On the occasion of the exhibition “RCR Arquitectes. Shared creativity”, that you can visit from the last February 24 until May 8, 2016, 2016 in Museum Ico of Madrid, we have had the opportunity to realize a small interview to Rafael Aranda, Carme Pigem and Ramon Vilalta, that they shape the RCR arquitectes study.
Con motivo de la exposición , que podéis visitar desde el pasado 24 de febrero hasta el 8 de mayo 2016 2016 en Museo Ico de Madrid, hemos tenido la oportunidad de realizarle una pequeña entrevista a Rafael Aranda, Carme Pigem y Ramón Vilalta, que conforman el estudio
“RCR Arquitectes is not a study to the use. Removed from the traditional centers of influence of the Spanish architecture, they have decided to take this discipline a step beyond throwing his look behind, to the time in which the architecture was protecting the man of the inclemencies of the nature without breaking the link that it was joining her. RCR’s telluric architecture seems to be, in fact, molded by the forces of the nature, thrown to the surface from the interior of the land for the volcanoes that Olot surrounds.”
Mónica de Linos, director of the ICO Foundation.
What do they think of the exhibition?
We are very satisfied for the opportunity that offers to us the Foundation ICO of Madrid to exhibit “RCR Arquitectes. Shared creativity” in the Museum ICO since we value the path of this institution, with his bet for the best architecture and the national and international urbanism.
With what part is more RCR identified?
We think that the sum of both exhibitions turns the sample into Madrid into a great success because it explains in the ground floor the first steps of the conception of a project, gathered in the exhibition “RCR Arquitectes: Papers” that could meet in the museum Arts Santa Mònica of Barcelona, and it develops in the second plant the concepts on which there rests RCR’s work Arquitectes, up to coming to his materialization, as it appeared in “RCR Arquitectes: shared Creativitat” in the Palau Robert of Barcelona. The occasion to assemble the whole creative process in an alone place gives a very complete vision of the ideas that sublie to our projects.
After 25 of profession, which or which are the most significant works for RCR?
Every work allows us to investigate new aspects to generate spaces for the senses, for which every work is significant. Maybe we might name the project not constructed of the Lighthouse, which we did to the beginning as young architects newly gone away, as a way of understanding the architecture. We project a horizontal beacon because for us the concept prevails over the form.
What future challenges it has or do they raise RCR?
A challenge with which we are at present is to propose our logic proyectual in other places of the world, understanding the local keys in other cultures.
How and when does project originate? Is it an individual or collective moment?
As there prays the title of our exhibition, we understand the origin of the project as a shared creativity. We are interested in much that the client informs from the beginnings of the project in order that he understands the conception of the work as a process, not as a formal offer. It is like that how we can come to answers that gather the local essence and answer in an integral way to the requirements of the program, not to fall down in formalisms.
What importance does play the nature in your work? And why?
The nature is our model and guides us when we are looking for a balance between the opposite ones, as for example the horizontal thing and the vertical thing, the full thing and the empty thing, the fragile thing and the consistent thing. The architecture also is an alive process. Because of it we are interested in the nature
In an occasion William J. R. Curtis indicated RCR’s capacity of “making architecture the light”, does RCR use the light as one more material of project and this way to connect nature and construction?
It is true that the light is one more element at the moment of projecting. Because of it we like to work with filters. In the exhibition include architectural elements of several projects like that we have developed for the Espai Barberí, the Pavilions and the Restaurant in Les Cols or the Enigma Restaurant.
What was in his formation that was leading RCR to using this methodology proyectual? On what does it consist or bases his methodology proyectual?
In the School of Architecture of the Vallés us trasmitieron the importance of the emotion in the architecture, which emotions have to feel in the spaces that they believe. This has marked us deeply and guides us in our methodology proyectual. If the response is not beautiful, it has to follow looking for a better response.
To obtain this beauty, they are more important the ideas than the forms. Because of it we have been interested in developing a type of liquid sketch, since they it are the washes that we see in the ground floor of the exhibition. We look for essential answers and develop the project resting on concepts as the mediation with the landscape and the space, the space, the presence of the time, the public and social function, the structure and the materiality, the system and the desmaterialización.
In every project RCR investigates new material, new uses, etc … why?
Every project looks for a specific response. In RCR the architecture is the structure and the essence of every intervention is the matter. Every work shares a nearby vision from the character háptico, tactile, rugose, perceptively. On the other hand, one of our maximum aims is simultaneously the search of a transparent architecture, without limits, pure space in symbiosis with the nature. That is to say, the trend to the desmaterialización.
A few years ago in an interview were commenting that they were fixed more in the painting than in the architecture, why?
The painting, extendería to the art in general, is more next the world of the ideas and can be very emotional. Because of it we us like to inspire in works of art.
¿Cómo ve o encuentra RCR la arquitectura actualmente?
Everyone does his way. We do not want to enter valuations on the contemporary architecture in general. From our perspective we think that the persons need of essential values in a volatile world. The architecture can offer this refuge.
What would they advise the current students and future professionals of architecture?
“We advise to do a like architecture the person he feels it”.
Answers by Rafael Aranda, Carme Pigem and Ramon Vilalta of RCR Arquitectes to the interview of Alberto Alonso Oro, architect and veredes publisher.