In spite of her towering presentation at the Spanish pavilion at last year’s Venice Biennale, where she introduced huge piles of materials that had exactly the same weight as the ones that made up the building, or her 2012 exhibition at Track in Ghent, Belgium, a similarly overwhelming project—a mountain of seven hundred cubic meters of cement—Lara Almarcegui’s work is essentially discreet and overtly unmonumental. Since the mid-1990s, she has taken a truly personal stance on architecture. Her interest lies in anonymous spaces, those that will always be ignored by the branding ambitions