“Lozano-Hemmer’s work is informed by histories of art, science, technology and diverse philosophical currents. Because of its conceptual complexity it cannot be described as an illustration of any specific school or theory, yet consistently it reveals ‘the fullness of space’ in
relation to both the body and technology.”

Lozano-Hemmer’s work challenges the supposition that buildings control bodies.

In exploring virtual openings in architecture, the city, the body and technology, Lozano-Hemmer could have been pioneering the wave of interactive architectural space that displaces past beliefs and preconceived notions of architecture. By incorporating the body – a reference for which architecture bases its measurements, Lozano-Hemmer extends human imagination to form a sophisticated relationships with facades and interiors. After all, it could be said that buildings are an extension of our needs and desires. The space created has intimate value, constructed by and for the mind, thus each architecture could invoke a myriad of responses, from libraries to solemn slaughterhouses. Lozano-Hemmer’s works have a recurring concept of tracking and surveillance, where technology capture human presence and translate them to unpredictable projections and ‘spontaneous’ actions that interact with the architecture to reveal the next layer of the artwork. Lozano-Hemmer encourages artistic freedom from his participants, allowing them to interact however they deem fit. Lozano-Hemmer tends to break the physical constraints of the architectural space by layering them with projections and simulating control over buildings through motion capture, creating the illusion that we are able to affect the space with our presence.