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Between and the collaboration has continued its specific exploration as the 25 projects demonstrate, consistently surprising with their choice of materials and the tranquillity of their designs.
The rich collection of projects featured in this volume are all captured through full page colour photographs, and include: Explanatory texts, plans, elevations and diagrams accompany each of the respective works and projects. Read more Read less. Applicable only on ATM card, debit card or credit card orders. Vroquis will be credited as Amazon Pay balance within 10 days.
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Consolidated Creativity. Fortet In collaboration with R. The aim is to create a hub for cultural activity that will generate new models for exchanges of ideas about the development, transmission and appreciation of architecture, landscape, the arts and culture. This proposal involves an enjoyable summer month August of intense creativity, exchanging ideas with people from around the world, generating and sharing synergies at the RCR headquarters in Olot, making proposals and participating in a complex amalgam of activities.
Creativity lies at the heart of the concept, providing answers to questions that are asked. This creativity has to be shared by the participants, which is the connecting thread of the whole process. Everything is the fruit of creativity. In collaboration with J. Se propone disfrutar en verano de un mes Agosto de intensidad creativa, de intercambio con personas llegadas de todo el mundo, para compartir y generar sinergias en Olot, en la sede de RCR, haciendo propuestas y participando en una compleja amalgama de actividades.
La creatividad debe estar en el origen del concepto, dando respuestas a las preguntas formuladas, y debe ser compartida por todos los participantes, siendo el hilo conductor de todo el proceso. Todo es fruto de la creatividad. Exactly 30 years have gone by since then. How important is that milestone for you? I finished a few months later, in November. We began to work together as soon as we had finished. That's why we've always straddled those two dates. At the start of , we felt it was a particularly important point.
Por eso, siempre hemos estado a caballo entre esas dos fechas. RV: Los puntos fundamentales con los que arrancamos persisten. But there are no real stages as such. RA Rafael Aranda : We always think that the best is yet to come. We have shared the same personal and architectural approach since the first day that we began to work together: ongoing learning. We like that feeling. RV: The fundamental points that we started out with have persisted. You train in a specific discipline, with a particular methodology and a knowledge of specific tools, and at some point you get the feeling that that outlook is quite limited.
To what extent do you think that the first filter has helped to nuance your view of architecture? Pero RV: In my case, that experience was biographical. I enrolled in that school because my father was a teacher there.
However, it was a school for arts and crafts. In other words, technical drawing was a very important part of the learning process, in addition to the core art subjects.
The school existed because that sort of training was needed. My mother did. She always said that one day, I came home and announced out of the blue, "I want to be an architect".
I maintained that duality up until the end, but I think I had a stronger leaning towards architecture, because my proximity to the arts really had more to do with my father. I probably would have continued both degrees if it had been possible at the time.
I grew up watching my father building houses with his own hands, working as a paleta. He built four of them in his lifetime.
I followed in his footsteps: I chose architecture. CP: No estoy segura. What I do remember quite clearly is my fascination with a visit to the Mies pavilion in Barcelona in our first year at the School. We had to draw it, and I was utterly absorbed by that plan, where everything fitted. I had discovered a world whose existence I had known before. I also remember being utterly fascinated when I was younger by a house that I passed every day on my way to school.
Mi madre era una persona muy activa. He has always been coming up with all kinds of inventions. He even built his own electromechanical workshop. My mother was a very active person. She was always doing different things, besides taking care of us, from being a radio announcer on Radio Cantabria for a brief period, to managing my cousin's office.
RV: In addition to that duality between architecture and the fine arts, which I think I still have, I have had an irresistable need to build things since an early age. I mean build in the sense of imagining something and bringing it to fruition. I think that's an aspect that we all share. Me refiero a construir en el sentido de imaginar algo y llevarlo a cabo. Creo que es algo que compartimos los tres. What made that educational model different from other architecture schools?
Las clases estaban en unos barracones prefabricados, igual que nuestro instituto. De hecho, terminar en uno y empezar en otro no supuso esa experiencia de cambio que normalmente implica ir a la universidad.
The classes were in prefab huts, like our high school. The names of the lecturers I particularly remember include Pere Riera, a very special person pedagogically. RA: Dani Freixes also made a mark on us. At the time, none of them had built many projects. That whole group of teachers influenced the atmosphere of those years and the way the School worked. CP: Another thing that clearly differentiated us from the Barcelona School of Architecture model was the Projects subject, which was in the syllabus from the outset.
At the end, we actually built the selected projects with our own hands: we built huts in the forest. RV: In pedagogical terms, the methodology was extraordinary. Our first year was quite special: we had thematic classes where we learned specific basic concepts. That's how we came to understand a plane, a vertical line, a cantilever, etc. But in addition to submitting your sketches, you always had to build a physical model. I remember seeing astonishing towers in class made of paper, with no glue, and all kinds of overhangs made of plastic rods.
You had to tackle the challenge building it with a particular material. CP: Nuestros proyectos nunca pueden entenderse desde un planteamiento formal, sino desde el proceso. Siempre lo explico como CP: Our projects can never be understood in terms of a formal approach, but rather a process. I always explain it as taking a step back, going back to the initial question and getting to the source of things, back to the tabula rasa.
We have never been interested in beginning to work on a fixed point, or projects based on typologies, references or models. RV: Getting back to the source means returning to the blank slate, in other words, working from the void, from nothing. Nevertheless, one can detect historical or typological references in your work.
CP: Nos interesan los conceptos que subyacen, no los resultados. We try to scrutinize each project to see what lies beneath things. If you manage to arrive at that point, you discover a very rich, clear source. En solitario. The act of creation cannot be taught". RA: Lo que trasladamos a nuestros proyectos son nuestra experiencia y nuestras vivencias. En un arquitecto creemos que lo esencial es que, cuando vaya a conocer un lugar, sea capaz de capturarlo todo, de absorber lo que sucede y lo que percibe en cada momento, casi como una esponja.
RA: We transfer our experiences to our projects. RV: We also think a lot about the incredible complexity that architects have to cope with now. Architecture has a totalizing dimension of life, because it brings together every dimension, from the most creative to the most tangible.
That is an indispensable approach for a contemporary architect, and architecture schools should contribute to it. Edgar Morin focuses on this type of approach in some of his essays as a necessary response to a very dynamic period. Until now, it has been an annual event in August that Hasta ahora, esta actividad se ha concentrado anualmente durante el mes de agosto en su propio espacio de trabajo, en Olot.
RV: Siempre hemos tenido plena confianza en la experiencia como aprendizaje. Eso fue lo que supuso el paso por la Escuela: una RV: We have always trusted experience as a way of learning. That was what going through architecture school meant for us: a shared experience that has brought us here, to this desk. We needed to be focused. Y nos reflejan. Lo que siempre nos ha interesado ha sido trazar nuestro propio camino.
RA: The workshops emerged when we decided we were ready to explain our method to others- the attitude we use to approach things, which is ultimately how we see architecture and the world.
These workshops obviously help us as well. And they are also a reflection of us. We have always been interested in charting our own path. The potential is there, in everyone. RV: Basically, what initially prompted this initiative were people who wanted to know about our studio and the way we worked.
We held our first annual workshops behind closed doors. We only decided to open them up to the public when we saw that we were now able to clearly convey a message.
We are looking at it as something without a physical limit or a single format, but rather as a platform for exchanges with other places and disciplines- a Faculty of Philosophy in Japan, or a cinema and architecture festival in Spain, for example.
The aim is therefore to delve into a single subject once a year in a global, plural way. The other parallel initiative will ensure that the ideas and concepts that emerge from this experience [the Lab] can be materialized in this territory, physically I mean, so that people can actually come here to visit it and understand the results.
RV: This second facet would be an experiential space. We want to shape a territory of our own, that goes beyond architecture and landscape.
CP: We want to some kind of materialization —let's call them pieces— that can be experienced in situ, not just looked at. We have never been interested in just looking, in the sense of observing, but rather in creation, which is related to a physical experience. It is about creating reality. That's why it's so important for people to come here.
Do you think that difference is an advantage? CP: El hecho de ser tres nunca implica disolver, al contrario. On the contrary. On the other hand, when you want everyone to agree, I think things tend to be flattened out. We work in exactly the opposite way. Sin embargo, cuando se pretende el acuerdo de todo el mundo, creo que las cosas se aplanan. Nosotros funcionamos justo al contrario. RA: Desde que empezamos, hablamos y trabajamos alrededor de una sola mesa.
The structure that is shaped is very strong, very stable. We still do that systematically, even today. We needed more time at first, but now it takes less effort to understand each other.
We realise that the whole time that we have spent discussing thinks amongst ourselves is what has forged a communion in our thinking. So I would say that communication is the basic essence that has pervaded our work. Do you regard architecture more as a trade than as a profession, or only as a discipline? RV: All those words —profession, trade, discipline— have a specific meaning.
Paratge de la Rocassa, Olot Panoramic view of Garrotxa mente. To what extent do you regard your work as an extension of the Garrotxa landscape? Montaner y expuesta en Barcelona Palau Robert, del 26 de marzo al 13 de septiembre de y, posteriormente, en Madrid Museo ICO, del 24 de febrero al 9 de mayo de In El Croquis , , p. De nuevo, son elementos en situaciones contrapuestas. Despite its small size, the Garrotxa district has a balance of forces of opposing pairs.
In addition to basalt, for example, which is one of the hardest, darkest and most difficult rocks to cut, you often see lapilli, commonly known as volcanic slag, which has a vivid colour —reddish in some cases— and is extremely light, porous, and easy to crumble. This material antithesis also exists in our geographical landscape.
We are used to seeing a range of mountains and then a valley. The valley and the mountains are all in one, because the mountains are volcanoes. That type of ecosystem, with its very delicate vegetation, usually appears at much lower altitudes, the opposite of the beech forest.
Once again, you have elements in their opposite contexts. You constantly come across these contrasts. Se trata de una idea que evoluciona hacia Your architecture seems to work very specifically with the interior-exterior boundary. Do your regard these in-between spaces as artefacts, in the sense of being capturers en el sentido de ser captadores del paisaje? CP: Claro. No nos interesa cerrar ni clasificar ni delimitar. Para nosotros, no vuelve uno, indisociable.
CP: Of course. We think there should be a natural osmosis between one and the other, in such a way that by associating them, the exterior can no longer be understood without the interior, and vice-versa: everything becomes inseparable.
Is there a substantial difference for you working in denser urban situations as opposed to a natural setting? RV: No, no existe diferencia. Hay tres aproximaciones ancladas en lo vital que siempre intentamos trasladar a nuestra arquitectura. Precisa- RV: No, there is no difference. Even when we work with a programme in a completely consolidated urban context, our position is always the same.
We always use the same concepts light, space, proportions, the relations between them , but we do choose the tools that we think are most appropriate to each situation. RA: We always consider the interaction between the person and the space to ensure that each area can provide the best that that place has to offer. In other words, we try to make the person feel the space, and make the architecture transmit its particular character to the person. However, each context, each programme and each client asks for specific solutions with given orders of priority.
We are very interested in refining the answer in each situation. We have always avoided working with a catalogue. There are three approaches related to life that we always try to transfer to our architecture.
Firstly, the analysis of the place. We never restrict that to a purely objective analysis. After we look at one and the other, we work with the concepts that we would like this project to convey to people: both what we have experienced physically on the site, and what that programme suggests to us, which we regard as a series of experiences, not just an arrangement of data or surface areas.
RV: We have talked about the influence of the landscape where we live on our architecture. I think that understanding the essence of our environment through our work has also taught us to interpret the requirements in other places more easily, and detect what is most appropriate in each place. To what extent do you think that imagery is a faithful reflection of your work?
CP: Creo que no nos refleja de manera completa porque nuestra arquitectura no es objetual. It can only be understood in a comprehensive sense when you visit it. It involves having a personal experience, understanding the journey, actually being in that place. The way each person discovers and experiences it makes it impossible to convey that experience through an image- via a photo, a map or any other sort of document.
Implica vivir una experiencia propia, entender el recorrido, estar en ese lugar. RA: Any vehicle for understanding our work other than direct experience is a reduction. Do you think architecture is a lingua franca? RV: Yes. We used to say that we always work up from the void, i.
We start from scratch. One thing is the language and the materiality, which has to change from one project to the next in order to provide the most appropriate response, but another very different thing is the essence, which is what always remains, along with the way we operate. The client is just as important: we have always striven to understand them. You talk about your work process as a dialectical immersion. RA: Desde que empezamos, siempre ha sido igual.
RA: It's always been the same, ever since we started. Now —and also 30 years ago when we built the House for a Blacksmith and a Hairdresser— we were interested in understanding them: we built them a house where she could have her salon in the house and he could feel that he was building his own home. Seeing that he was a blacksmith, we included steel. Partimos de cero. Por eso, para nosotros es tan importante posicionarnos en el lugar.
Este procedimiento nunca falla, porque conduce a que las personas nutran con sus ideas nuestras primeras intuiciones para captar y filtrar los conceptos esenciales. RA: Tampoco desarrollamos dos propuestas a la vez. We always work on the basic ideas with them to devise a joint approach. All our projects start with three parameters on the drawing board: the place, the programme and a more dreamlike facet, which is the focus of our first conversation.
This procedure never fails, because it leads people to nourish our initial intuitions with their ideas, and capture and filter the essential concepts. This joint decision-making process with our client implies total trust in each other: we have to leap into the void, but we have to hold hands.
The only thing we ask of them is complete openness throughout the process. CP: We spoke before about integrative limits. We think of ideas as exchanges, not boxed situations. This principle is a faithful reflection of the way we operate and the way we are. We apply it to everything, even to our own lives. Entendemos las ideas como intercambios, no como situaciones estancas. We were very young back then in Its landscapes were close to our experience.
In Japan, sensitivity is something that is expressed on every scale, even in the smallest objects. Sus paisajes nos resultaban cercanos.
Es un RA: I still have a crystal clear recollection of the night we spent in the temple in Koyasan, which almost no Westerners had done back then.
We witnessed the complete transformation of the Japanese space: we arrived at night, entered our room and in the morning, the space began to change completely, opening up in its entirety. Suddenly, we found ourselves somewhere else. That made a very powerful impression on us. The same space, where we had come to sleep, was now a place for us to eat, to stay in.
That experience opened up our minds. We also discovered something very exciting: you can achieve a lot with very few things. With just that, the action of pouring water on a stone, one felt something very profound. Could it be said that you are interested in the mystique of space? Creemos, verdaderamente, RV: The value of space as a creator of atmospheres has always been a fundamental aspect for us. We sincerely believe that architecture has a bodily dimension.
When someone enters a space, they perceive it entirely through their body. What is increasingly interesting for us, however, is the third dimension, which we call spiritual. Another essential aspect is the basic concept of architecture: as shelter for people. Not only in terms of form or function, but also emotionally.
In other words, we are interested in arriving at the fullness of meaning, to the point where we make contact with the most intimate realm of the person so that they can have that feeling of shelter or protection. Ritual and mysticism have lost importance in the modern world, but not for us. We like to talk about beauty precisely because it is intrinsic and universal. Every civilization has cultivated beauty. Space has to be a catalyst that can open up a more transcendental facet with a more abstract dimension.
We spoke before about Japan. During the same period and , Carme and I also visited the United States. Mies van der Rohe made a mark on us. Apart from his rigour and the undeniable value of his buildings, we were fascinated by what his architecture transmits when one visits it. When you enter a Miesian space, the body experiences a higher value. For me, it has that special ability to completely transcend the form and the building as such. For us, that's what's really important.
Todas las civilizaciones han cultivado la belleza. Al entrar en un espacio miesiano, el cuerpo experimenta un valor mayor. Cuando uno se interna es como si se activase el espacio. Para nosotros, eso es lo realmente importante. In some of your recent projects, there seem to be 'shifts' away from previous situations, and a wider range of interests. The Marquee for La Carpa en el restaurante Les Cols fue la primera estructura en su obra en la que el peso propio manifiesta su incidencia sobre la the Les Cols restaurant was your first structure where weight manifests its influence on matter.
Your latest work seems to be less materia. Al tiempo, se enfrentan a otros contextos, is almost imperceptible. Now you are also working in other contexts, scales and quite diverse programmes. The Dar Al Marefa School is escalas y programas muy diversos. La Escuela Dar Al Marefa es, al mismo tiempo, arquitectura, paisaje y urbanismo.
Aunque defienden que architecture, landscape and urbanism, all at the same time. Pero para analizar el RV: Those shifts are constant because our work is highly dynamic. So in that sense, I would say yes. But to analyse the current moment we need to observe things from a greater distance. Pero CP: I agree, our work is very plural now. Our attitude is almost the opposite of the one where, when you discover something that works, you flog it to death. CP: Como siempre trabajamos con el lugar, para nosotros es igual hacerlo en un edificio existente que en medio del paisaje.
CP: Because we always work with the place, it makes no difference to us whether we are working on an existing building or in the middle of the countryside. Did that interest or awareness exist at the start of the project? RA: It was the place that led us to that attitude. In other words, our reaction simply derives from our feelings in that space. We believe we can resist a submission to a single language.
Where I do see a clear evolution in our work is that as one progresses with age, one loses interest in the material. RA: It would be nice to build with just air. Do you think that in recent years, you have evolved towards a much more open materiality in your architecture? Me refiero a que, hasta que no tenemos asentadas las intuiciones sobre el tipo de espacio que queremos crear, nunca nos planteamos la materialidad.
Para nosotros, el material no es algo con lo que vamos a hacer, sino que solo pensamos en su comportamiento, en sus propiedades: si es brillante o apagado, o si es alegre o sobrio, o si es difuso o rugoso. RV: Evidentemente, uno tiene esa paleta que facilita el salto a las ideas, a los conceptos, para convertirlos en materia. Para nosotros, las tres ventanas o dimensiones fundamentales son la sensorial, la racional y la espiritual. Todo tiene que ver, por tanto, con la esencia del espacio. By this I mean that we never discuss materiality until we have stabilised our intuitions about the sort of space we want to create.
For us, the material is not something that we are going to work with. In other words, we adjectivise architecture through its materiality. RV: Obviously, one has a palette that facilitates the leap to ideas or concepts, in order to turn them into matter. RA: For us, material is like light, height or proportion. For example, when we decided to create something deep and ethereal in the Enigma Restaurant, it was to get the people who were there to completely disconnect from the outside for a while.
RV: And the void, which contains everything. For us, the three basic windows or dimensions are the sensory, the rational and the spiritual. Our job is to explore them through the concepts that we define as the essential ideas in each project. So everything is related to the essence of the space.
For us, the void undoubtedly comes first and foremost in the conception of a space that has the ability to transmit. RV: La materia es el elemento que sirve a lo funcional. The important thing is to understand the void as a primeval concept: everything emerges from nothing. Space is shaped by placing limits on a void. We get our spatial awareness from the configuration of those limits. In my opinion, the rational dimension fades away with experience. If we were really able to build boundaries with air alone, as I said before, the imperative need to build with matter would cease.
Do you regard your architecture as an ongoing project concerned with suspension in time? CP: Yes, we have always been interested in making spaces timeless. RV: That is probably one of the concepts that is always present in all our projects. Time is closely linked to space. In fact, time is what it takes you to travel through a space, or what it takes light to do that. Ultimately, time is measured via space. So if you manage to create a truly timeless space, your perception of time changes as well: although you are here, you feel as if you are immersed in an infinite time, where you can rest.
How to express changes in the perception of time through the concept of space is a fascinating issue for us. We like spaces that persist over time- spaces that always remain in the present. En realidad, el tiempo es lo que tardas en recorrer un espacio, o lo que tarda en hacerlo la luz. Nos gustan los espacios que permanecen a lo largo del tiempo, que siempre permanecen en el presente.
Enrique Encabo and Immaculada Maluenda both from Madrid, are architects. Since , they have practiced their profession as authors, researchers and cultural managers from their office, Q! They have co-edited nearly 20 volumes and in and they were members of the commissioner team for the Spain Pavilion at the Venice Biennale.
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