The psycho-geographical reading of Puerto de la Cruz indicates the uncertain dialogue between built-up spaces, and geographical elements. This manifold morph of voids could be perceived as a confiict between urban policy and oscillation of economic structure of the city, and simultaneously the relationship between architecture and nature during the time. According to the tourism-based economy of the city, the design approach has to be an endeavor to enliven the agricultural character of Puerto de la Cruz, which is situated 'in between' Barranco, and re-information of the uncertain voids on the fringes. The strategy is to design 'in between' places. The 'between' centers its interest on what mediates the architecture of relation and tangency. It is the urbanism of open systems.and architecture open to phenomenology of landscape.
It is an architecture that strengthens itself on the most difficult situations. Tangency is its favorite place. It is a conquering between two belligerent territories, a path, which connects and carves different entities on its way. It is an infrastructural line, which define itself with
shaping the void, the carving method is a tool to elaborate the voids and manipulate it, when it starts from tangent point of inherited abandon agricultural carpets and the existent banana field; in between. It incepts between the presentness and the past, highway and urban center, with the character driven from the idea of 'land link' connecting layers and elements of the city through its path, collecting and generating the spaces. The 'in between' originates to be procreated in a precise place, where the conditions are not precise, but ambiguous, confused, misapplied, hybrid, uncertain. The project that originates in this grade of confusion, tries to tinge itself or imbibe elements from both sides of Barranco; it tries to attract everyone towards itself that borrow the existent infrastructural references. The buildings exist there, under the abandon infrastructure of agricultural terrace, by excavating the main collective space of the project. Between is not, necessarily, a residual space, but rather in complex geometries, it maybe substantial place: the place where the geometry "inhales and exhales;" a place of synchronic ambiguities. To conclude, in fact, this "gasket" capacity of the interstitial void implicit in these irregular configurations. This possible rhythm among the occupied, the omitted and the linked: fills, voids and links, that is to say, surfaces, points and lines that interrupt spatial sequences and combinations. The void, thus, does not separate but joins. It is a clip between events which serves as linkage, given that it is the void itself that permits the articulation of routes, supports and accesses, producing channels of connection; real or virtual.