The architecture requests a certain predisposition before the finding, something similar to a condition of expectation. The pleasure of the discovery is addictive, stimulant from the militancy of the most contumacious of the ingenuities, often intimately related to the sense of the humor and, in last instance, the intelligence. We imagine that precisely to this Alejandro de la Sota refers when it affirms of luminous form that the architecture “gives laugh”, to conclude immediately later with the painful one “the life not”. His way of joking was to tell the truth.
The bank that appears in the image expires now more than 100 years. It is a question of Edwin Lutyens‘s design for the garden of the house of Ednaston Manor (1912-19), one of the projects that the British architect approaches from the neoclassic variant of the style Queen Anne.1 The incorporation of an enormous wheel in an end and two handles in other one, the bank transforms into a strange form of carriage, an appliance certainly very slightly neoclassic that allows his easy transport. We imagine Lutyens’s crafty smile before this creature generated as a graft, to half a way between the commode and the cart: an object undoubtedly removed from the cultural cánones of his space and time.2
The architecture needs from the ingenuity as instrument of transformation of the routines of the world. From the predisposition before the finding despliega in the bottom a certain form of knowledge, a hygienic look that liberates us of the temptation from taking us too seriously: to lose the gravity. As if the imagination was not already
“more importantly than the knowledge” (Einstein),
but literally, more light. So light that the big thing was becoming small and the big small thing; so light that the important thing was not but that one really secundario.3
We claim for the architecture a sense beyond the measure and the scale; a less tangible and orthodox sense, but not for less necessary and suitable it; a sense to the margin of the gravity and of the technology; a sense that returns the reasons of the humor to us. An engineering of the ingenuity.
Miguel Ángel Díaz Camacho. PhD Architect
Madrid. Juny 2015.
Author of the Parráfos de arquitectura. #arquiParrafos
1 Continuing with the idea of projecting houses for gardens and not inversely, Lutyens will give great attention to the landscape as organism inside which the architecture must arise.
2 The mobility of the bank is not a minor matter, since it allows to re-form constant the look on the garden, transforming a habitually known and stable territory into a changeable and movable landscape, not already for the unpredictable position of the banks, but for the new perspectives and situations that these now offer us.
3 Impossible not to remember here Oíza’s that can be raised doors in “Other doors“, or the access of the housing of the janitor in the project Alejandro of Jack for the Provincial Museum of León, principal access of the building of the former Bishopric, reserving a small secondary door as new “principal” access to the museum.
Doctor en Arquitectura, Decano de la Facultad de Tecnología y Ciencia UCJC. Presidente de la Asociación Sostenibilidad y Arquitectura, perteneciente al Consejo Superior de los Colegios de Arquitectos de España. Director de MADC Arquitectos, estudio profesional con premios en concursos nacionales e internacionales, en la actualidad desarrolla proyectos en España y Noruega. Escritor y crítico de arquitectura, es autor de los libros “Párrafos de Arquitectura. Core(oh)grafías” (2016) y “Arquitectura y Cambio Climático” (2018).