«It does not stop being a significant fact that, in the history of the architecture and the engineering, the constructions raised to the shore of the sea have been outlined in notable occasions for his mass and for his expressive eloquence. […] it Wants to say, to my to understand, that the coastal line is a zone of maximum symbolic tension: the sea opposite to the land; the flat thing and the humid thing, opposite to the broken thing and the dry thing; the soft thing opposite to the hard thing; established opposite to the rooted out; the anchor opposite to the canvas».
Ignacio Gómez de Liaño: Landscapes of the pleasure and of the fault
From the antiquity, the conquest of the border with the sea has turned into an exciting company. The houses on the coast always have had a mythical connotation of avanzadilla and bastion, done manifestly for the architects of the modernity, demonstrating the power of the man opposite to the tempest, taking and, at the same time, framing the distant horizon, which happens to form a part of the housing.
This conquest of the limit on the part of the architecture comes closer to described by Heidegger in 1954:
«The border is not that one in what finishes anything, but, since there knew the Greeks, that one from where something begins to be what is (it begins his essence). For this the concept is horismos, that is to say, border».
It is in the constructed limit where the duality of the marine landscape does place and home to itself.
There, the housings, presented even as paradigms of the thought of his authors – let’s remember the Cabanon of Le Corbusier, Aalto‘s refuge in Muuratsalo, Utzon‘s successive mansions in Majorca or the shield to the wind of Neutra, between other notable houses on the sea-, they share the idea of being temporary habitats and dreams of living at the same time.
Opposite to the Mediterranean that gave origin and connected to Europe, the Galician sea represents the Finisterrae, where the pilgrims continue his trip to come up to the last frontier brand.«Perhaps was it a question of admitting there, before the infinite and menacing ocean that there existed a few borders imposed on the conquering impetus of the man?», he wrote Dieter Richter remembering this royal and mythological limit. When the man faces and coexists with this end of the world up to it be doing by part of his daily landscape, it transforms it and, as far as possible, one adapts it and domesticates it across the architecture.
In the house on the sea that Ramón Vázquez Molezún projected for his family in Bueu’s proximities, the construction was done by the ways and existing walls, by the light and the winds, with her present laughs always. The modernity like minimal intervention, as the practical and precise use of the materials. Luis Miquel expressed it in a very guessed right way:
«this house does not have any desire of going out in the magazines but rather of going out to the sea».
This way, the architecture became inseparable of the marine edge.
Molezún’s singular refuge was adapting to the changes, to the step of the times and of the tides, of the generations. The architect moved there his knowledge on the naval architecture and his personal inventions. In his house on the sea, it was doing, was going out to sail and was continuing, year a year, perfecting his construction as if it was a ship. Today, this house anchored at the end of the beach will continue sailing, now with help of all.
Antonio S. Río Vázquez . Doctor architect
A Coruña. dicember 2014
Antonio S. Río Vázquez (A Coruña, 1981) es arquitecto por la E.T.S.A. de A Coruña, master en Urbanismo y doctor por la Universidade da Coruña. Especializado en teoría y diseño, su línea de trabajo se ha centrado en la investigación y divulgación del patrimonio arquitectónico moderno. Ha desarrollado proyectos de modo independiente y ha colaborado con varios estudios de arquitectura. Es socio fundador de Aroe Arquitectura. Es profesor en el Departamento de Proyectos Arquitectónicos, Urbanismo y Composición de la Universidade da Coruña, y ha sido profesor invitado en la Robert Gordon University de Aberdeen (Reino Unido), en la Universidade do Minho (Portugal) y en la Università degli Studi di Roma La Sapienza (Italia). Es miembro de la red UEDXX Urbanism of European Dictatorships during the XXth Century, del Grupo de Investigación en Historia de la Arquitectura IALA y del Grupo de Innovación Educativa en Historia de la Arquitectura. Ha formado parte del proyecto de investigación FAME Fotografía y Arquitectura Moderna en España, 1925-1965. Los resultados de sus investigaciones, tanto personales como conjuntas, han servido como aportación a eventos de debate y difusión científica y han sido publicados en libros y revistas.