of the prisms minimizes the drag coefficient. The system is designed to withstand gusts of up to 120 km/h.
LOCATION
The solution for the space will be determined by knowing the exact locations of the trees and the current natural state of the square.
Based on aerial images and the characteristics of the roundabout's PDF, this proposal places 3PRISMAS in a natural clearing to avoid cutting down trees. With a footprint of 5 x 3 meters, the structure is designed to avoid interfering with the trunks or main roots of the trees, preserving the natural setting.
SPECIFICATIONS AND SCHEDULE
PRISM STRUCTURE
Quantity: 3 prisms created by the edges and vertices.
Dimensions (m): 5 high x 3 wide x 1.6 deep.
Material: 120 x 120 x 3.2mm square structural iron tubing (11.77kg/m). 21 bars of 6m each.
Ensures dimensional stability under the compressive forces inherent in tensegrity and prevents deformation from the weight of the prisms.
CHAINS
Quantity: 8
Length: 2.0924 m each.
Material: 10mm iron short link (Grade 80 high-strength. Working load 3150 kg).
The chain works under tension, maintaining the suspension system of the 2 aerial prisms.
EYE BOLTS
Quantity: 8 on the primary prism, 4 on the second prism, 4 on the third prism.
Material: 1 stainless steel bolt (8 mm diameter x 60 mm height).
FOUNDATIONS
Quantity: 4 footings positioned 10 cm below the zero elevation level.
Dimensions (m): 0.80 x 0.80 x 0.40
Material: Reinforced concrete (H-21)
Four reinforced concrete (H-21) footings measuring 0.80 x 0.80 x 0.40 m will be constructed, with a 0.30 x 0.30 m column of variable height depending on soil conditions. In this case, a height of 0.40 m is considered. The bottom reinforcement consists of a grid of corrugated iron bars with Ø12 mm diameter spaced every 15 cm. Reinforced post with four Ø16 bars and Ø8 stirrups spaced 20 cm apart. 5 cm concrete cover.
These measurements are estimates for budgeting purposes. They will be adjusted once soil conditions are determined. The area is covered with earth and sand to camouflage the base.
MONTH 1: ANALYSIS AND FABRICATION
- Structural engineering and calculations.
- Define location, soil information, and soil condition.
- Assess the position of trees in the surrounding area.
MONTH 2: SITE PREPARATION
- Cleaning and preparing foundation pits in the plaza.
- Construction of concrete foundations. (28-day curing time)
- Assembly and welding of the primary prism.
- Installation of eye bolts.
MONTH 3: ASSEMBLY AND TENSIONING
- On-site assembly of the other two prisms using scaffolding and chain hoists for lifting and temporary positioning.
- Welding the ends of the chains to the eye bolts of the three prisms.
The structure is designed for zero maintenance, entrusting its final finish and structural evolution to the passage of time and the natural environment.
BUDGET
Structural tubing:
Chains:
Eye bolts:
Concrete bases:
Labor and assembly (welding):
Scaffolding and rigging:
Production assistant:
Artist's fees:
TOTAL COSTS (ARS):
Quote: March 20, 2026
5.300.000
900.000
200.000
3.500.000
7.000.000
600.000
2.400.000
2.600.000
22.500.000
PRODUCTION ASSISTANT:
GRACIELA FOURASTIE (Buenos Aires, 1963) - Architect and visual artist.
An architect and urban planner from the National University of Mar del Plata (1990), she trained at the Martín A. Malharro School of Visual Arts in Mar del Plata.
A professor of drawing and painting, she designs and manages residential, corporate, and industrial projects. Her artistic production is characterized by the relationship between space, matter, memory, and territory, which she explores primarily through painting, drawing, and installation. She has developed works and installations for public and institutional spaces, including an installation at the Chacarita Cemetery Crematorium (2020) and projects for union-owned hotels in Mar del Plata (2018–2019).
She attended the Guillermo Roux Foundation (2010-2016), where she participated in art workshops with Ale Roux (2013-2016) and watercolor workshops with Guillermo Roux (2010-2011). An artist-in-residence at the Cité Internationale des Arts, Paris (2017, Mozarteum Argentino), she participated in the Proyecto PAC artist training program at the Gachi Prieto Gallery.
She has participated in solo and group exhibitions in Argentina and France, including at the Museum of Architecture (MARQ), the Borges Cultural Center, the Recoleta Cultural Center, and the Palais de Glace.
She received the Second Acquisition Prize for Argentine Painting from Banco Ciudad (2016) and was a finalist for the National Painting Prize of the Central Bank of Argentina Foundation (2015) and the National Painting Salon of the Banco Nación Foundation (2015).
Her comprehensive experience in construction management, team coordination, technical planning, cost estimation, and budgeting, combined with her artistic practice and knowledge of installation, materials processes, and artwork production, gives her a solid capacity to work as an artistic production assistant. She combines conceptual thinking, technical organization, and operational problem-solving skills, with extensive experience in monitoring projects from their initial stages to their final completion.
She is part of El Lobby Project, a space for artistic production and reflection.
She lives and works in Buenos Aires and Mar del Plata.