Material Houses. Experimental or
extravagant, domestic architecture reflects the spirit of the moment through the material
substance of its works. As in the tale of The Three Little Pigs, the options are
residential and vital: the European capital of glass emulates historic avant-garde with a
solid version of the glass house; an ecological house of straw is built in a
red brick British neighborhood; a textile house half art installation, half
agricultural greenhouse goes up in the south of France. Commentaries on these works
are by Jorge Sainz, Mariano Vázquez and Cristina Díaz Moreno with Efrén García Grinda.
Kruunenberg & Van der Erve
|Views and Reviews
||Art / Culture
|Heritage and Avant-Garde. A fine collection of Spanish contemporary art is installed in the Renassaince cloister of a Castilian monastery; and a Viennese and German one of the early 20th century in a New York mansion.||Javier Hernando
Patio Herreriano inValladolid
The Neue Galerie in New York
|Engineering Voices. Cecil Balmond belongs
to that singular lineage of engineers related to significant architectural works; his last
book coincides with other texts devoted to the relationship between the two disciplines.
Zaera y Moussavi
|To close, the Galician architect César Portela reflects on the deterioration of his homelands environment on the occasion of the sinking of the oil tanker Prestige, which has devastated kilometers of natural coastline landscape.||Products
Lightweight Panels, Furniture
Landscapes of the Prestige
When the house becomes the virtual hostage of a phantasmagoric world of fleeting figures, we adhere to its physical substance with obsessive persistence, tamely hoping that its materiality shall rescue us from so many spirits transformed into spectres. But be it experiment or routine, the single residence is inseparable from its urban proliferation, and the best project becomes oppressive when submitted to a clonal reproduction that the industrial object takes in without objection. Trapped between the horns of sociology and narcissism, the house dithers between customized production and signature work, digging into its tactile matter to rehearse escape from the vicious circle of the image reflected in the mirror, symbol at once of the implosive introspection and the repeated multiplication that mark the familiar territory of domesticity.
After all, the debate on the house is that of contemporary individualism, a powerful force of historical change that has broken the restrictive links of traditional community structures, releasing colossal energies and initiative at the same time that it casts autonomous, elementary particles on an open field with neither fences nor paths. This ground of independence is an unploughed land, in which the freedom of the space without boundaries is paid for with the sacrifice of traces, habits and memory. Even though some houses may be as excellent as some individuals, the house itself demands a sprawling urbanism that destroys landscape just as anomy frays social fabric. And using the physical matter of architecture as a healing aid is then hardly more than a comforting fiction before the wreck of a collective canvas that unravels and melts into air.