Already three copies of the edition are available for the sale 2015 of the collection arquia/maestros, produced and edited by the Arquia Foundation consisting of the recordings (audio-visual monographs) of you interview relevant architects of the contemporary architecture.
The object of the collection is that out-standing teachers of the architecture transmit his thought, of alive voice, to future generations of architects.
The arquia/maestros collection began in 2013 with the production of three audio-visual monographs dedicated to the architects: Oriol Bohigas i Guardiola (Barcelona, 1925), Rafael Moneo Vallés (Tudela, 1937) and Juan Navarro Baldeweg (Santander, 1939), corresponding to the edition 2014.
Later, they present the monographs corresponding to the edition arquia/maestros 2015:
Antonio Fenández Alba (Salamanca, 1927) is, besides architect, an intellectual critic incardinado in his time, of which he has been a witness across the art and the word: both his buildings and his books express with terse eloquence his plastic sensibility and his cultural commitment.
In Luis Fernandez-Galiano’s interview, his biography is crossed from the golden Salamanca of his infancy up to Madrid of his years of formation, where it unites relation with the world of the art and where to the end it establishes his professional study. Under the successive influence of the organic teachers and of the monumentalismo kahniano, amalgamated with the severity of the civil architecture of Castile, Dawn raised a handful of works of admirable constructive maturity, of the Convent of the Roll or the Carmelite convent of San Jose in Salamanca to the Tanatorio of the M-30, which they will prolong in the later years with numerous patrimonial interventions, as the realized ones in the lounge of the Meadow of Madrid, and ambitious university accomplishments; all this in tuning in with vital so attentive distance to the inheritance of the past as vocacionalmente delivered to the transmission of the knowledge across his fertile education in the School of Architecture of Madrid.
Manuel Gallego (Carballino, Orense, 1936) is such a deeply rooted architect in his way as his surname suggests, and has been in his natal Galicia where it has raised all his work, in a slow and silent, attentive itinerary to the matter and refined in his details. After his stage of formation in Madrid, where he was a disciple of also Galician Alejandro de la Sota, it opened his study in Corunna, making his dedication compatible to the urbanism as civil servant and teacher with the construction of several houses of exemplary rigor and rough poetry, which helped to renew the modern language with vernacular wickers.
In the interview realized by Luis Fernandez-Galiano, these first compases, prefaced by so minimal and exact buildings as the Museum of Sacred Art of Corunna, they use as threshold to the big projects realized in the frame of the crystallization of the autonomous institutions, of the Museum of Fine arts of Corunna to the Presidential Complex of Galicia or the Museum of the Peregrinations of Santiago, works of exemplary patrimonial and landscape interpretation, and with that the Galician’s polished language has inspired a generation of architects.
Ricardo Bofill (Barcelona, 1939) exceeds widely the architect’s conventional definition, but it has been precisely his polyhedric and polemic personality the one that has made to him a protagonist of very different cultural episodes, and the one that has allowed him to realize works icónicas where there has crystallized the political and social mien of our time.
Su itinerario fulgurante se recorre en la entrevista de Luis Fernández-Galiano, desde la influencia del ambiente familiar, la formación fuera de España y la creación del multidisciplinar Taller de Arquitectura en Barcelona, up to the cosmopolitan experiences of a creator that he constructs in the whole world, stopping in milestones as singular as experimental Kafka’s Castle, Red Wall and Walden 7 – three oneiric and Utopian residential accomplishments that have stayed as the best representation of the spirit of 68-and in works so spread as the big sets of housing in France, of Them Arcadians du Lac or Him Palais d’Abraxas up to Antigone or They Échelles du Baroque, whose classical urbanity did genuine postmodern manifests, which the later path of his author would moderate with technical intelligence and Mediterranean sensibility to develop a successful international career.