Álvaro Urbano’s practice explores the desires and speculative narratives embedded in architecture through immersive, theatrical installations. Using cinematic strategies, he constructs stage-like environments that blur fiction, memory, and history. Recurring vegetal and animal forms—realistic yet fabricated—act as characters within these settings, generating parallel narratives tied to art history and domestic space. Urbano often references figures like Federico García Lorca, Eileen Gray, and Luis Barragán through mimicry and poetic homage. In Sueño que no sueño (Amanecer), a tiled floor evokes the Alhambra, while a replica of Lorca’s balcony in the Huerta de San Vicente and other symbolic objects—a pomegranate, a necktie, and a dried rose—suggest traces of absence and lingering memory.