Arquitectura Viva
Tuesday, July 17, 2018
LUZ DE LEVANTE

Arquitectura Viva 61

LUZ DE LEVANTE

Castellón, Valencia y Alicante: fervor mediterráneo
VII-VIII 1998
Synopses

Eastern Light. The list of Spanish regions with consolidated architectural personalities of their own seemed to lack the Valencian group of provinces, which nevertheless in the past years has accomplished enough in quality, quantity and variety to merit attention. Endowed with a solid Mediterranean and modern heritage reinforced by close links to the plastic arts, Spain’s Levant is building a new image for itself, aided by projects of the kind carried out by Calatrava, Foster and Grassi in Valencia or by Siza in Alicante.

  Contents

Jorge Torres
Modern Valencia
Adela García-Herrera
The 90s in Spain’s Levant
S. Calatrava, ‘Hemisphere’
N. Foster, Congress Center
G. Grassi, Central Library
Á. Siza, University Offices

Buildings: Projects and Realizations
Valencia Studios. Carlos Meri concentrates his efforts on serialization and detail precision in a work that verges upon engineering; Íñigo Magro and Miguel del Rey give a contemporary air to the old ceramic industry of Castellón; and Emilio Giménez continues his long-time relationship with the arts through a project for the sculptor Andreu Alfaro.

 

  Architecture
Carlos Meri
Palmaret Station, Valencia
Magro & Del Rey
Venus Offices, Nules
Emilio Giménez
Design Museum, Rocafort

 

Alicante Firms. Javier García-Solera and Alfredo Payá belong to the latest generation of young professionals, and also share an elegantly frugal language that is patent in their respective buildings for Alicante’s campus. Vicente Vidal, in expanding one of his own works, goes back to the constructional concerns that have shaped his already long career.

  Javier García-Solera
Business School, Alicante
Alfredo Payá
University Museum, Alicante
Vicente Vidal
Industrial Plant, Cocentaina

 

Books, Exhibitions, Personalities
Individual and Collective Shows. An anthology of Paul Klee arrives in Madrid’s Thyssen Museum from Valencia’s IVAM, while the Reina Sofía organizes a controversial traveling exhibition about Spanish industrial design.

 

  Art / Culture
Guillermo Solana
Klee, from IVAM to Thyssen
Vicente Patón
Spanish Industrial Design

 

Brazilian Heritage. The author of Brasilia’s masterplan, Lucio Costa, dies at the age of 96, while his compatriot and disciple Oscar Niemeyer becomes the first Latin American architect to win the RIBA Gold Medal.

 

  Hugo Segawa
Lucio Costa, 1902-1998
Jorge Sainz
Niemeyer, Tropical Genius

 

Revisionist Times. Historical themes are enjoying a fecund moment in publishing, illustrated by the updating of a reference manual and the recuperation of an emblematic text belonging to the ecological literature of the sixties.

 

  Focho’s Cartoon
Buckminster Fuller
Various Authors
Books

 

Interiors, Design, Construction
Degrees of Transparency. Jacques Herzog and Pierre de Meuron complete their first American work, a winery in California that blends into the landscape through geometry and a stony translucent skin; and Alberto Campo Baeza draws inspiration from Moorish gardens to build a Mallorcan complex of opaque contours around a diaphanous core.

 

  Technique / Style
Herzog & De Meuron
Stone against Light
Dominus Winery, Yountville
Alberto Campo Baeza
A Secret Garden
BIT Center, Inca

 

To close, for the section on constructional themes and products Ignacio Paricio has on this occasion collaborated with Juan Luis Fumadó in addressing the problem of where to place service ducts and wires; and the director of the Valencian Institute of Modern Art, Juan Manual Bonet, sums up the diverse and stimulating cultural panorama of his region.

 

  I. Paricio & J.L. Fumadó
Where to Place Services
English Summary
Eastern Light
Juan Manuel Bonet
Living Valencia

 

 

Luis Fernández-Galiano

Eastern Light

The sun of architecture had not risen for some time in the east of Spain. In the past twenty years the Valencian region has witnessed an imbalance between its demographic dimension and the density of cultural construction, and between its economic dynamism and the vitality of the architectural debate. Public administrations proved unable to create a sufficient atmosphere of emulation, just as the School of Architecture and the professional associations failed to produce a landscape of vigorous stimuli. Despite the commendable efforts of some institutions and persons, the Valencian scene fell short of acquiring the critical mass needed to initiate a chain reaction, and outstanding projects that may have served as a fuse burned out with wet gunpowder. The grand opportunity presented by the development of the Turia River area ended in disappointment, the IVAM failed to build a headquarters at a par with its artistic program, and the hapless theater of Sagunto got bogged down in political controversy.

But the wind is changing course. A new generation of architects is creating a fertile panorama of works and projects able to engage in dialogue, free of complexes, with the imported architectures abounding in the region. The disciplined laconism of Valencia and Alicante architects contrasts with the diversity of languages used by the invited voices. Nevertheless, perhaps only with a deliberate stripping and a rigorous silence can they strike a conversation with the babel of artistic tongues being heard on the shores of the Mediterranean. If the communication works, these lands will have enough fuel to kindle the bonfires of architecture, turning fervor into brilliance, and complementing the flames of artifice with the slow fireworks of everyday heat.

The generous welcoming of outsiders is the most distinctive feature of a community that does not need to assert its identity through isolation. Hence the works of Catalans like Miralles and Ferrater will soon be accompanied by projects of Seville’s Vázquez Consuegra and Madrid’s Santander-born Navarro Baldeweg, and this peninsular polyphony is destined to tune in with a young but mature local talent that can likewise benefit from a critical dialogue with international architecture: the embers of the illuminist rationalism of the Tendenza, an unfinished project that Grassi illustrates well with his library; the wise and fractured poetry of Siza, dramatic even in cases where the master imitates himself; the humanistic technology of Foster, competent even when he tries to redeem routine through gesture; and, inevitably, the sculptural engineering of Calatrava, whose provocative mix of inspiration and triviality will continue to arouse clashing sentiments, but whose presence in his native land helps to raise the temperature of the fires that herald the light and warmth of the eastern dawn.

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