The book is a testament to the buildings, architects, and artists Rowe deeply appreciated. For the millions who travel to Italy to see the art and architecture of the sixteenth century - places that captured Rowe's heart and challenged his fertile mind - this book will be a pleasurable read as much as it is a pinnacle of critical scholarship.
Interviewed in Madrid 14 February The person with the greatest authority on the Spanish architectural scene today is certainly Rafael Moneo, the teacher of several generations of excellent Spanish architects. His teaching activity is not restricted to Madrid and Barcelona.
As its chairman, he widened the horizons of the Harvard School of Architecture, inviting guest professors from the Mediterranean and Central European area.
He realized his other important role as a creator by promoting architectural works as essential elements in the continuity of a comprehensive cultural tradition. We could begin our conversation with your recent book Remarks on 21 Works.
This book could be read as a comment on the architectural tendencies of the last forty years, but you also maintain a critical position towards these shifts and changes.
For example, in the period of brutalism you were committed to excellence of execution in your buildings, or in the period of compositional fragmentation, you had compact bodies.
What gave you this strength to keep on in your own way? I think that the book would also like to recognize how much one lives with the issues of time. In the case of brutalism, one responds to brutalism, and also starts to think about the recognition and indeed the value of individual elements in a building like Bankinter in Madrid.
In the book I recognized the depth of the relation that I had with Rossi and the emphasis he placed on the city. In retrospect, I see my work as very dependent on putting the building not only in the context of the city, but the city considered as collective works over time, something I learned from Aldo Rossi and the people of his school.
Therefore, the book could be read as an attempt to remember. In other moments, it reacts against excesses. I believe it is possible to build architecture just assembled with pieces, but then fragmentation became too exaggerated.
What made sense was to establish the due contact point and then offer another point of view. I want the book to be a companion to my own influences. It speaks about how you use or take advantage of those trends, but at the same time being critical of them. The atmospheric conditions led us to understand the concept of the house better.
You decided to detach the layout of the ensemble from the existing orthogonal urban fabric, and develop the project by referring to the landscape and nature. These are also two lanterns facing the sea as intermediate objects between nature and the city.
You could imagine them giving light to those coming from the sea. Besides reflecting on the type that we were talking about, the Urumea building tries to give an answer to the question that was very much alive in those days. It was the issue that the Italians call preesistenze ambientali.
Kursaal shows a recognition of how the singular conditions, those geographical, geological conditions of the site, are used to discover the required, quite different answer.
It is true that, by facing the ocean, the building acts like a signal for those coming from the sea. Therefore, your association with the lantern or a lighthouse is quite pertinent.
Kursaal is very much related to the Sydney Opera House, a building so important in general and for me particularly. In a way, the building tries to see how two auditoriums are able to communicate and tries to avoid some of the problems that the Sydney Opera House had, not just with its construction, but what the Sydney Opera House promised clearly in the plan, that both halls could be related, and actually they are only related outdoors.
I started from that, just recognizing that they were independent, I tried to explore the way in which they could be reconnected in the platform again, maintaining this independence that in the end produces two geometrical figures that are quite different. On several occasions you stated, and it was mostly in the time of the dominance of postmodern discourse, that a project is not a direct answer to its context, because it would mean that there is only one possibility, or only one response to the given conditions.
Because the idea today about context overcomes what the influence of the content of context was in the last thirty years. Context has been very often thought of as just the set of physical conditions that in the end force you to fill up and to complete the scene.
At this moment, instead of thinking that buildings are completing something or just finding what is missing there, I would say that buildings open up the perception of the context. They open, enlarge understanding and provide the enlarging of the interpretation you could give to this specific site.Stan Allen and Rafi Segal, Block/Tower, , rendering, study for the re-use of an existing s office building in Midtown Manhattan as mixed-use housing, on view in the exhibition Making Room, , Museum of the City of New benjaminpohle.com://benjaminpohle.com · In his teaching, practice, and research Professor Miró explores the connections between architectural design, placemaking, nature, and the relevance of history.
He regularly lectures about his work in professional and academic settings in the US and benjaminpohle.com://benjaminpohle.com Building, Teaching, Writing. Francisco González de Canales and Nicholas Ray work, and influence of the important and award-winning Spanish architect Rafael Moneo The Spanish architect Rafael Moneo (b.
) has won numerous awards (including the prestigious Pritzker Architecture Prize), yet this publication is the first to offer a critical. Rafael Moneo: building, teaching, writing / Francisco González de Canales and Nicholas Ray New Haven ; London: Yale University, cop. Built by RYRA Studio in Tehran, with date Images by Parham Taghioff.
A very important issue in our design process was to benefit the spectacular view and at the same time block the undes. Presentation by Rafael Moneo team, the basic design of Mvseo the Roman Theater and the comprehensive restoration project of the monument and its surroundings.
July Presentation of project execution Mvseo the Roman benjaminpohle.com?idioma=2. Moneo Brock is an international architecture and design studio concentrating in architectural projects and interior design, founded by the architects Jeff Brock and Belén Moneo, in Madrid and New York.