Etiqueta: Carlos Ferrater

27 de mayo de 2013 (a propósito de Barcelona… y mas) >>> [ver +] 7th extract | séptimo extracto  [English]I don’t know how other people identify a building of mine; it’s something I cannot know. Maybe some buildings are recognizable, although it’s more difficult of late as there’s greater experimentation and risk-taking and the language becomes less obvious.  The experimentation, in our case, occurs in different laboratories: the landscape, the city, the construction process, working closely with Joan Guibernau. At a reduced size, when intermediation disappears and the relationship with the occupant becomes clearer. And, above all, in competitions,...

14 de mayo de 2013 (a propósito de un material: la «pieza ferrater») >>> [ver +] 6th extract | sexto extracto  [English] The materials are present from the first. I try to use only a few, the minimum number required to resolve a project. They emerge at the same time as the structural and spatial approach; the materiality appears with the skin, too, because architecture makes itself felt in a sensitive way. One gradually produces a design practice without prior theory. This —the design practice— is what will lead to a theoretical approach.  Today’s industry offers materials in sheet form...

6 de mayo de 2013 (sobre luz y materia) >>> [ver +] 5th extract | quinto extracto  [English]I like the fact that people come to the studio full of enthusiasm, wanting to try things, to work and experiment, to learn and teach. A recent arrival is a young German architect who comes from a family of violinmakers. I asked him why he didn’t want to continue the family tradition and he replied that he was more interested in the violin case. A violin case is spatial and has a crucial relationship to what it contains. The Stradivarius violin case...

14 de abril de 2013 (sobre el equipo) >>> [ver +] 4th extract | cuarto extracto   [English]I’ve always been testing things, each project’s been a new experience, an attempt not to reformulate what I already knew, handling the contradiction the architect experiences between a one-off building and an ongoing process. Architecture is a collective undertaking. The architect must be the lynchpin in this process. His role can be very variable. I’ve always wondered how much there is of Libera, the architect, and how much of Malaparte, the poet client, in the house on Capri. In our studio we...