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Presentation and Representation–An Outline for a Critical Interpretation of the “New Generation” of Spanish Architecture

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Presentation and Representation–An Outline for a Critical Interpretation of the “New Generation” of Spanish Architecture PP periodica polytechnica Presentation and Representation – An Outline for a Critical Architecture 42/2(2011)27-37 Interpretation of the “New Generation” doi:10.3311/pp.ar.2011-2.04 of Spanish Architecture http://www.periodicapolytechnica.org/ar © Periodica Polytechnica 2011 Anna Nóra Kóródy / Zorán Vukoszávlyev RESEARCH ARTICLE RECEIVED 2012-03-26 Abstract Introduction The continuous development of the Spanish economy, the In reference to the Spanish architects appearing during the large investments, the transformation of the society and the building expansion of the late 1990s to early 2000, some authors increase in international connections, had drawn public atten- speak directly about the formation of a new architect genera- tion to contemporary Spanish architecture by the millennium. tion. William J. R. Curtis in a volume of the El Croquis, divides Through the medium of the press, the transformation of Span- the architects born in the 1960s (more exactly between 1957 ish architecture is observable, with Spanish periodicals and and 1970) as a NEW SPANISH GENERATION1. In his opinion, they monographs gaining ground among the international profes- are old enough to remember the time of the Franco regime, but sional issues, headed by the Spanish-English magazine El Cro- they started practicing in a country open to the outside with a quis. Moreover, we are eyewitnesses to the emergence of the strengthened urban middle class. From a social point of view we new Spanish architect generation, whose young associates have can undeniably speak about a generation with a unified identity, attracted considerable international interest; their works being however, these young Spanish architects who appeared from built all over the world, enriching their reputation. This paper the 1990s to 2000, are not necessarily a strongly connected gen- searches for the answer to the question: how did Spanish ar- eration. The psychologist, László Garai, stated that the terms for chitecture reach public awareness from the complete isolation, the formation of a unified generation, are that a social stratum and what kind of social, cultural and economic factors played a has to be deeply influenced by a historic challenge at a certain part in this process. age2. Though this unified historic imprint was noticeable during the dictatorship, the elapsed time moderated the situation. Keywords This research paper presents those economic, social and cul- contemporary Spanish architecture · Iberian Peninsula · tural aspects – illustrated by examples – that affected the archi- representation tects of the examined era and those processes that resulted in the diversity of this generation. Acknowledgements The analysis is based on publications that have represented The study was carried out with the support of the grant Spanish architecture over recent decades (the synthetic writings TÁMOP-4.2.2.B-10/1-2010-0009 and the Bolyai János of David Cohn, William J R Curtis, Terence Riley, Gabriel Ruiz Research Fellowship of the Hungarian Academy of Sciences. Cabrero and Alejandro Zaera Polo among others), and the work of authors who, as outsiders, attempted to define the mainstream. This was completed by the analysis of the designer perspective, Anna Nóra Kóródy 1 Curtis W J R, Territories of Investigation, El Croquis Nr 118, 2003, En Department for History of Architecture and of Monuments, proceso, pp. 4-23. (named architects: Alonso (1951), García-Solera (1958), Budapest University of Technology and Economics Payá (1961), Ábalos (1956), Herreros (1958), Nieto (1957), Sobejano (1957), Budapest, Műegyetem rkp. 3. K. II. 83., H-1111 Tuñon (1958), Mansilla (1959) , S&Aa - Palacios Díaz (1960), Soriano (1961), email: [email protected] RCR - Vilalta (1960), Aranda (1961), Pigem (1962), Juan Domingo Santos Zorán Vukoszávlyev (1961), FOA - Zaera-Polo (1963), Moussavi (1965), NoMad - Arroyo (1964), Department for History of Architecture and of Monuments, Ocaña (1966), Cero 9 – García Grinda(1966), Díaz Moreno (1971), Alonso Budapest University of Technology and Economics (1966), Acebo (1969) Budapest, Műegyetem rkp. 3. K. II. 83., H-1111 2 Hunyady Gy, Generáció és identitás, Alkalmazott Pszichológia, 1999. email: [email protected] I/1. pp. 67–73 Presentation and Representation 2011 42 2 27 the inner point of view that evolved through narration and the dynamic transformation of the cultural and social medium after building and writings of practicing architects. The aim of the the dictatorship – that is obviously traceable and can be recog- research was to relate the oeuvres of designers to the economic- nised due to the wide spectrum of economic opportunities – also social-cultural background and transformations of the country, started with the reinterpretation of attachment to early Modern- to discover the system of connections and to examine why there ism. A related representative event was the reconstruction of are still disintegrating, parallel tendencies inside the generation the Barcelona Pavilion with the evaluating exploration of the that was traditionally regarded as unified. connected intellectuality, to find rapid and adequate answers in The identity of contemporary Spanish architects can be read- the new construction environment, and to find new ways of ex- ily approached through the ideas of PRESENTATION (‘demonstra- pression with the help of self-invented techniques. The critical tion, introduction’) and REPRESENTATION (‘depicting, deputising, regionalist architects and the architectural works known from expression, designation’), according to the way in which they the international press due to the theoretical writings of Kenneth see and how they express themselves in both national and in- Frampton, are transitional compared to our research periods. ternational forums. This includes the publishing of architectural Additionally, due to its significant presence in the specialised work and theories, (the domination of Spanish periodicals and literature, this theme is not part of this paper, which aims to monographs among the internationally quoted professional define the basis of research. Furthermore, the intellectual con- publications, with the journal El Croquis heading the list), the nection with modern architecture is supposed to be found in the main streams of architectural research, and their participation synthesizing approach of contemporary architecture. in competitions, exhibitions and education inside and outside The conception of presentation is interpreted as self-refer- Spain. However, these factors are inseparable from the econom- ic, social and cultural background of the 1990s, which was the basis and trigger for the changes. This paper analyses the related factors, not stylistically, but in a way, by reflecting on national and international impacts, searching the unique characteristics beyond the unified tendencies. The demand for renewal is strongly connected to the region- alist tendency of the 1960s that attempted to find local ways of expression, based on its own cultural values, in order to escape the moral crisis of Modernism (controlled by the government) fitting the actual/realistic economic and social possibilities. On the one hand, the slow economic mechanism generated by the isolation, triggered the architects to innovatively apply simple, existing techniques; however, on the other hand, the search for national architecture – and at the same time turning away from Fig. 1. Barcelona Pavilion, Barcelona, 1929/86. Architect: Mies van der the international movements – dictated by the cultural politics Rohe. Picture: author is in coherence with self-reflective initiations of other nations of the time3. ence: we analyse the context and relationships of the masters The regionalist houses of the architects of the 1960s, who determinant in the education of this “new generation” with the were educated during modernism, are results of this claim of international Modernism and with their own architectural tra- representation (the modern as a point of reference, and side by ditions. This new generation characteristically worked in the side, the local traditions of construction based on own cultural 60 and 70s, so their role is also the most important concerning memory4). We also attempt to evolve this through the interpre- the examples of Spanish architecture and cultural continuity. tation of master-student relationships and by the research from These references of self-representation can be extended and re- the “architectural schools” that came into existence. However, interpreted in two ways; the relationship of the new generation traditional modernity has also been the point of reference for towards their masters, and their connection to Spanish Mod- the last 20 years of contemporary Spanish architecture. The ernism. The instrument for this extension is the background 3 Like the architectural problems connected to the cultural politics of the chitecture in Portugal (summary: Vukoszávlyev Z, Approaches to Modernity. other Iberian nation during the dictatorship: research by Centro de Estudos Metszet 6/ 2010. pp.12-13.) Arnaldo Araújo and Escola Superior Artísticí do Porto (Popular Architec- 4 The paper does not aim to define the concept of cultural identity. For ture in Portugal. A critical look - FCT: PTDC/AUR-AQI/099063/2008) at a comparison: Assmann J, Czaplicka J, Collective Memory and Cultural Iden- conference in Hungary (BME, Budapest, 08.10.2010) Cardoso A, Maia, M tity. New German Critique. (No.65) 1995/Spring-Summer, Cultural
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