‘Nothing looks like the love as the young woman passion of an artist
that initiates the delicious torture of his destination.’
Honoré de Balzac
‘The one who, teenager of genius, has not fluttered on having appeared before a teacher, he will lack always a rope in the violin, a brushstroke, a deep feeling in the work and certain expression of poetry.’ 1Balzac continues.
They are words dedicated to the ascent of the young person Poussin by the dizzy stairs that he was leading to the house in the rue des Grands-Augustines where the teacher Porbus had his headquarters.
And it is that as the first love, though inexpert and full of mistakes, the first steps in a trade, in a mastery, are like that, magic. Pure instinct, fire. Firm and brave steps, virgins of the fears of the committed mistake, abundances of passion, desire and good faith.
And this way they have to be. Already San Juan de la Cruz was saying it, ’the one who acts with lukewarmness, fence is of falling down.’
These two drawings, they are the first steps in the art of doing houses of two inhabitants of Barcelona of parallel lives. Born in the bosom of two well-off families of the Barcelona of the 40s, they end his studies and form equipment of work newly released the decade of the 60. Both start with a house in an island, small, familiar, deeply Mediterranean. A refuge to enjoy of the warm months. One, chooses Ibiza, another Pantelleria. Thin beak.
These two drawings, they teach the desires to us of living of two young women. Olvidémonos a bit of the pamplinas of architect, of so many todología of linked, visual spaces and pure geometries and acordémonos a bit more of living and what it implies. Imaginémonos living through these houses. These chunks of world, which were thought without the weight of the architecture.
“The man can live without architecture, is evident. But it cannot live without his richer heritage. Pity, justice, education, happiness, love. Living is sufficient, does lacking dignity.” 2
These two drawings, they teach us two alive, palpitating houses. They are the most immediate response to the cover, the vernacular thing without the interest of recovering a lost world. Two houses, which us remember that the life happens. Two houses with conscience of the time. Places where it is lived, but also it is suffered, ages, dies. Though it hurts.
These two drawings, they are full of intentions. These houses are going to be alive statues of the life of his occupants, intact and marmoreal sculpture of his recollections. Because of it, they have to be done from the deepest of the knowledge of the man and his sea.
Here, in these two drawings, it fits the whole Mediterranean one.
This way, with these two drawings, it begins the delicious torture of the destination of Oscar Tusquets and Ricardo Bofill.
There is the one who says that the really important thing is not since is begun, but since it finishes. I cannot be any more in disagreement. For sample, a button.
Jorge Rodriguez Seoane
April 2015. Coruña
1‘La obra maestra desconocida’. Balzac, Honoré de. Ed. Jose J. de Olañeta, Barcelona, 2011.
2 I allow myself the license of paraphrasing Francisco Alonso de Santos, in his conference given in the headquarters of the COAG of A Coruña On March 18, 2015.
Arquitecto y socio fundador y gerente de Seoane Arquitectura.
Experiencia activa en evaluación de riesgos y plan de negocio, gestión de personal y dirección de proyectos de ejecución.
Gestión de carteras de inversión inmobiliaria, búsqueda de activos singulares y representación de intereses.