I build digital products from precise constraints. My site was no different — except the constraint was Gaudí. Before I wrote any spec, I walked to La Pedrera. The redesign had to earn that reference.
Casa Milà's rooftop warriors and chimneys aren't ornamental — they're ventilation shafts, stairwell exits, cisterns. Gaudí was obsessive about the intersection of structure, craft, and aesthetics. Twenty years in, that distinction matters.
The surface of that roof is covered in trencadís — broken ceramic tile arranged by a system that only looks random. So the site header uses Voronoi tessellations to fill hand-traced outlines of La Pedrera's rooftop sculptures, animated slowly — the way trencadís catches light differently depending on angle and hour. One is a century-old mosaic technique. One is an algorithm. They're the same idea.
The reference isn't visual. It's structural. I'm not copying a surface — I'm abstracting a principle: fragmentation that creates coherence, organic geometry from a systematic rule. The third principle in my manifesto reads:
design and engineering share a grammar
The header is that sentence, made visible. The Voronoi animation is code. The outlines are drawing. The reference to trencadís is craft history. None of those three things works here without the other two.
The rest of the site is restrained by the same logic. Few typographic weights, generous spacing, almost no colour. The coordinate in the hero — 41.3874, 2.1686 · BCN — is an easter egg, and a marker: this is work that comes from somewhere specific.
The implementation didn't follow a traditional path. Most of this site was built by describing what I wanted in detail, then iterating with AI — the Voronoi animation included. Not as a shortcut, but as a medium. The result is still deliberate. Just reached differently.