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Thursday, July 19, 2018
ESPAÑA 2001

AV Monografías 87_88

ESPAÑA 2001

Yearbook
I-IV 2001

ESPAÑA 2001

Balance del año
Summary of the Year


Luis Fernández-Galiano
Bienvenidos al último espectáculo
Welcome to the Latest Spectacle


Luis Fernández-Galiano
La España crisálida, 1975-2000
Spain, from Larva to Butterfly
Cinco lustros en cinco ilustraciones
Twenty-Five Years in Five Images

Adela García-Herrera y Marta García Carbonero
2000, una antología de muestra
2000, a Sample Anthology



Otros hitos
Other Landmarks


Aeropuerto de Sondica, Bilbao   Sondica Airport, Bilbao
Santiago Calatrava
Museo de las Ciencias, Valencia   Science Museum, Valencia
Santiago Calatrava
Conservatorio, Palma de Mallorca   School of Music, Palma de Mallorca
Coll & Leclerc
Palacio de Congresos, Barcelona   Congress Center, Barcelona
Ferrater & Cartañá


Museos a medida
Custom-Made Museums


Museo de Bellas Artes, Castellón   Museum of Fine Arts, Castellón
Tuñón & Moreno Mansilla
Museo de la Ilustración, Valencia   Museum of the Enlightenment, Valencia
Guillermo Vázquez Consuegra
Centro de visitantes, Almonte (Huelva)   Visitors’ Center, Almonte (Huelva)
Cruz & Ortiz
Museo de Altamira, Santillana (Santander)   Altamira Museum, Santillana (Santander)
Juan Navarro Baldeweg


Herencia natural
Natural Heritage


Capilla, Almadén (Ciudad Real)   Chapel, Almadén (Ciudad Real)
Sancho & Madridejos
Iglesia, Valdemaqueda (Madrid)   Church, Valdemaqueda (Madrid)
José Ignacio Linazasoro
Cubrición de ruinas, Almenara (Valladolid)   Sheltering of Ruins, Almenara (Valladolid)
Roberto Valle
Escalera de la Granja, Toledo   La Granja Escalators, Toledo
Torres & Martínez Lapeña


En cuerpo y mente
In Body and Mind


Piscinas cubiertas, La Coruña   Indoor Swimming Pools, La Coruña
Francisco Mangado
Piscina cubierta, La Vall d’Uixò (Castellón)   Indoor Swimming Pool, La Vall d’Uixò (Castellón)
Fresneda & Sanjuán
Facultad de Derecho, Barcelona   Law School, Barcelona
Martorell, Bohigas & Mackay
Aulario universitario, Alicante   University Lecture Halls, Alicante
Javier García-Solera


Útiles de trabajo
Work Tools


Ampliación de oficinas, La Coruña   Office Extension, La Coruña
Quintáns, Raya & Crespo
Escuela-taller, Casillas (Murcia)   School-Workshop, Casillas (Murcia)
Javier Peña
Edificio de servicios, Rota (Cádiz)   Facilities Building, Rota (Cádiz)
Rubiño, García Márquez & Rubiño
Edificio de oficinas, Escombreras (Murcia)   Office Building, Escombreras (Murcia)
Casado, Herrero & Suárez


Hábitos de vida
Life Habits


Viviendas sociales en la calle Sicilia, Madrid   Social Housing on Sicilia Street, Madrid
Nieto & Sobejano
Bloque residencial, Berriozar (Navarra)   Residential Block, Berriozar (Navarra)
Tabuenca, Leache, Tabuenca & Saralegui
Casa para una peluquera, La Canya (Gerona)   House for a Hairdresser, La Canya (Gerona)
Aranda, Pigem & Vilalta
Casa de Blas, Sevilla la Nueva (Madrid)   De Blas House, Sevilla la Nueva (Madrid)
Alberto Campo Baeza


Un año en el mundo
A Year in the World


Luis Fernández-Galiano
Epifanía del perfume
Epiphany of the Perfume

Luis Fernández-Galiano
Doce meses y cuatro estaciones
Twelve Months and Four Seasons
El año en doce edificios
The Year in Twelve Buildings

Marta García Carbonero
Los premios y las pérdidas
Distinctions and Disappearances




Luis Fernández-Galiano

Welcome to the Latest Spectacle

The Beatification of Antoni Gaudí by the Pope John Paul II and the canonization of Rem Koolhaas by the jury of the Pritzker Prize were two key events in the course of a bittersweet year that has seen Jacques Herzog and Pierre de Meuron triumph with the opening of London’s new Tate Gallery and Santiago Calatrava carry the day with a chain of inaugurations and honors, but also the sad going of the architects Enric Miralles and Francisco Javier Sáenz de Oíza.

What the English-speaking world called Y2K began without the dreaded millennium bug paralyzing computers, but ended with butterfly ballots and pregnant chads wreaking havoc in the United States presidential elections, exposing the fragility of the conventions that sustain the spectacle of democracy. With this year as hinge, the turn of the century has been accompanied by a significant rise of oil prices, a cooling off of the Stock Market, and the erosion of expectations of the New Economy, but such signs of a change of cycle in central countries has not diminished the waves of migrants from peripheral countries, increasingly devastated as these are by wars and plagues.

Even good ol’ Europe – worn out by the fall of the euro, political paralysis, and health alarms that trace the somber reverse of the extraordinary advances in the life sciences – continues to receive a regular influx of immigrants that balances out its demographic decline, which is accentuated in the case of Spain, a country that takes leave of the century gracing the bottom of fertility lists and the top of terrorism statistics. Inexorably linked to ethnic nationalism, anywhere from Chechnya to the Basque Country, political violence has been the big argument in the clash between economic globalization and local resistances in a continent fragmented by a mosaic of languages and cultures.

A Canonical Winter
In a slower world, both architecture and religion were identifying features of the pieces that made up the patchwork tapestry of a community. But in an accelerated planet, the ecumenical unanimity of spectacle blurs every limit to form virtual networks of a catholic nature. In this way, media construction is in tune with the incandescent theology that has multiplied Pope John Paul II’s canonizations and trips: at the meeting point of both processes, the Catalan Antoni Gaudí’s beatification uncovered the convergence of the mythic and the holy by elevating a cult architect to the altars, while providing the winter’s warmest news, pushing to second place both the opening of a disappointing Millennium Dome in London and that of a renovated Pompidou Center in Paris, works of two former partners, the British Richard Rogers and the Italian Renzo Piano, who were the first to censure the final results.

Springs of Art
The most awaited event of spring was the awarding of the Pritzker Prize to the caustic Dutchman Rem Koolhaas, an architect fascinated with the contemporary urban explosion which describes as “junkspace” that explored by him in Asia’s Pearl River Delta, in the African city of Lagos, and in American commercial centers. And the biggest celebration of the season was the opening of the Tate Gallery’s new London site in an old electrical power station transformed for the purpose by the Swiss Jacques Herzog and Pierre de Meuron. An inauguration that overshadowed those of other commendable museums: the British Museum, also in London and remodeled by Norman Foster with better fortune than in his footbridge over the Thames, which had to be closed after a few days due to vibrations; Rafael Moneo’s Houston Fine Arts Museum; Frank Gehry’s Museum of Rock in Seattle; and Caruso St. John’s art gallery in Walsall. The Dutchman and the Swiss partners, who have made Rotterdam and Basel the two poles of the European debate, also initiated a rare collaboration to design a hotel-boutique for the developer Ian Schrager in New York, a city which like London is experiencing a certain architectural revival.

Summer Fairs
The heat of summer happenings, however, would visit neither an American nor a British metropolis, but two smaller cities of continental Europe: Hannover, which used its Messe facilities to organize a low-profile Universal Exposition, where Dutch and Swiss staged their architectural differences through the contrast between MVRDV’s rhetorical exhibitionism and Peter Zumthor’s musical order, and where the prescribed ecological emphasis justified the use of cork in the constructions representing Spain (Cruz & Ortiz) and Portugal (Siza & Souto de Moura), or cardboard in the Japanese pavilion (Shigeru Ban); and Venice, whose seventh Biennale di Architettura gathered a host of proposals under the slogan “less esthetics, more ethics,” an idea hardly reflected, alas, in the motley confusion of the event. But the shadow of a stream of deaths was cast over both festive occasions, darkening the summer: Rafael de la Hoz, posthumously awarded the gold medal of Spanish architecture, began an obituary line-up that would tragically and prematurely include Enric Miralles, and also veteran masters like John Hejduk, Francisco Javier Sáenz de Oíza and Eladio Dieste.

Temples of Autumn
In fall, which began with the echo of a tardy Australian Olympics that allowed Sydney to show the world how organizational and environmental excellence does not need emblematic architectures, the United States staged an electoral campaign in which sprawl was one of the subjects of debate, and which ended up being settled in the state of Florida, cradle of the ‘new urbanism’ movement and scene of its most significant realizations, from Seaside to Celebration. And while Americans played the presidential “she loves me, she loves me not,” Spaniards took stock of the 25 years since the death of Franco and the crowning of King Juan Carlos I. All this in a month of November that witnessed at once the escalation of ethnic Basque terrorism and the opening by Prince Felipe of two major buildings, designed by Santiago Calatrava (who received the Meadows Award around the same time), which together highlight Spain’s spectacular modernization: the Museum of Science in the architect’s native Valencia and Bilbao’s Sondika Airport in the shaken and anguished Basque Country. Two colossal cathedrals which may not raise their author to sanctity, but surely express well the grandiloquence of prosperous and confusing times. Welcome to the latest spectacle.

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