Ana Asensio – Manu Barba – Carlos Gutiérrez – Collaborators · publication/magazine | The AAAA magazine

In the last October during the forum of the IVth Forum Arquia/Próxima 2014 that developed in Granada we had the occasion to know in person three future architects, Ana Asensio, Manu Barba and Carlos Gutiérrez, to that we had desire of knowing and that were explaining to us his publishing project The AAAA magazine. Such an interesting as difficult initiative given the “current situation in which one finds the publishing sector and in the special one the one that concerns the architecture and the art.

“Along the wanderings for the world, and for different universities, I could know an architecture of the man for the man and an art tied to the architecture as human expression; at the same time as big emptinesses in the educational university systems, still with a vision that mutilates too many ramifications.”

Ana Asensio

In spite of his youth they have a great experience in the publishing world, since they are habitual collaborators of other publications, so much of physical as digital character. This experience joined the passion and the own worries, spread by the world, agglutinate and are given as result, The A.A.A.A magazine.

The AAAA magazine It is a humanist hybrid and independent magazine, which explores the architecture across the lenses of the art, the anthropology and the archaeology. 100% Done by students and young professionals. 100% International.

Ado preambles we leave the interview you to three bands that we had the opportunity to realize, with these adventurers.

Team The AAAA magazine. From left side to right, Manu Barba, Ana Asensio and Carlos Gutierrez | Photography: The AAAA magazine

Which has been your formation and professional path before The AAAA magazine?

Carlos Gutiérrez: My formation they are my passions, simply a search of exciting and beautiful things. This it is my school, because the royal schools just now me do not contribute anything.

Ana Asensio: In my case, simply, I have liked to learn the things for me itself, and have dedicated a heap of hours to which, if something was attracting me, since it knew that probably I was not going away to power to allow a professional education in this sense (the Spanish university has too many lacks), it had to go for it.

Carlos Gutiérrez: Evidently our system has many lacks, but along the world the people who does things are like we.

Manu Barba: The university what has given us is a species of network base on that then you start jumping.

Ana Asensio: And an environment in which to know other persons who have the same this doubts and worries. In my case I started learning Photoshop in house, photography, of there they called me to be employed at the army at the office of communication, of there to graphical design, of there I gave the jump of entering to the publishing world sending texts to magazines in that I was interested, etc. A thing takes other one. My formation has been to go directly for the person or company in that I am interested of that I see that I can learn or to develop somehow. The official steps of “first he studies this, obtains such a title, sees to such an interview” I always I have skipped them, have preferred going direct to the activity that was attracting me. And to put to do the things to you. To have to depend neither on a qualifications nor anything for the style.

Manu Barba: Ultimately almost everything what we apply in our professional careers has been learned by us freelance.

Carlos Gutiérrez: Our official formation is “students of architecture”, we are not even titled.

What did lead you to opening way you in the publishing world? For what physical magazine in these times”?

Ana Asensio: I think that we have got into a world into that the information you collapses, and it is losing, already not quality because there are very good things, but yes to dedicate him time and fondness. You take a book and touch it, dedicate him awhile, prepare the environment to read it. Ultimately you prepare yourself to receive a heap of emotions. In foxglove always you go with the hurry.

Manu Barba: It has another different texture. Everything what is in Internet already is a book, a magazine, an article or a post, you read it with the same patina.

Carlos Gutiérrez: All the big museums of the world have all his collection hung on available for consultation Internet on Full-HD. But the people continue being going to see the live pictures.

Ana Asensio: Internet is like a rapid cane to take in the bar with the friends and the rest of people, and paper is to begin a rum in house close to the flushed chimney, jajajaj. Out of jokes, they are two completely different formats, which I think that a today they cannot work separately; one without other one does not survive.

Somehow, the choice of the paper also is for the idea of putting point and end to a project. The idea of ending of something to be able to give one more step: to have this format that is stamped, you distribute it, spread it, know that it has not gone back, this way it has stayed, has a character totally different from everything what you hang on Internet that always is editable, revisable.

Manu Barba: Operable.

Carlos Gutiérrez: I directly enter to the physical part: Me apasionan the tangible things. I live disconnected of the social networks, of everything. I do not put my personal works in the network, it gives me very much respect, I do not want that the people see it like “one more”, I do not desire it.

Ana Asensio: It is like Álvaro Guti’s article: “You will not understand it if you do not go more slow”: ‘How much time you dedicate to looking and understanding a project of architecture? ‘ He thinks the time that you it have dedicated to creating… Something that has so many difference of time you dedicate to producing it, and to enjoying it, it has been deflowered completely. They have broken the project.

On the other hand, the networks have all his positive part, I do not send them to the bonfire.

Carlos Gutiérrez: In fact, if it was not for the networks this project would not have arisen. To start a company you need several thousands of Euros. We have raised this project with 0 €, because we have a tool that it are the networks and the digital communication.

Ana Asensio: In addition, which this magazine chases is precisely of doing a network between persons who share a few worries, to find someone to another side of the world with the same worries, but conference from another prism. That one is the aim.

They cannot survive the one without other one.

Had you some previous experience in the publishing world?

Manu Barba: I was writing in Huffington Post.

Carlos Gutiérrez: I was employed at some magazine maquetando … basically I learned Indesign.

Ana Asensio: I for example Indesign learned with a magazine of our school, Lookark, but not to this level.

Carlos Gutiérrez: In Lookark it fell much more his weight that here, because the decisions were not yours.

Ana Asensio: It was more a type workforce. As I say, basically it forced me to be in house fighting with Indesign. When I really learned of the publishing world it was when I began to write for Plataforma Arquitectura (from house, for such of not putting to study …). I happened then as one year or two that all the reflections or ideas that it had it was doing the exercise of writing them, of turning them into something divulgative since it is an article, as an exercise towards me itself. When already really I was formed it was when I came to Chile and began to work really with them.

Carlos Gutiérrez: This it is a publishing world but still online.

Ana Asensio: Yes, but you begin to learn the psychological structures of the one who reads you, of how they move… You have to know that you have to do something of quality (though not everything what is published in Platform is of quality), but, well, my aim was to do a publishing good product inside a web that moves a flow of very powerful information and with a lot of rapidity. There it was when “they” me “educated” me. I had to the side ‘Julito’ (Giuliano Pastorelli), who is … good, a magic person completely and that taught me very much. It taught me to transmit the ideas well, that one was not noticing so much when it was very infuriated, or very of fall, or of subidón, that is to say, to that my emotions were seen, that was empathic, but that the text me was not dominating to me. That one has been all my experience, I have not had any more…

On having returned to Spain I started writing for Arquine, and for Código (another Mexican magazine), trying to continue with the inertia and the line that it was bringing of South America but … rapidly I saw that it did not have any subsistence, it was supported always putting a lot of effort of my part that is recognized very small.

Carlos Gutiérrez: I believe that ultimately, ‘we us cook we eat up it’, for the good thing and for the bad thing.

Ana Asensio: Yes, there comes the moment in which you have been writing for some and for others, and there a dreg is staying. In this moment of the path it is when I at least noticed the need to stop to think over especially the above mentioned thing and to think:

“Which is my philosophy on the things?”.

This exercise of extracting “my” sense of the life. This it was the point of item of the current project.

Carlos Gutiérrez: We all have collaborated, but “publishing house” means to choose a line at which to be employed, a design of coherent project. We have learned it directly working, and we continue learning, not? It is a beginning, we do not know to where we go, and it is the interesting thing. I think that we are lucky, that is to think that this is an experiment.

Did you meet many difficulties? Which were the most problematic?

Ana Asensio: Difficulties, difficulties … neither. The maximum problem is the economy, forces you to a few times and a few efforts.

Carlos Gutiérrez: At the moment of carrying out it, which it complicates is that we live in a world where the people do not have passion.

Ana Asensio: You cannot even demand it from him.

Carlos Gutiérrez: Not at least in his own profession. For example Ana, it was what you ran up when you began this project and had to face to finding press. The people work of an absolutely mechanical, and this form have been the major barrier. In the moment in which we find someone who loves his work like we love ours, everything has worked.

Manu Barba: The press and the machinists are certainly now a part of the equipment, nevertheless with the previous presses only we find difficulties.

Ana Asensio: Well, also there is the barrier ‘B’ that the whole world has, that is a project extracts for forward that has to go out with the support of the one who believes in you, because you are not going to possess any type of institutional support.

The crowdfunding for us was a ‘step 4’. I before the crowdfunding met all the deans, all the rectors of everything existing, thousand trips to thousand sites. Not even an apex of help of no type: It is a barrier, which there is no type of support to the culture. But thankfully there are people hotly. What happens, that until you do not find people who shares this passion, you cannot throw for forward.

What we have learned is that nothing can be a simple tool or a simple intermediary: All the components that enter all the processes have to have an emotional implication, it is that it is not possible to work leaving it of side.

Works with the press | Photography: The AAAA magazine

Are you satisfied with the reached aims?

Carlos Gutiérrez: To fuck … the day that our 350 magazines have given us … I believe that yes, jajaja.

Ana Asensio: I throw the sight behind looking where we have happened to have our publication #1 pequeñita, our number #2 of almost 400…

I happen the whole day looking at the statistics, doing balance sheet, wherefrom they read, theirs where they do not read us, and I dedicate a good moment to doing a follow-up, to seeing the viability of the things. This project I began it alone and it had to see how much could include, how much could throw me to the back and what results it was obtaining. To seeing, I am a patient person and am not going to wait to that from the ‘moment 1’ everything goes deluxe. But a today and when I think that an exact year ago simply I said:

“If it was mounting a magazine, the one who would come?”

( I put on it of condition in the facebook, go …) and suddenly in one year we have a super based, coherent and viable project … that needs a lot of effort and is in the air constant, but it goes ahead and growing, since I do not believe myself it.

Carlos Gutiérrez: Here we have come to play, are players, the day that we stop playing, die.

Ana Asensio: Sometimes I think that always the moment in that we are is the most complicated. And always you think that the experienced work will facilitate the following thing to you and that it will go since it her sedates, but not, because always we want to complicate ourselves more, to give steps ahead. Always you aspire to more, which is going to be the following complication that could look for me? Today they were giving us 350 magazines and already last night I went to bed to so many people organizing the distribution in South America.

Carlos Gutiérrez: What I have felt when they have given us the magazines today has been “sigh, to seeing, the following one how we are going to do it …! I me have to study all my books, see what paper I can introduce, etc…”. It was, as a child. And already the next week I think to be again in the press thinking about the following thing.

The AAAA #1 and #2, and some things more…| Photography: The AAAA magazine

What expectations and projects of future have you for The AAAA magazine?

Manu Barba: First: is able to declare the title of our own magazine, jajajaja.

Carlos Gutiérrez: I think that each one in his field has different steps in mind.

Ana Asensio: Certainly, but it is that it has to be like that! If we homogenize ourselves we go away to taking for sack.

Target 1: We have to learn to control first the times: to fulfill the calendar, to overlap activities and to come to a balance, to know what has to be made every week. A magazine is a cycle that it does not stop.

Target 2: To extract the shop online, to move well the stock of magazines to be able to finance the following one and be increasing the press-run figure for issue and this way reduce the cost of production.

Carlos Gutiérrez: One of the aims for me is that it does not turn into anything mechanical and heavy.

Ana Asensio: When something does not go out in a natural way, and it turns into a condition to your life, is necessary to be able to put point and end. The people are afraid to the brutal change.

Carlos Gutiérrez: The day that goes out a number and we do not go to the press running to seeing it, the magazine is that this day has died.

Manu Barba: It is the fear of undoing structures, ultimately. This way the company that we have is full of structures that are kept as dinosaurs.

Ana Asensio: Well, continuing with the aims, we have to stop mounting the publishing house that we are forming: Minimal Editions – Minimum Editions.

Carlos Gutiérrez: Yes, it is very important, the publishing house is going to serve us for many other projects.

Ana Asensio: Also, to give him a return to the topic of the web. We need a complete web and indeed. Just now we are since it was born, with a wordpress and the means which easily it was possessing. We need to change the web.

Are this type of initiatives profitable? Do you feel good remunerated by the labor that you realize?

Ana Asensio: This question is a very graceful jejeje.

Carlos Gutiérrez & Manu Barba: Affectively, undoubtedly.

Ana Asensio: It is not also to say ‘not, it is that this is a project 100 % altruist that we do for love to the art and it is not important for us to stop all our time and not to receive anything’; not. What yes that it is necessary to know is which are the processes of the things. You when you begin something, so there is a risk, you put your energy, time and money and you risk seeing if it throws forward. Now we are in a key point, of inflexion. Certainly now we devote ourselves to cover costs, and can give with a singing in the teeth. Only with the receipt, the affection with which there write to us the people, the comprehension that exists on the project, the reception and good critique … it seems to me to be brutal.

So it, we are in a point in which we can be super proud of a heap of things, though obviously it is not the point in the one that we are economically remunerated by our activity, but also to deny that it should be going to happen. Just now you need it neither you, nor I, nor that one, precisely because we are in the phase of the life for it (final project of career, etc). Because of it this one was the year of beginning a project yes, it would not have been possible in any other moment.

Carlos Gutiérrez: Our point of item is similar to that of the groups.

Ana Asensio: When you begin a project like that, your thought nº1 is not if you are going to gain 3 € the hour, or 15 €.

Carlos Gutiérrez: We have begun as an experience.

Manu Barba: Almost as a hobby.

Carlos Gutiérrez: Selfishly, I do this for me, because the alive thing.

Ana Asensio: I do it for me, but also for the others, because to it me me thrills to see that across a project that we have initiated that we are three personitas of a city called Granada, which there are people who throws to do things that had buried or separated. I enjoy, learn, know special situations with you and with new people. I do it also for the others.

Manu Barba: We are fishermen of dragging, jejeje. ‘The thin one’ was taking a ship, he threw the network and hooked his us, we rise and follow with the network.

Ana Asensio: It is nice to see since each one it is possible to turn this way in the beginning of something, only from that someone values it. The power you to begin a project and the license to allow you of being wrong that it is super valuably … it is very important.

Carlos Gutiérrez: You can obtain the same experience working for other one with a lot of effort (first to come there), but they would never leave you to take the decisions since we do, and it raises almost always they pay you badly (if they pay you …).

Ana Asensio: Scholar dies for overdose of prestige…

Do you arrange or complement this activity with other labors or in other fields?

Manu Barba: With the career.

Ana Asensio: Obviously. We are students.

Carlos Gutiérrez: He excuses, is upside-down: we reconcile our life with this.

Ana Asensio: I dedicate him a lot of time but because I am a friki and any excuse is good not to do any obligations… But ultimately the magazine is a hollow that we have done in our life.

Carlos Gutiérrez: I do not leave myself to be relaxing very much, because already I it have done too many times. The magazine enters inside my schedule.

Ana Asensio: Yes, but I refer: if we have a vertebral column, it is the career. We are students of architecture, it is what exists and what we are in the bottom. To this one adds that to pay the career to you often you have to be employed at any cosilla that does not have anything to see with architecture, etc. And yes, in addition, we are put in this project, which is OK. But our point of item is not it is done by a neuralgic center and financier of our life. It is possible that it it is, but it is not our current point.

Also we reconcile the activity with partyngs and trips … it is time for every jeje.

Manu Barba: Like the groups of rock are born. You can devote as fan until you realize that what you do you do it very well. And probably you continue with your other works…

Ana Asensio: It seems to me to be super nicely to divide your life in different activities … without disintegrating. I see it necessary. To follow an unitary way, without turning aside, without contaminating … it is much more disappointing.

Carlos Gutiérrez: Of there the big disappointments come, when you put all your force in an activity. For example, the tricks when you work for someone. Much costs that a person values your things with the same passion that you put in them, is unequal.

Ana Asensio: Because of it it is so nice to divide in several facets.

Manu Barba: This is a facet that we were coming searching, ultimately what you do is to unite worries.

Carlos Gutiérrez: We are not titled, but we are professional.

Ana Asensio: Sometimes I see magazines, very professional or photographies or any project graphical, yes technically perfect, but that lack many other things. Of the simple good taste, or the coherence. And it is his central activity.

Manu Barba: I think that the question is.

“what is to be professionals”.

Chats for the meetings “Sobrelab of Policies of edition and artistic practices” | Photography: sobrelab

How do you see the future of the publishing world?

Ana Asensio: So very nice.

Manu Barba: It is precious, not?

Carlos Gutiérrez: Every time it is less, and we on the other hand go to everything what we prune. To go to more.

Ana Asensio: Every time it is less, but…

Manu Barba: Better.

Ana Asensio: And it would not even be able say to you if it is less. In the last year I have discovered many publications pequeñitas, independent and super powerful…

I think that it is desmonopolizado a bit. The one that wanted before to devote to bestseller now has one more great field I facilitate that it is foxglove, obviously. But the one that really wants to do a thing that is (I am not going to be call it a work of art to there not happen to me) simply a made well and elegant work, which the people it could preserve and check … it is going to continue it doing. It is like that. I do not see that I go to less. I see that there are many many new offers, pequeñitas, and it looks like to me an exchequer that happens it, looks like to me one of the nicest moments of the publishing world. It would not have begun a project like that in any other moment, because of it I have begun it now.

Manu Barba: If you notice, the publications really more elegant, or with one more graphical design to level of publishing production they have begun loudly a few years ago, have arisen from magazines up to publications that are real works of art.

Ana Asensio: I see a bit as if we were returning to the 50, where the publishing printed format (quinternions, folders, fanzines, leaflets) was super richly and minimally (in the positive sense of the word).

Carlos Gutiérrez: We are returning a bit to the origin, since after all the moments of crisis.

Ana Asensio: But a checked origin.

Manu Barba: With what already we know, we go back and begin again, with the intention of “now we do not go away to mistaking”.

Ana Asensio: Though ‘banner’ sounds very: The paper is never going to die. There are too many creative people in the world. Now precisely what they are giving him they are tools in order that the people could initiate his projects. It is not masificado not industrialized.

Do you think that to study Architecture has been a fundamental passport to have come to your current work?

Manu Barba: Yes.

Ana Asensio: Yes.

Carlos Gutiérrez: We are a product of lived, 100 %. For the good thing and for the bad thing.

Manu Barba: Copulative verb: To be.

Ana Asensio: If the question goes more in the sense of ‘the knowledge acquired in the career’, already it would not be able say to you, because really everything what I am applying a today, tangentially comes from the career, but I have learned it alone and out. But the university has created this environment.

Manu Barba: Because you have needed it. What you have not learned directly of the university, you have created as a need for this one, and of her you have learned.

Ana Asensio: ‘Architecture’ has created his certain needs that from there we have been developing, yes.

Carlos Gutiérrez: There are another people who has happened for the same thing that we, and probably it has not even idea of this (publishing world), and on the other hand of other disciplines yes.

Ana Asensio: Enclosed people who has spent the studies walking on the water, without be wetting, literally.

Would you encourage other architects to follow your steps? What steps do you consider that they should give? How to complete his studies? What other advices would you give them?

Manu Barba: Ayyy…

Carlos Gutiérrez: Buf! Since it are that… Well, already there is a problem here, and is that the question only speaks about ‘architects’, and is that I think that we come out of it.

Manu Barba: I yes would say to them: it follows the steps … but yours!.

The architects … so, there have his aptitudes to do different activities, probably focused more on the graphical or publishing world, but that each one does what he believes possibly that it can do.

Ana Asensio: What we are doing a today, comes immediately after that we have contaminated with other persons, arquitectas or not. I do not believe that be necessary to say “the architects have his formation and his relation with the publishing world is more or less direct”. Since probably to me this me has come of archeologists knew, or designers, or painters. Or simply to travel and to know “human beings”.

It is necessary to go out of the discipline as something rigidly. Would it encourage? What steps should they give? Since they have to give the steps that they believe necessary to carry out projects that deceive them, and yes: that they see viable; I am not going to say to you now that you should jump to the rainbow and should fly to obtain your dream. It is necessary to think well everything and see how professionally you are, to be critical with you itself, and knowing that every day you have to learn something.

Manu Barba: Simply to know your capacities.

Carlos Gutiérrez: It is that the nice thing is in to learn.

Ana Asensio: And in sharing what you learn.

Carlos Gutiérrez: Because of it the infancy is so nice, because you do not stop learning, and discovering, for certain innocence before the things. If you lose it along your life, already it is quite made. It is so essential.

Ana Asensio: And with regard to steps to giving, or as the studies complete … more than anything, to take seriously your worries. Are you interested in something? Since stick to the people who does it.

Manu Barba: To complete the studies it is necessary to go out of the studies. You need to soak.

Carlos Gutiérrez: For it me has been fundamental not to relate to architects. My world “is not” ‘constructed’ from the architecture. It is very endogámico.

Manu Barba: It is terrible.

Carlos Gutiérrez: And so of front, and never rather. The sufficient thing does not contribute me.

Ana Asensio: It contributes the environment since we have spoken before. But the people are afraid. The persons inside his own discipline are in an environment of confortabilidad of ” I let’s be this, I am in my circle, am in my zone of comfort and am ‘up’ “, with which they are afraid to slip past in other disciplines and to be the one that it has to learn. But it is that it is going to be the only way from which you come to something: to be the person who does not know.

Chats for the meetings “Sobrelab of Policies of edition and artistic practices” | Photography: sobrelab

Do you think that the architects in Spain we should continue opening new routes of work to go out of the “most traditional” cabin of projecting given the current situation of the construction in our country? What do you think of those that they have been going to work abroad?

Manu Barba: It is basic.

Carlos Gutiérrez: But it is that it does not have anything to see with the situation of this country…

Ana Asensio: Here ‘the situation’ is what has had to come in order that the people realize.

Carlos Gutiérrez: To which the situation has come, and in this moment it realizes … already it is late.

Manu Barba: In it there are two positions: To diversify or to reflect. That is to say, you can diversify going towards other sides, or to rethink the profession. There is a classic architect who has got lost, that is the one that goes to the work, which seems to be almost unthinkable.

Carlos Gutiérrez: An architect who was wonderful.

Ana Asensio: Because it was a trade.

Manu Barba: To it I refer in spite of ‘reflecting’: or you know that the architecture is your trade, and work with him, or if really it it is not, look for other one.

Carlos Gutiérrez: There are companions of the school that you it see, and for much that there is crisis and that us there repeat that probably we will never construct, they have inside the architects’ trade. Persons that I think: ‘you have this passion that I do not have’. And they continue in it. I am not going to say to these persons ‘uncle, proves another thing’.

Ana Asensio: In fact there are people who not only wants to continue with the architect’s trade, but it wants to continue with the ‘personality’ of ‘architect of the boom’, and it to miss. It is another type more. There are, in fact, entire schools of architecture with this mentality.

Manu Barba: So as for it of opening new routes … certainly, of head. But to rethink also those that it has opened.

Ana Asensio: Probably the ‘step 1’ to giving is to there ask you  what is for you the architecture, and what not ‘, ‘what type of architect you want to be’, and always ‘what is for you the life’. From there already you look for the alternatives, can find them in your country or in other one. I for example from girl had clear that I was going away out of Spain but it did not have anything to see with the situation of the country, and much less with that of the architects. It was because it was giving myself the desire.

Carlos Gutiérrez: My mother said to me once a very rewatching phrase:

“Son, when you entered to the career always I knew that you were not going (you wanted) to do houses”.

¡Ala!

Ana Asensio: ¿Y de los que se han ido a trabajar al extranjero? No creo que se deban meter todos en el mismo saco. Habrá quien se ha ido porque siempre quiso ser extranjero (me parece mucho más interesante ser extranjero que autóctono, pero con una diferencia brutal).

Manu Barba: You go away … well, but why? Why? In what conditions? Because there are people who goes away to be a slave but in another side, and people go away because it loves what it does and wants to carry out it.

Ana Asensio: Yes, but the reality is that there are people who has to survive. Though each one has his definition of the survival. For me the survival can be eat rice and live close to the route of the train. But there are people that what wants to have is the life that dreamed, do not have so much that to see with the profession. Which was the idea that to they you you created of how it was going to be your life? Because if this it is the one that you chase, probably here and now you are not going to find her.

Manu Barba: There are the things that you plan, and what the life does with you, and what happens ultimately is a species of average point.

Ana Asensio: So thinking about the people that it is out, that ojalá that find for what they look, simply.

Manu Barba: That find his trade.

Ana Asensio:That the survival is very important, but there are many manners of survival. The most important thing is that you are faithful to you same, in the life and in the work. Is to survive also to live with little, eh?

Manu Barba: In the loyalty of what you want also it is necessary to be a bit a realist. To know, “what I have, what I can obtain”. To know what you need.

Carlos Gutiérrez: Vivir tiene dos componentes: uno es lo que alimenta tu bolsillo, y otro lo que alimenta tu cabeza. Si consigues que esas dos vayan unidas… has triunfado. ¿Que no? Pueden ir separadas, no hay problema… pero hay que conocer las elecciones.

Manu Barba: It is to do your Maslow’s pyramid, your human needs. Later already you go on to another condition.

400 copias de The AAAA magazine #2 | Photography: The AAAA magazine

How do you see the future of the profession?

Manu Barba: Slightly coherent with the foreseen.

Ana Asensio: Cyclical. Generational.

Carlos Gutiérrez: I am few corporativista, do not appear it really.

Ana Asensio: I think that really the architecture in the last years has lived through an explosion, a constant laboratory, a miscellany, even a loss of sense, why not?, the one who knows!. I it is the only thing that I have known directly, for our age. And it has seemed to me to be the most beautiful. In the decrepit thing beautiful things are born.

Also I think that you upset the economic situation ” straighten up “, many will continue with the routes that have begun nowadays, and many others will return to the previous thing: already there is previous the architect of trade and passion, or the common architect who sees in the discipline the way of the life being gained and his passion being different, or even the architect garbage – arquitecto-cáncer accomplice of the lived bubble. It does not fit the minor doubt of which spent the economic pot-hole, a lot of ways will return to his line, but undoubtedly this epoch has done notch. And it looks like to me a necessary, mad, heterogeneous, instinctive and a bit animal notch. We have been lucky, not?

Ana Asensio – Manu Barba – Carlos Gutiérrez – Collaborators · publication / magazine | The AAAA magazine

February 2015

Interview realized by Ana Barreiro Blanco and Alberto Alonso Oro. To be grateful for Ana, Manu and Carlos his time and predisposition with this space.

Alberto Alonso Oro

Arquitecto y editor en veredes, arquitectura y divulgación. Invernalia es un buen lugar. A veces escribo en Fundacion Arquia.

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