I arrived to the School of Architecture of Madrid in October of 1964. It began the plan 1964, called plan “ye-ye”, of five years and matrícula direct, without entry neither initiation, neither selectivity, neither at all. We were 1.000 the enrolled. The asignaturas were Algebra linear and infinitesimal Calculation, Physical, Analysis of Forms and general Drawing. The chair of mathematics was Juan del Corro Gutiérrez, and changed me of group to give class with him. The one of Analysis of Forms was Adolfo López Durán, and I had at the beginning a mirage, as it touched me he, that was well –and me elogió the first drawing, that was a feather of change of perspective of the palace of the Dux de Venecia, with big content on my part, clear-, but was because it was missing a professor, that afterwards was Fernando Ruiz Jaime, that was bad, a true disaster. López Durán was the one who did the installation of the cover of the Hospital of the Latin in the School. It was a myth, because it controlled, in his day, the part of drawing of the entry, and that, at the beginning of the plan of 1964, although it was a plan without entry neither initiation, played in reality the same paper. Although it is juster to say that they played it between all. The qualifications were very hard.
The professors of Analysis of Forms were very toneless, in general. I remember surnames like Lencina, Teresa, Carnicero (that it had fame of good, but that was not it, in truth) Quijada (this something better, worked in Regions Devastated, in Brunete and some other things), and many more whose names do not remember or never knew. But mine, if it was not the worst, seemed it to me. My father said that all the students thought that the professors were bad: “And how you say that it calls ? Ruiz Jaime? It will be Jaime Ruiz, that is very good architect, know it I”. (Jaime Ruiz is the father of Gabriel Ruiz Cabrero). “No, no! Fernando Ruiz Jaime. It is as if it was blind. If it says me that something is of determinate way, I correct it on the contrary”. A day, in the study of my father, with his partner, Javier García-Lomas, this listened and said: “Fernando Ruiz Jaime, say? The worst of my promotion, did him the projects so that it approved”. It go, there has been luck, could say him to my father: “Do you See?”.
The Analysis of Forms was the artistic drawing, that consisted of drawing of statue (called him fit to draw to line, with carboncillo on double paper ingres, and stain to give the shadows); wash, that was to draw to pencil a plate, usually of classical architecture, on a special paper that hit in a tablerito wooden, and give afterwards shadows with Chinese ink of bar that diluted in water and with brushes of peel of marten. Afterwards there was another part of the asignatura that called him varied, and that consisted of to draw the classical orders, of drawing by heart or imagination, of colour, change of perspective, etc. Removing the orders, the most modern things were a residue of the cursillos implanted by Francisco Javier Sáenz de Oíza for before the entry in the previous plan to the of 1957.
Almost all the world did the drawing of statue taking a lot of measures and using plummet. I did not do it, as Gerardo Zaragoza, my professor, only left us measure heads, and accustomed us to control visualmente the drawing, with the simple help of the carboncillo. The true is that it was a glorious professor and that learnt to judge your drawing with a lot of efficiency, arriving even to know what was badly although you did not know like correcting it. For me, the drawing of the statue with Gerardo was a visual education of prime importance and that has served me all the life.
Draw the orders had his grace. It was necessary to buy a “Viñola”, that bought me my father, an Argentinian edition, that still have. I remember an examination: it went in López Durán in one of those immense classes and shouted: “Grandstand on podium of Doric order mutular, being the cornisamento of the equal podium to two modules”, and went . We remain us all note. I took a while in comprising that it was any façade of temple dorico mutilate on pedestal, and that it could have the number of columns that wanted to. Well, the one who wanted to, no, had to be pairs, of course. It had a mate of table quite bad, of the that do not remember the name, that put to do a façade of three columns. I warned him that it taenia that do of number pair, but did not do me case. It was used to to despise my councils.
When we did the wash had a cacharro with water and several pocillos to have in them distinct Chinese inks, some darker that others. Sometimes, by the inclination of the table, or by that you same pushed it, fell him to somebody to the floor a pocillo, doing a noise infernal and perhaps breaking. Then some shouted: “One less!”. They were waste of the hardest times of the entry and of the still valid belief of a number limited of people to approve. To do the difficult dispelled of the shadows and to outline well with the ink was by what it was necessary to use brushes of peel of marten, that were very good and that sucked so that they were in shape of perfect tip. Like this you swallowed a lot of Chinese ink, and sometimes hurt you the stomach.
For the statue gave 3 or 4 sessions of three hours. To me me sobraba time –independently of how had attained to draw the statue- and happened me the last session chatting. In the “varied “” there were interesting exercises that were the ones of change of perspective: they gave you a photo and had to do the heaved, or gave you heaved and had to do the perspective. Instead, the exercises of colour or of drawing of imagination were a stupidity. They put you a subject chorra, Platero and I; or Momo, god of the carnival, and had to do a drawing. Some time put a poster, that was better. There was a trick for the exercises of colour, that had to go out of an academy, and that quite a lot used, and was to give first the gouache, very loaded, and afterwards fill it everything of Chinese ink. Once all black, carried to the toilet and gave him the water to chorro, with what the Chinese ink remained where there was white and went where was the gouache, leaving it desvaído and with a lot of blacks. It served to resolve the intonation and was very efectista. I tested once this method, but out of the School.
For the wash gave you sometimes models very new on which did not leave you draw, and if they were not strictly geometrical had to sobreponerle a vegetal paper with a cuadriculado. I, sometimes, and if it was quite geometrical, not even put it to him, and drew measuring, as the delineated to pencil on the paper of the board, although it had a lot of parts manually, gave me very well. The strictly said wash, worse, but gave me account immediately that a good drawing to pencil was the most important for a good wash, and like this carried it out.
There were few girls, and, still less, good-looking girls. In my group was María Victoria Lahuerta dal Ré, daughter of Javier Lahuerta Vargas, that was good-looking. It was in our course until third, afterwards married and did not finish the career. And there was one so ugly that called the attention, will not say his name. It carried a waistcoat of false leather and by behind somebody put him with a rotulador: “Call me to go out, please, call me!” The one who more took him the peel, with some cruelty, was one that calls Gonzalo Gomendiourrutia. Once, in class of stain, turned off the light and Gomendio shouted: “Fulanita, mine love, that do not abuse of you, go to defend you!”. This ugly was professor of the School. There was at the beginning some very good-looking girls, that saw by the corridors, and that afterwards disappeared, even before final of course, as I imagine that they escaped of a so hard career. I do not want to say that the men did not escape, because a lot of tambien did it, but the disappearance of the good-looking suppose that serious therefore; it was as it went, the case is that quite a lot of them were, unfortunately, very fleeting.
The examinations of Analysis of Forms, in June, September or February, began with a strong dose of sadism, as they did not say you that you had first and what afterwards, and had to carry all the material, of stain, of wash and the other, included two boards, expect in the corridor to see if they called you to go in in a class, and go you to the another with all the inmensidad of the trastos if they did not call you. It was a despicable behaviour, indicativo that like the professors hated to that mass of students, to which did not want neither knew to teach.
The general Drawing (that afterwards it called Technical Drawing) was to delineate buildings and details, first to pencil and afterwards to normal Chinese ink, for afterwards do also wash. We begin by a leaf of acanthus in big and to Chinese ink, go on down to draw a chamber of bathroom and when we went to do wash removed it of this asignatura. There was not chair, and the attendant of the Chair was the one of Descriptive Geometry, that called José María Ruiz Aizpiri. I had of professor to Pedro Rodríguez Ribeiro, that smelt always to coffee, that did not teach at all, that did not do me neither case and that suspended me in June and September although I drew quite well. I carried much better this asignatura that the one of analysis, and was quite good, at least in comparison with the other. Years afterwards Ribeiro turned into the attendant of chair of Drawing, and with him the asignatura arrived to a very remarkable degree of degeneration, as so many will remember.
Then it was still in the School my prime (and also of Cangas de Onís) Francisco Javier White Pérez, of the promotion of Segui and Manuel of the Houses. A day found me by a hall and said me: “Come you to the living room of acts, that go to give the result of some very important oppositions”. We were and we saw together the subject, with the full living room of students. Afterwards I asked to my prime Javier the one who was the people. The oppositions celebrated for the asignatura of Composition II of the School of Seville, that was very recent and concursaba Sáenz of Oíza against Jaime López de Asiaín. The president was Víctor d´Ors Pérez-Peix, that was the chair of Madrid, and when voting in public desempató saying something as well as. “And to who will vote? I do not know, I do not know… As to the gentleman López de Asiaín”. It armed a scandal tremendo and when the court went down of the tarima, somebody gave him a puñetazo to d´Ors. Afterwards me enteré that it had been Emilio Chinarro, that was professor and to the that, as they said me, threw of the School of that. Afterwards it went back and it arrived to be professor title of projects. I think that it was Carlos de la Guardia (do not know if it is writes like this; I create to remember that it was professor of urbanismo with Ferrán and Mangada and Manager of Urbanismo of the City council when this last was councillor) the one who shouted. “Better! Like this we remain us with Oíza here and the another to Seville”.
It was after this when to López de Asiaín (that it was of the Opus Dei) and to another architect sevillano commissioned them the Museum of Contemporary Art at the side of the School. It was Florentino Pérez Embid like general director of Fine arts, an Andalusian, that also was of the Opus, and to be able to counter that Ramón Vázquez Molezún, being pensionado in Rome, had done a project of Museum that had the National Prize of Architecture, gave him to east another project the same prize.
In the second year, in which segui cursando first, remained me the two drawings and the descriptive, that put then in first, but that in the first year of the plan had not done it. To second course had happened 25, almost all –by not saying all- enchufados for being children of professors or of fellow architects of them. The list of approved of Analysis of Forms –the asignatura that really selected- was a true scandal. Between them, some drew well, as Víctor López Cotelo, that was of my group, but I think that did not approve it therefore, but for being son of an architect of the Ministry of the House, as the professor was the ineffable Fernando Ruiz Jaime.
In first went back to enrol other 1.000, so the second year were already 2.000. My father said me that it did not concern me, because like this it went it to happen better and to learn to draw for real. It was true and had more luck with the professors. Or, better said, with the professor, as it touched me the same in the two drawings, Oliverio Martínez Martínez. This understood of drawing and worked. It corrected the exercises of week by week and gave us a species of assessment, with which I already saw that it went well, or very well.
My father had commanded me to draw architecture by the street and also to the nude in the Circle of Fine arts. We were still in the academy of the sculptor Gerardo Saragossa, son of the painter José Ramón Zaragoza, academy in which in time of D. José Ramón, disciple of Sorolla, gave class of wash López Durán, and where had begun to draw in preuniversitario, although I had begun already something before, in Cangas and in summer, to the fifteen years, also with Gerardo, by what arrived to the School, in this appearance, much better that the immense majority. The Saragossa were, as we, of Cangas of Onís, and intimate of my father, that had learnt to paint with the elder and was very fellow and until collaborated with the son in some of his works of sculpture that needed more the composition. Gerardo had closed the academy, but admitted to some children of friends. In relation with the school only has to remember to Francisco Javier Bellosillo Amunategui, that went professor title of Projects and that died prematurely, to the fifty and so many years. But they were also my prime Julián Navarro, Juan of the Run –son of the chair-, Mateo Galician and the brother of Javier, Luis Bellosillo.
I approved technical drawing in February. In the examination put us to delineate to ink a section of the cathedral of Valladolid, for which gave a model divided in two, to distinct scales. For fastidiar, clear. I finished it immediately -the rapidity is one of my defects- and as it did not have another thing that do entitled below my complete name in capital letters of stick delineated to rule. It happened a professor, that I did not know, and said me that anybody there was request entitled, as if it was a demérito. But it heard him my professor, and said him:”Calla, man! You do not see as it calls ?” No because my father was anybody there, that was not it, but by the surname Capitel. The case is that I approved, by what Aizpiri did not have to see very bad the of the entitled.
But in February suspended the Analysis of Forms. I remember that the exercise of stain was a piece of the friso of the panateneas, with horses and riders, very difficult, although I think that went out me well. Oliverio excused with me saying that it had approved technician and that the logical was that, such as it went, the analysis would approve it in May by course, so it did not have to concern me. (What had to happen, create I, is that he proposed me to approve and no accepted it to him). My father went back to say me also that it did not concern me and that if it had approved, total what went to do. Sure enough I approved by course. The descriptive geometry approved it also. They gave us class in the living room of acts with a device retropoyector, and the professor, whose name do not remember, but that it was well, drew in some transparencies while it explained. The practical did them afterwards in class and were not easy, but afterwards the examination was an imbecilidad. As it no longer was necessary to do estereotomía of the stone to the descriptive had removed him importance, although they taught it everything: gnomónico, diédrico, the different axonometrías, conical.
When thinking in the living room of acts remember (do not know if it was the first or the second year) that a day of analysis of forms said us that we went to hear a conference on Thomas Jefferson, the third president of United States, that was a glorious architect. It was a professor Yankee that wanted to give this conference and (when knowing as it worked the school afterwards, already understood it) had put him a class like public forced, saying us that afterwards would go up to the classroom to draw by heart dress it, as like this it was. It taught us the University of Virginia, but delivered us some photocopies translated (this had done it the American embassy, no the school). But the best, and is what want to explain, is that it appeared the director, that was Luis Moya Blanco, to the one who think that ví and heard for the first time. He spoke us ten minutes of the one who was Jefferson and did it so well that almost no longer did is missing to read the translation. Afterwards I did it, however, and the of the American was very well and was, clear, more complete.
When thinking in the living room of acts remember (do not know if it was the first or the second year) that a day of analysis of forms said us that we went to hear a conference on Thomas Jefferson, the third president of United States, that was a glorious architect. It was a professor Yankee that wanted to give this conference and (when knowing as it worked the school afterwards, already understood it) had put him a class like public forced, saying us that afterwards would go up to the classroom to draw by heart dress it, as like this it was. It taught us the University of Virginia, but delivered us some photocopies translated (this had done it the American embassy, no the school). But the best, and is what want to explain, is that it appeared the director, that was Luis Moya White, to the one who think that ví and heard for the first time. He spoke us ten minutes of the one who was Jefferson and did it so well that almost no longer did is missing to read the translation. Afterwards I did it, however, and the of the American was very well and was, clear, more complete.
Of that, and like Paulino happened more or less the afternoon in the Circle by cause of his exhibition, he and my father approached a day to the sessions of drawing to the nude, where I went. I think that were a bit of old greens, by the models, and remained terrified of the ugly that were. “Obvious!, it said my father, if to the good-looking give them a paste like models of advertising, in the television and all this, do not go to come here to undress ”. As in his period was distinct.
When it already had approved analysis of forms by course, found me a day to Oliverio Martínez by the School. And it said me: “How you had not said me that you were relative of García-Lomas?”. It referred to Miguel Ángel García-Lomas and Mata, son of Miguel García-Lomas Somoano and brother of Javier, that went during long partner of my father. The friendship of my father with the Lomas, as they said in Asturias, was so big that believed us relatives, and sometimes they same presented like such. The case is that –afterwards me enteré- Oliverio wanted to present to secretary of the School of Architects of Madrid and García-Lomas, that was something as well as the political commissioner of Franco for questions of architecture and General Director, had vetoed him, without that know why, as Oliverio was rather facha that red, cost the simplification, but to Miguel Angel had to seem him little thing, by clasismo, definitely. Oliverio thought that of good had rid when approving me without knowing it. The fear to the Franco regime was enormous. Afterwards Oliverio, that was good uncle, went architect of the Management of Urbanismo. Somebody said me that it had died prematurely. Always I appreciated him a lot the good professor that went in that degenerate world.
I happened to second course (1966-67), that consisted of Elements of Composition, History of the Art, Materials of Construction, Extension of Mathematics, Extension of Physics, Introduction to the Urbanismo, and another that forgets me , think that of installations.
In Elements of Composition had to Antonio Fernández Alba, of attendant of Chair, with Leopoldo Uría Churches, Alberto Donaire Rodríguez and Angel Colomina Abril like attendants of course. Uría And Colomina are of Oviedo. Antonio Fernández Alba had in that moment an enormous prestige like architect and like professor and happen to that course after the mili of first was, simply, discern the paradise. To my father asked him that it subscribed me to the New magazine Form, directed by Juan Daniel Fullaondo Errazu, and that published several glorious numbers on Fernández Alba. My father was a modern in everything, but something less in architecture, as desconfiaba a bit of the modern, as it was common body the Spaniards of his age, but when knowing the works, projects and drawings of Alba remained very happy, and said me: “Now no longer you will protest so much of the school no?”. Because I had happened me the two years of first cursing to the venerable institution that received me like student and of which, practically, never went out.
In 1966, Luis Moya had left to be director, sucedido by Adolfo White Pérez of the Way, that had been pensionado in Rome together with Fernando García Mercadal. It was chair of projects and said that they had done it director so that jubilara like such (had to be bigger the pension). Also they said the ones of the ancient plan that had had to it, when it corrected, only fixed in the bathrooms. With him Javier Carvajal was Boss of Studies for the new plan, and with his successor, Rafael Huidobro, Carvajal went already Boss of general Studies of the School.
In History of the Art had to Miguel Molina Campuzano, scholar of Madrid, that did not happen of the Romans. Man of the all respectable, but a true pelmazo. I finished of the Egyptian trails until my beautiful noses. In Materials of Construction had to the inefable Antonio Camuñas and Walls, the chair, famous by his eloquence. The anecdotes on his form to speak and to write -studied his book of text, skillful business of some chairs of then- were innumerable. It suffice now say that it called ujieres to the bedeles and that in the examinations said: “it Remains terminantemente forbidden smoke, was not that between the scrollworks of smoke glide the question proposed.” Of his book is famous the start of the chapter on tiled or azulejería where left written for the posterity: “The Muslim tycoon, lover like which more than the nature, shuts nonetheless in his palace, where surrounds of profusión of sources and regatos…”. Of here the azulejo like need, already understands . I have to confess that in one of the most important examinations of materials studied by what called a quiniela, had luck, went out what had studied me and approved. Never I have known to copy. Blow and be blown yes.
In Mathematics went back to have to Roll, that was good professor. It had the habit to command problems to deliver the Mondays, and if I did not deliver them, or did not deliver them all, said it to him to my father, to the that saw by the Ministry, and my father asked me please that it did them, although it did not go more than because no explained it to him to him. I think that Roll, coined of the García-Lomas, had a lot fear that I was bad and that there were problems if it suspended me. On the other hand, it estimated me something, as it knew me like fellow of his son, and took care me. If it did not go out anybody to the blackboard like volunteer, took me out always to me: “To see, a volunteer….. (Anybody moved )… Gentleman Capitel”. The truth is that I got along the mathematics and create to remember that in second put me remarkable. In Physics had to Manuel Castañs Camargo, so good scientific -in appearance, at least- as badly pedagogo. I approved. In Introduction to the Urbanismo had to Justo Uslé, married (think that already) with Marian Alvarez Buylla, that afterwards separated of him and was and is professor of technical drawing.
My success was Elements of Composition, because I took out remarkable that only reach five (Ignacio of the Houses, Pablo Scandella, Felipe Setién and I; it is missing me one that do not remember). In second had quite a lot of friends already for ever, some that are or have been professors of the School. Ignacio of the Houses (mine mate of the institute Ramiro of Maeztu from entry and after career), that was another of the remarkable, went afterwards, and is, professor of Technical Drawing. In that course were Luis Gutiérrez Cabrero, headline of projects today, Nieves Ruiz Fernández and Francisco Rodríguez of Partearroyo, that went mine partners and professors of drawing. Javier Alau, also of drawing, Luis Climent Soto, of Urbanismo and José Luis Rodríguez Noriega, of projects. Pity that Fernando Nanclares, the another ours partner, big architect, never wanted to give class, as neither Ignacio Lafuente, son of Lafuente Ferrari, that was an intellectual. Well it is true that Antonio Fernández Alba, that was the one who did me professor, afterwards took me the peel saying that I had taken out remarkable by the entitled, that did with letter of stick learnt of my father and that to him seemed him very architectural, and, perhaps aaltiana. It does not matter me, in fact I turned me into the expert rotulista for my friends and for me same.
I remember the exercises of Elements. Do a poster choosing a sentence. I chose the one of “Better design” and did it neoplástico, although without knowing it, truly. Draw to ink the plane of our house, do him some reform if it was necessary and go back it to draw expressing the concept of the house and his disposal. Project several chambers of bathroom and several kitchens. Realise maquetas of abstract compositions with modules of cardboard in shape of L of equal sides, of L of uneven sides and of S. Join three platforms, round, rectangular and square, situated to distinct levels, with stairs and with rampas. Between four buildings (Villa Saboya of Him Corbusier, pavilion of Barcelona of Mies, Pavilion of Finland in New York, of Aalto and room of offices of the factory Johnson, of Wright), choose two and do a maqueta of space and formal interpretation. I did the of Mies and the of Aalto. Do an enclosure for an exhibition of sculptures in the open air in the Retreat, and with a complex topography, choosing between statues of Miguel Angel and of Henry Moore. I chose Miguel Angel and Fernández Alba said in public that the mine was as of Luis Kahn, that I did not know the one who was, but me enteré immediately, because it seemed me very interesting and lujoso. Afterwards a house unifamiliar with study for a sculptor and, finally, and still, a croquis on a building of offices of free plant in height and studying vertical circulations. Already they were courses, see if no the program: of Monday to Friday and three hours.
I happened it fantastic in that course, conscious that it already was in Architecture for real. In the spring already so alone Ignacio of the Houses and I worked in class, that was occupying the hall of the lowest plant, very next to what then was the bar.
I remember that a day arrived Carvajal to see to Fernández Alba and said him in front of all that had had the second prize of the contest of the Palace of Congresses in Madrid, but no the first. Carvajal Was in the jury. It was this subject a true pity, to my understand, as this project of Alba was glorious and had generated a splendid building.
I taught the exercises to Donaire or to Uría –touched you one of them in each semester; Colomina had disappeared after a first season- and afterwards devoted me to hear the corrections of Fernández Alba that, without order, went commenting to the that fished or left . It did it always, and like Alba saw me continuously there, some time asked me. “And you what?”. And I said him that it did not have at all, or that had not brought it, as it did not dare me to teach it to him. Especially, in the middle of the work, as it did not bear that they did it to you change. Afterwards, after delivering, mattered me less; that they said what wanted to. Fernández Alba, at the end of the course, was commenting the work of all and each one. Also it did it with me, clear, and I attended to all these comments.
We did an excursion to Granada and Córdoba with Leopoldo Uría. We saw historical architecture, clear, that was then almost the only that could see . I gave me account then that the Mosque had inside and on a cathedral, what surprised me a lot, and also that it Wires it had in front a glorious palace renacentista to the that almost anybody did him case.
Antonio Fernández Alba was a high and dark man, very alike, with a lot peel, that had 40 years when it gave us class to us, endowed of quite a lot of charisma and appeal, at least for me, although also for many. Then it was in the crest of the wave, then , after doing the Convent of the Roll (that it was National Prize of Architecture) revealed like one of the main champions of the Spanish organicism. Fullaondo Published in New Form several numbers devoted to his work. My father saw them and remained loved with that architecture and with his form to draw. In the education, supported by Javier Carvajal, meant an important renewal, already in the second half of the years 60 and before being chair. Walking the time, can say that many of which have meant something in the School are due to Antonio his presence or his consolidation in her. I refer me to Manuel of the Houses, to Navarro Baldeweg, to López-Peláez, to Javier Frechilla, to Fernández-Galiano and to me same. At least.
The subscription of Nueva Forma never finished . Only we pay it once and they commanded it always. Praised was Huarte. Precisely to the following year, in the course 1967-68, had to Juan Daniel Fullaondo Errazu, the director of the magazine, that was the attach of Javier Carvajal Ferrer, chair of Projects I, in third course, the first that went it of between the modern. It was also José María Toledo Escuder, that afterwards went chair of technical Drawing of the School of Seville, and Luis Carrión. There was besides two students scholars (scholars without scholarship) Alfonso Casares Ávila, that afterwards went professor, and Francisco Alonso of Santos, that keeps on being it. Alonso was one of these genii that there is sometimes in the School already before finishing, had published him a project of student in New Form and at all less than with a drawing in the cover. His historial back denied these augurios, as it never arrived truly to do big thing neither in works neither in projects neither in writings, although the little that did has been very celebrated and mitificado by some. It said things very lúcidas sometimes, truly, but to me did not serve me too much. I aimed me to Alfonso Casares, that was a simply wise person and intelligent.
The delegate (do not remember the one who was) said him a day to Carvajal, of part more or less of all, that did not like us at all May Toledo (like this called him). It was son of the painter Gregorio Toledo, that had an Academy of preparation for architecture, and of Helia Escuder Alarcón, that, looks you by where, was mine professor of drawing in Ramiro de Maeztu. This lady understood more or less of drawing, but did not teach us at all neither drew never, limited to chat like a cotorra while we copied plates or did drawings of free subject. I think that May Toledo had a speech very voluntarist, of which speak of enthusiasm and to mark of so much draw. I, the truth, is that I do not remember to have him heard never, but those that had done it hated him. It is to do notice that ours was then a promotion of beauticians and intellectuals –at least, that was the official paradigm more or less in cattail-, as we were direct disciples of Fernández Alba and his professors, the only that had had until then and that influenced us a lot.
The case is that Carvajal protested a lot of saying that Toledo was a stupendous professor, but had to say him that it did not go back, as it did not do it. Carvajal Was then Boss of Studies and went little. It carried Fullaondo the weight of the chair, and his day in day out, with Carrión and with Married and Alonso. Tied to Carvajal, and sounds me also that in that course, remember equally to Luis Gay and to Federico García-Germán, but think that only picotearon a bit by there. Maybe they went students scholars that went some time. I took out excellent, that was thing of Carvajal and no of Fullaondo, as me enteré afterwards.
The other asignaturas were Calculation of Structures I, Construction, Urbanismo, Aesthetic and Composition, Plumbery and Saneamiento, Electrotechnics and Luminotecnia. As always, I do not know if I forget any. There was also what called “the three Marías”: Religion, Training of the National Spirit (Political) and physical Education (gymnastics). This lasted until the end of the Franco regime. And also there was English, from second course and do not remember until when. These things tended to forget them and could be a complication.
In Calculation of Structures I gave the theory of the Elasticity and the Resistance of Materials. It gave it to us Antonio García de Arangoá, a Basque bajito that did not remove neither the scarf neither the coat to give class and to the that did not understand neither what spoke, although our fellow professors of structures have him very mitificado. It would be like Castañs, a wise person, do not say that no, but a frightful professor for which were not very applied. I followed one some habit between the no very empollones and left this asignatura for the following year.
There were ones aim of Elasticity, taken manually with distinct letters and photocopied and sold to a lot of generations. It was of Arangoá, as well as the book of Resistance of materials, better edited, and both his businesses. Then also it bought a lot the form of structures of Lahuerta, of Javier Lahuerta Vargas, that was fellow of my father and to the one who I did not have like professor, but to the one who knew. Mine mate was his daughter María Victoria, quite good-looking, to which already have referred me, and his brother Javier studied architecture in Pamplona and was of Ramiro of Maeztu. The poor died drowned swimming in a marsh when it still was very young. Still another smaller brother of the Lahuerta was mate of Ramiro and fellow of my brother Lamberto. Lahuerta Was commissioned of Chair, and left to the School of Pamplona, as it was of the Opus Dei, and imagine me that as a result of having won a chair in Madrid, although I do not know if it was to peel. It had, in any case, enough prestige. I spoke with him when it did the thesis on Luis Moya, because Lahuerta, with another professor of structures, Luis Rodríguez, went commissioners like experts when they carried to Girón and to his collaborators to trial by economic subjects of the work of the Labour University of Gijón. They were experts of the High court, that carried the cause for going this against an ex minister, and commissioned them value the work to evaluate the possible economic irregularities. Lahuerta Said me then that the assessment that did they was upper to the really worn, by what the trial was discontinued.
The construction gave it Rafael Fernández Huidobro, that was then the director. To Luis Moya there was him sucedido Adolfo White Pérez del Camino, as I already said. We did not have him, as it only gave class to the old plan. Afterwards it came Huidobro, with Carvajal like boss of studies, and that by his charge also went little to class. It gave a quarter, based in ones aim (the plates of Huidobro). Afterwards, a professor, called Julián Navarro like my prime, explained us the structures of covers of Félix Candela, that was the best, and afterwards there was a third of the that do not remember the name –called him “the exhaustive”- for things more than battle.
The Urbanismo (or the Urbanística, as it called officially) gave it Pedro Pinto, commissioned of chair and civil servant of the Ministry of the House. When it went out this chair to opposition won it José López Zanón and Pinto went . It gave the theory, and had three assistants for practices, Alfonso Soldevilla, another that called , create, Valentín Rodríguez, that think that was the worst, and that went precisely the one who gave me class to me, and Julio García Lanza, that went the only of them that remained in the School, arriving to be professor title. It did not like me at all that course.
Aesthetics and Composition gave it the chair Víctor D´Ors Pérez-Peix, that was son of Eugenio D´Ors, Falangist, municipal architect (!) And caradura and vocational clown. It owed him the chair to Luis Moya, francoist like all they, although no Falangist, and admirador of gift Eugenio, to the that in big way, and to his time, owed, at least in some measure, the armchair of the Academy of Fine arts, that in fact was the one who answered him to the speech of reception. In our times had of assistant to Ramón Garriga Miró, an inefable Catalan product, that had come to Madrid to do a thesis on Xenius, and already remained of step. It arrived to be professor title of the department of aesthetics of the faculties of history, that was a botch that fixed him so that it had that live, and in the School did not give class. When it was director Aroca, to keep him busy, thought that it was what there was in the School that was better if it malfunctioned, and put it in the convalidaciones of foreign titles. It was there some years and afterwards removed it, as it resulted too torturante for the interested. Today already, 2008, it has jubilado, but still sees him by the school.
We suffer to both, but little, as in what we saw that it went the thing appeared scarce time by class. D´Ors, when it went, spoke on a book that had of the publishing Work, and that I did not buy, danced the sardana and did all class of payasadas. Garriga explained (is a say) the Marxist aesthetics of Gyorg Lukàcks and asked a work of do not know what. It was, as it sees , a mixed salad, and very easy.
Plumbery and Saneamiento gave it Mariano Rodríguez Avial, that was commissioned of chair and that had a very good book that yes bought. They called him jokingly, the tiger, because it was a blessed. It gave class also his son, Luis Rodríguez Avial, the tigrín. It was cuatrimestral, taught well and approved . In the opposition to chair, years afterwards, gift Mariano lost and won Pedro María Rubio Requena, called by his athletic appearance Tarzán. Luis Rodríguez Avial, suppose that in view of the failure of his father, happened to the urbanismo, where is professor title.
Electrotechnics and luminotecnia, also cuatrimestral, do not remember as it called the one who gave it to us; I think that it was engineer. Afterwards there was a chair, no architect, that called Alicia Crespí and that carried fatal with Tarzán, and to the one who I did not have.
With Carvajal did houses in hilera, collective houses, a parish centre and a school. We acted on a plane of Chandigarh, as if it was Spain, and by groups and distinct regions. Mine was the one of Santander, with Ignacio Lafuente, José Luis Noriega, Nieves Ruiz, Luis Climent, Fernando Nasarre (that it has been General Director of Architecture), Julio Herrero and some others, and it was necessary to finish in a maqueta final, using some of the buildings projected by all. I remember that they used my big blocks of houses, that were corbuserianos, but that applied to a diagram of city that pretended to be aaltiano, like the urbanisation of Pavía, something of what convinced us Lafuente, and that had quite success with Fullaondo and Carvajal.
When Carvajal saw the main plane, that was very beautiful, rezongó because the white was the green zone. Fullaondo, very bajito, but that heard , said him: “it has seen It Antonio [Fernández Alba] and has said that it is a picture of twenty thousand hard”. Carvajal rezongó A bit more –does not know well because it had always to gala be of bad humour-, but was rather satisfied.
The truth is that the maqueta did it after a plant with Carvajal, to the that said him that we did not go it to do, as it seemed us absurd. We had worked a lot and besides it seemed us that it was entirely made a mistake the to do a maqueta of city with the buildings given. Carvajal took a get angry like a monkey, and we, after ruegos and hot cloths of Fullaondo, finish doing them. To them it loved them see 10 or 12 maquetas immense –each group did a- full of forms, and all competing because it was yours the most beautiful.
Carvajal did us deliver some croquis, like previous delivery, that put bent in an on big. When I was doing the parish centre wrapped me with a thing between corbuseriana and miesiana, empeñado in a structure with beams in both senses, thing that to Married, with all logical, did not seem him of the all well, but left me follow. In the Church, this structure turned into space, and went down in the zone of the altar to signal it. I did not know very very what was doing, but drew a section fugada to convince me to me same, remained apparent, and delivered it. A day appeared Carvajal and wine did me with an on under the arm. It was mine, took out the drawing of the interior of the church and said me something like this: “If this is formalista, is very bad, but if you says me that this is not formalista, is very well”. I remained me of a piece, and said him: “For God’s sake, gift Javier, how goes to be formalista? I think that no.” Then it was very satisfied. It did not know I very very what was exactly formalista, although it suspected that the mine, that did not finish to be clear, had to be it. To Carvajal said him what obviously wanted to hear, as my exercises seemed him well. Anyway I procured to do it with the maximum seriousness and with a serious “language” and escueto and remained interesting. Fullaondo Said that in the Church the most difficult was the cross. I, seen this comment, took it to me quite seriously and did it of four supports with double beams crossed in the two senses, what was an emblem of my project –or was, of my error- and had to like them. This mine obsession by the structure in the two directions served me for, more advance, understand well to Mies.
Carvajal Was a high man and very thin, with peel ondulado and glasses, and with a very singular face that some said that it was of dog. Of dog pequeñito, would say I, anyway. Always it was as angered. It was quite important for the School of Madrid, then , in addition to being a good chair of Projects, when it was Boss of Studies entered in Projects to Fernandez Alba, to Fullaondo and to Moneo, and consolidate to Saenz de Oiza. Also I try to transform the Analysis of Forms and the Technical Drawing by means of the introduction of Moneo and Hernández Gil and in the first, and of Feduchi and of Kills it in the second. I do not attain that this his modern School consolidated complete, but went in definite the father of the first and real renewal of the education.
Fullaondo Was a man gordito and something calvo, of round and attractive face and almost always sonriente. It was the attach of Carvajal and our course carried it almost entirely, since D. Javier, as it was Boss of Studies, went little. It was a literate person, good professor, of a lot of critical sense, although very escorado to the organicism exacerbated type Utzon, that was one of the things that carried in that period. It had also the marchamo to be then director of the Nueva Forma magazine, paid by Huarte, and that it was in those times the most read magazine in the School, and that educated us to all. To the following year Fullaondo angered with Carvajal because it did not leave him pose his own program and went of the School. It went back at the end of the years 70 to the chair of Sáenz de Oiza, and went afterwards, first, Professor Title, and later chair. It died prematurely.
In this course, that was our step of the Ecuador, did a dinner, think that in the hotel Wellington. I remember that they were López Durán, Oliverio and Pedro Hernández Escorial, that was professor of Analysis of Forms and was also in the CEU. Always it said that López Durán and Escorial were homosexual, although I ignore if they understood , radiomacuto did not clear it. Also we did a visit with food to Segovia, of which conserves a photo of the course done by Paco Partearroyo; and, the best, a trip to Rome, to the that went also the ones of chamber, accompanied by Sáenz of Oíza. It did in class the typical list and a day Carvajal the cotilleó, knows that it did not see me in her, afterwards found me and said me: “And you, why does not go to Rome?” “Because I do not have money”, said I. “I pay it to him and afterwards works a month in my study.” I accepted loved and immediately took out a chequebook and signed me a heel. The truth is that I had gone already to Rome with the Institute Ramiro de Maeztu, in preuniversitario, but me apetecía a lot go back with the school. Javier Carvajal did me a big favour, with which showed his esteem by me and a bonhomía that denied his bronco character. The rarest was that afterwards it did not want that it worked in the study the month that had to him, what for me was worse, as me apetecía have it done. It forgave me, without more, the debt.
The true is that we were to Rome. In aeroplane accompanied us at all less than Helena Iglesias and Adolfo González Amézqueta, of so sinister remember for me afterwards and, in general, for the school, discounted those that went professors thanks to the setting of his dark gang to be able to. Francisco Javier Sáenz de Oíza, with his woman, María Felisa Guerra, went in car, in Morgan that inmortalizó his disciple Javier Vellés for the first cover of the magazine Architecture that did Frechilla, Ruiz Cabrero and I in 1981.
In Rome, Churches and Amézqueta disappeared, fortunately; only they took advantage of the trip. In the Spanish Academy of Fine arts were of pensionados Gerardo Salvador Molezún, prime of Ramón, and José Ramón Menéndez of Luarca, that had won the opposition against Manuel of the Houses and Javier Segui. Appeared Oíza, Gerardo and José Ramón accompanied us to see some things, between which remember the EUR and some works of Ridolfi. We were to the EUR in a bus and finish seeing there the Palace of the Sports of Marcelo Piacentini and Pier Luigi Nervi, and a small house of Scarpa. Ignacio Lafuente and I asked that they stopped in the things mussolinianas that seemed us more interesting at first sight, as they were the ones of the palace of congresses of Free and the palazzo della civiltà of the lavoro, of Lapadula, although we did not know that they were neither of who. Neither to the pensionados interested them these things, neither much less to gift Paco, that would see them with bad consciousness and would not know that say, so they did not do us neither case.
To final of course, remained me pending the calculation of structures, to the that neither presented me in September. Carvajal Put three matrículas: to Fernando Nanclares, to José María Chofre and to Miguel Martínez Garrido, that afterwards would arrive to be professor title of projects. It put us to Paco Partearroyo and to me, excellent, and would give perhaps any more than no longer remember. There was a final dinner of course, to which I was not, but in which it reappeared José María Toledo. It sees that in that ours course went of gafe, because a waiter, when happening near of him, tripped, and threw him a tureen on of his flawless suit of summer. Which coherence has sometimes the bad luck.
As in this course had of scholar to Paco Alonso, so respected and famous, think that is timely this moment to relate what explained me Javier Vellés, that suppose true anecdote. It said that, when they had to D. Ramón Hannibal Álvarez García-Baeza, that was chair of projects and deaf (carried device), went in the professor in class and found with Paco, seated in front of a board of paper almost in white, except a small and exquisite drawing, and seated there with him to see that it was doing. Then Paco began to speak and speak (imitated enough to Sáenz de Oíza) and D. Ramón, patient (perhaps had turned off the device) expected to that it finished, while it looked his small drawing. And when it finished it said him: “Gentleman Alonso! You speaks a lot and draws little, and I see very well, but am deaf like a tapia. So we do not go us to understand!”
In this summer went us to the first camp of university militias in The Farm of Saint Ildefonso. It touched us in Engineers zapadores to several together mates, fortunately. There it arrived a copy of New Form in which Fullaondo had published things of our course. Mine went out some photos of the parish centre. The subject had his grace, because there was a student of Ways that called Larrauri and that did not hide his hate enfermizo by the architects, that remained surprise when seeing that we projected already buildings and asked us if it was not third course what had done. It was so stupid this man, that spent bromitas like finding you and say you: “it Hears, that has fallen you a brush”, as it considered us painters. Another funny thing around this magazine is that, already in Madrid and home, my father said me that it seemed him very rare a façade, and I said him that it was worse, as it was not a façade, but a cover: the one of the maqueta of the project of school of Martínez Garrido.
In September, after the mili, to Ignacio Lafuente and to me had gone out us a fun work. It treated that Luis Martínez Feduchi, the architect of the Capitol and big designer and expert in pieces of furniture, had proposed to the publisher Blume do a big encyclopaedia on the Spanish popular architecture. It had others to direct and prologar each volume and were, want to remember, his son Javier, Fernández Alba, Rafael Moneo (that it was his son-in-law), Carlos Flores, José Luis García Fernández, any more than do not remember, and he same. But the work of field had to resolve it with students. It wanted to do it by couples, and to Nacho Lafuente and to me had said it to us Fernández Alba. In that gang were also Paco Partearroyo, and Junquera and Pérez Pita, between quite a lot others. Nacho and I were to see to D. Luis, to the one who knew then, and that it was an intelligent man, hablador and nice. It proposed us do the route of the villages of the provinces de León and of Zamora, gave us some indications on the villages that could be, although it left in our hands the decisions last. It gave us 800 pesetas by village, and it was necessary to take out photos, some data, and do planes, more or less measured, and drawings.
The problem was that neither Nacho neither I had car, what complicated the things, especially economically; but we decide to throw for in front proposing it to Javier Lacarte, that was ours mate of promotion, although little fellow, and that had a 600 and him apetecía. Lacarte Said that yes, resulted to be a pleasant mate of fatigues, and there went to the conquest of the two provinces. By cause of the scarce money it was necessary to do it at full speed; but we did it and well. To D. Luis liked him the result, remained with the things and paid us. I was afterwards some days in the study of Fernández Alba doing definite drawings of some things, but immediately knew that that could not fund like this and the thing stopped . Over time it did it all D. Luis, that fixed them to him to carry out, he only, four volumes.
In Fourth Course had Projects II, Calculation of Structures II, Construction, Composition II, Urbanística II, and some others. In Projects had to José Rafael Moneo Vallés, that was Commissioned of Chair and had like attendants of course to Germán of Castro and to Ramón Bescós. Rafael Moneo, had then 31 years, we walked by the 21. Moneo, after coming of Rome like pensionado (was with Dionisio Hernández Gil, with the sculptor Francisco López Hernández and with the painter Agustín of Celis), was incorporated like professor of Analysis of Forms in 1965-66, jointly with Dionisio and also with Agustín, as this continued in this asignatura, being afterwards professor title. Moneo And Dionisio, with Agustín and perhaps some another, carried an experimental group that deleted to a large extent the traditional tendency, and that it was a thing imposed to López Durán by Carvajal like boss of studies for the new plan when Moya, or perhaps Huidobro, was Director. Eduardo Sánchez López, afterwards assistant in the study of Antonio Fernández Alba and later active architect, professor of projects and excellent photographer, went student of this course, and explained me that they happened a quarter with espirales to end in the capitel jónico, but spoke well of all this. This experience lasted only two courses. Dionisio remained some time more like professor of Analysis of Forms in the conventional academic way and to Moneo happen him Carvajal to Projects, in the second course of the ancient plan. There it had of students to Enrique Perea Caveda, that would be professor of Projects and to the that was so much time his partner, Gabriel Ruiz Cabrero, that is now chair of Projects. Also it is of that course Alberto Field Baeza, equally today chair.
It was that year the year of the war, as it said Isabel Sáiz de Arce, that was then student (already there was a lot of more good-looking girls). We begin the course with Moneo, very happy, as already we knew him of references, by the magazine Home and Architecture, and also by that had been once in class of Elements of Composition of Fernández Alba in a critical session, like professor invited. But that year, 1968, touched him to Madrid answer to the echos of the revolution of the French May and armed a big stir in the university and, specifically, in the School. It was the year of the critical trials to the professors, and of all class of things. Moneo Posed like exercise an Institute of half Education in Artesa of Segre, and did an excursion with him to Cáceres to see institutes, that were all very ugly. We saw also the ancient city of Cáceres and Moneo asked us that “we read” the ancient façades, that did not know, clear. It taught us a hotel of Dionisio Hernández Gil and the houses racionalistas of Ángel Pérez.
I do not know if to that excursion was Miguel Martínez Garrido, because I remember that, to few weeks to begin the course, opened the door of the class, as to the one of the afternoon and appeared Miguel, that was the first time that went. Moneo Went back and said him: “And you who is?”. Miguel explained him that it had been in England, and do not know what, and the professor answered him: “Well, as until September”. Martínez Garrido remained terrified and to the exit went with Moneo, like a buhito, giving him the vara.
When going back of Cáceres, the war had burst. Antonio Fernández Alba had a course of Elements of Composition of 800 students, or more. His main professors were Leopoldo Uría and Julio Vidaurre Jofre, but there was a lot of more: Juan Navarro Baldeweg, Carlos Trabazo, Antonio Pruneda, Francisco Alonso of Santos, Antonio Vélez Catraín, Alfonso Churches,… The course of Alba, perfected two years after the ours, was very abstract, postbauhasiano (spoke a lot then of the School of Ulm, directed by Maldonado) and the students of first put in strike against the asignatura of Analysis of Forms, of López Durán, that followed with the classical line and that had lost already the modernisation of Moneo, successor of the one of Oíza. The School supported the ones of first and declared total strike. To counter these things the director, Rafael Huidobro, launched a species of open letter to the students, putting to broth the modern education, what then called the basic design, the school of Ulm, etc., etc. Said , and think that with truth, that the letter had written it José López Zanón. Fernández Alba, that felt desautorizado and that was something rebasado already by the enormous course that touched him direct, resigned, and with him Uría and Vidaurre. Also they resigned Javier Feduchi Benlliure, the son of D. Luis, the one of the popular architecture, and José of Kills it Gorostizaga, that carried the Technical Drawing, more or less in coordination or coherence with them. It was the line of the modern, that Carvajal was entering from the new plan.
The School, of course, followed stopped, but were constantly in assembly, of course or of school, and the internal problems mixed with the politicians and cultural. We were used to to use the class of projects not to go to the theorist and not coinciding with the professors. To Moneo left him assist to the class because this was not such, but an assembly, that celebrated all the days in class of projects if there was not assembly of School. But to fix the education, that was the aim –put this more moderate aim, instead of the politicians, cultural and of opposition to the Franco regime, to do it of serious and attain that almost all the course accepted the stop- and, like this, without giving class neither speak of architecture, that considered the same. In what Moneo glided to the blackboard to do a croquis and put to chat of architecture, that was what liked him and wanted to, stopped him. We, when being in fourth course –or was tired of so much work the previous year, but without the haste to finish, to the not being in fifth- play a quite intense paper in that year, although rather of type acrático, that of rojería traditional. The cansancio to work in projects of way little controlled and the acracia had manifested already from the beginning. To the beginning of the course had said him to Moneo that at all to put a subject and say “Hale, hale, to work!”, that wanted to know as it did a project, which was the methodology, and all this. They were those years.
A sample of how arrived –of before beginning the war- was that, as already Moneo did not achieve that we started to work, a day threw him the eye to Fernando Nanclares –that had been matrícula with Carvajal and had worked with Fernández Alba and, definitely, Moneo knew it- to ask him a thing. The aim was very chosen: Fernando did not carry the peel long and, being of Oviedo and son of a modista of high sewing, went dressed of modern form, but very good, jumper, trousers and excellent shoes. A very good boy proyectista, refinado and bourgeois; any paints of radical. Rafael said “Well, well, it is necessary to create a situation of work, it is necessary to create a situation of work,…” and asked him: “And to you, Nanclares, for example what would like him do?”. Fernando threw a calada to the ducados that was smoking, looked to the ceiling, and answered: “I, to start with, would paint this class of red”. Moneo, very fast, perceived that his experiment had been precise, but of negative result: if Nanclares thought like this, in the course dominated the acracia, more than the rojería, or the vulgarity, that would situate anyway, half hid, dissembling. Desolado, Moneo exclaimed. “Ah, but you are impossible, are impossible,..”. The truth is that Nanclares had answered him well, as what said him was that it was necessary to condition environmentally the class –in plan pop- to create a good situation of work. It was what Fernando believed and feel like him.
In the promotion, in addition to Nanclares, there were other intellectual characters and personally attractive, some already quoted (Nieves Ruiz, José Luis Noriega, Francisco Rodríguez of Partearroyo, Ignacio of the Houses, Miguel Martínez Garrido), and others like Felipe Setién, Ignacio Lafuente, Luis Climent,… In that year of fourth course had landed besides three sevillanos interesting, Paco Torres, Antonio Cruz and Antonio Ortiz, and an Alicante, Ernesto Benlloc. Our red more important was José María Gómez Santander.
All mixed : politics of distinct classes; pending problems of all type; crisis of the modern architecture and crisis of the way to teach. It did not suffice us that they were modern the professors. We wanted to know as it projected , which was the methodology. The panorama filled of all class of questions. Of a side were the neo-hiper-avant-gardes: Archigram, Hausruker, Superstudio, Metabolistas,…Of another, the semiotic, the structuralism,… The kings of the methodology were people like Alexander ,the computing (then called cybernetics) erigía like a magic solution to project,…, the sophisticated technologies, the empire of the functions and the anxiety of the certainty and of the cientificidad caricatured the messages of the modernity. All these things, all these fields of international debate hinder at stake in those years, denying to the architecture his specific content and tending to situate it like vicarious field, dependent.
In the School, and in projects, the most advanced people had not arrived to conceive, in reality, an able didactic model to surpass as only arms in front of the paper in white the intuition, forces it creator and the diffuse example of the teachers, with what resulted very logical that an already massive school, when perceiving it, decided by the elimination of the irracionalismo and the guarantee of the certainty. The crisis of the architecture mixed with the crisis of the politics and everything resulted very difficult to distinguish, but the true is that of 1968 to 1970, more or less, the most advanced of the school institution– students of upper courses, recent professors- argued around the methodologies, cibernéticas or no, and the tecnologismos of the one of the European and American culture.
Going back to Moneo inside this panorama, when once we ask him a method, he answered: “they Know you the article The egg and the salmon, of Alvar Aalto?”. We did not know it, of course, and with this wanted to say us that there is not method, clear is. Of that read it I –had published it Fullaondo in “New Form”- and in truth was very important for me, even more advance; of him it arose, tantísimos years afterwards, my book “The forms ilusorias in the modern architecture”.
As I said, our course, played a quite important paper in that barullo. A day, our spokesman, that was Pedro Salmerón, asked the word in an assembly of School and proclaimed, for the course, the desautorización total of the claustro of professors. We had agreed it propose to the School in our assembly of course, in spite of our respect by Moneo, and was acclaimed by the assembly of School with cries of jubilation. One of class had saved in a taquilla a globe of full rubber of green painting and allocated to Antonio Camera, but never fished him. The situation went complicating increasingly; Carvajal pretended to play the paper of mediator, but was not accepted by the students, the rojería official hated him. They invented a “commission of good men” for pactar, in which I remember that it was Margarita Mendizábal, but did not work.
The general unemployment finished , in a principle, clear is, with the holidays of Navidad. In the transcurso of these, in view of the state of uprising of the university and of other strikes, create to remember that of miners in Asturias, industrial workers, etc., Carrero White, that was then the vice-president of the government, spoke in the francoist courts of “the drug and the anarchy” in the university, the very farsante, and decreed a state of exception. In accordance with him they suspended a lot of guarantees of the law, and, with them, the one of that the police could not go in in the faculties, and the one of that to appoint a director of School or Dean of Faculty it was necessary to do it between three elected by the claustro of professors, and like this destituyó to Huidobro, that only went director two years, and appointed directly to Víctor d´Ors. A lot of years afterwards us enteramos that the old (read, for example, López Durán, but no only) were to the Ministry to explain that Carvajal was putting in the School to the red. This was not truth, was to the modern, to those who was putting and the ancient, jealous, employed this dirty cheat. The true is that descabalgaron to Huidobro and to Carvajal, that already never went director of the School of Madrid, but to which this owes him the operation to give entrance to the modern that, in definite, finished consolidating to so many important people.
The School opened in January of 1969 of sinister way, with police inside, or in the surroundings, and with permission to go in. D´Ors, however, wanted to celebrate his takeover in public and summoned a meeting in the living room of acts, to which were some authorities, between which remember to Miguel Angel García Lomas. They spoke some. Larrodera, that was the secretary, read the job of nomination, a so much forced, with face of get angry, and concerned by the taut environment. When finishing, and as going out to the step of the background noise and of some thick comments and laughs that there was between the students, Víctor said: “Sure that my wanted students have invented already a song for his director, to see, to see,…” One began, and already all, to voice in cry: “Resignation, resignation, resignation…!” The authorities, quite scared, escaped between frames. A record, ask him the resignation the first day. The looked for it to him.
As Fernández Alba had resigned and did not want to go back, D´Ors asked him the one who could be the boss of all those that had remained, that, less Alba, Uría and Vidaurre, were the other. Antonio said that the boss had to be Juan Navarro Baldeweg, showing that it knew to choose to the people. By the way, that, before the resignation, Ignacio Lafuente and I had been convinced to serve of ayudantillos, scholars without scholarship, as those that had had with Carvajal. We went it of Juan Navarro and of Carlos Trabazo. As we went to be missing something to class of projects by cause of this, said it to him to Moneo, that gave us a cut tremendo: “But it is that, truly, you think that can teach something?”. So, partly by this opinion of Moneo, partly by the wrap of the resignation of the bosses and all the other, leave it. Although to me it stuck me Antonio Vélez when it went me and asked me please that it remained me with him in a group of repetidores (do not know if it is that he had two). Of that year remember to María Luisa López Sardá, that went afterwards woman of José Carlos Velasco, professor sometime of Technical Drawing.
When we already were in complete unemployment wine some time to the assembly of the hour of Projects Francisco Fernández Longoria, that with María Pérez Sherif were our professors of practices of urbanismo. The chair, that gave the theory was Emilio Larrodera López. Longoria, that had been in America, handled a lot the commonplaces of the period, the structuralism, etc. But Moneo and he did not put of agreement and litigated intellectually in front of us. I remember, for example, that Longoria said something as well as that. “The church of Ronchamp of Him Corbusier can define eat: light!”. And Moneo retorted: “But Paco, but Paco, what disparate, what disparate!”
With the state of exception to some of the red known of the School the desterraron to his village. To our red, José María Gómez Santander, it desterraron to Ponferrada, of where was his woman, as it was already married. This was to the red communist, and to which were identified like activists against the diet. To the ácratas and radicals by free, that did not have us identified, did not do us at all.
The class no longer could be assembly, but as we did not do at all, Moneo decided to give theoretical class all the days. It said us that it went to be followed a very recent book, that was the Banham (“Theory and architectural design in the era of the machine”), what came me very well, as it was the only important book of architecture that I had read; it finished it to read, really. And like this it was: Moneo began, chapter by chapter, and, when it came to tale, brought directly of the library the book to that Banham referred , as it did with the “Elements….” Of Julien Guadet, just when beginning. It followed until final of course and were some splendid classes.
Perhaps before beginning with this book, Moneo, that was fed up to have to speak all the while and a lot of days did not know that do, saw a day to Paco Alonso go through the corridor –left the open door- and called him so that it explained us something. Paco rolled up and when it was in the middle of his parliament gave me account that was explaining “The impossible humanism”, a librito of Carlos Castilla of Pino, that then was very fashionable, and that I finished to read. Of course, it did not quote it, and besides it had the desfachatez to finish with the last sentence of the book. “What it is necessary to do is to convert the mystery in problem”, in happy plan and as if it was a big his occurrence. Well, afterwards it went and Moneo put to speak of something. To him, that had not read to Castilla de Pino, had to like him the of Paco, and when going out, as it coincided that we went down together the stairs, held me of the arm and said me: “And to you, Antón –called you of you, but by the name- what has seemed him the professor Alonso?” And I said him: “As that has read the same book that I”, and explained him that all was of Castilla de Pino. To him it did not owe him to seem badly that a professor explained what went out in the book of another –to me neither, if it had quoted it- and said me: “It Is necessary to see, that last is you”. It was not true, as Alonso, simply, did cheat.
Also Moneo was hard. Another day that coincide again going down the stairs at the end of the class, me espetó: “Well, Antón, truly, truly, those that like you a lot have spoken, a lot also would owe to do…”. This is, warned me that such as it went, would suspend, as like this it was. Really it was entirely logical as we do not work almost at all.
A day were to see a solar in Guadalajara for the project, that happened of Artesa of Segre there, because there was a fiction, that went through real, that the institute would build by part of the Ministry of Education, and changed the place. There we were all with several cars, and stroll us a while by the descampado that purportedly was the terrain for the institute, while Moneo spoke. Suddenly, and when already we went us, they appeared two cars of the Civil Guard, that asked those who were, Moneo explained it, asked him the carnet of identity, and carried us in row to the barracks, with a car of the civilians by in front and another by behind. We agree us that, in the state of exception, the government of Carrero White had warned to “the provinces” that could appear by any part people of Madrid to manifest and do subversive actions. Cost work now remember the insane that were the francoist. Apparently, people of the village, when seeing cars with quite a lot of people and that strolled by a terrain, interpreted that they were these subversive people on which the government had warned, and called to the Civil Guard. They carried us to the cuartelillo and there went in Moneo, he only, to speak with the School and that D´Ors identified it and resolved the subject. It took enough in going out, with the already fixed problem. Somebody asked him: “they have hit Him?”. And the said, “No, please How go me to hit?” And like this it remained the thing.
As we did not work almost at all it put us two encerronas, one to do a parking of bicycles in the Institute and another for the school piece of furniture. We delivered it to him and he gave it back to us corrected with a cuartilla with comments written to machine. It gave him a part to Germán Castro –Ramón Bescós had not arrived to be professor, as sobraba-, but Germán did not bring them never, by what Moneo took them all and did it he only. It did some short and lucky comments. The work was an institute, and did by teams, as it corresponded to the fashion of the period. Our team was Fernando Nanclares, Nieves Ruiz, José Luis Noriega, Paco Partearroyo and I. As we were some modern, and very engaged with the rolls of the moment, did him a maqueta conceptual, that to us seemed us very beautiful and present him photographies. It was a thing done with tubes of plastic, a half sphere of metal (pertinent of a lamp globe of the School) and things like this. It threw us a bronca of championship. Of the work did afterwards some sections, drawn by Fernando and quite beautiful, but do not finish it, really. It suspended us to all, as it did with the majority of the class. It approved to the trabajicas that had delivered him a proyectito, more or less precarious, but complete.
In September examined us. It gave us a plant of the Institute of Norfolk, of the Smithson, and asked us do for the building a gymnasium, that he recommended without more than out to the way of Mies. I, do not remember why, began to work some days later that José Luis Noriega, in whose chiringuito –a trastero in semisótano of the dental clinic of his father- worked also I with him. When I began he already had a diagram thought and lost him permission to copy it. Like this, we did the two an alike exercise, with the same diagram of base. To me it put me remarkable and to him approved him only. The bad was that it gave back the exercises with the consabida cuartilla mecanografiada, and in the one of Jose began “Exercise very similar to the of González-Capitel….”. Jose got angry a lot, since the croquis basic was his, but I could not do at all. In that examination did not approve neither Nieves neither Ignacio of the Houses, that had to cursar again Projects of 4º with Julio Cano, what went a bit cross for them. To Fernando, that did not do the examination miesiano, but independent, only approved him. I think that it put also remarkable to Errazquin, that was a Basque that appeared and disappeared. To Nieves and to Ñaqui Houses asked them pardon for having them suspended when it knew that they had to go with Cano, and no with Sáenz de Oíza.
Rafael Moneo was a man of average height, with glasses of shell, always slightly encorvado or with the low head, and that him it rascaba when speaking often. Almost always sonriente and of pleasant appearance, treated us of you, as I already said, but by the name of battery, to measure that went it knowing. It learnt the fichas and knew the place of birth of each one and the professor of the father. Of big architectural culture and of extraordinary critical sense, was a big professor, although we it desaprovechamos almost completely in that year. When we had him it was very young, 31 years, and almost to the times of a greater brother. Like architect was not still very famous, as although it had done interesting works that published in the magazine Home and Architecture, even had not realised the extension of the Bankinter, that was the one who gave him an immense prestige, especially between my generation. It scandalised falsely that we did not know some architects (“But, truly, truly, do not know you the one who is McIntosh?”) And something us desbravo in this sense, no only with the Banham, but also carrying us sometimes to some exhibitions. I remember one of German architecture in the National Library, where remain us quite bumped –and attracted, at least I- by the work of Scharoun. In spite of all the conflicts, the discomfort that the happened with us, as hardly we did at all, and all the things of that course, the deal with the very good era, and some did us fellow his.
In that course, like Calculation of Structures I (with Arangoa) had jumped it to us to the torera, studied this asignatura with a private teacher, instead of the following. We examine us in February, and approved all less I, that neither approved in June, so it remained me for 5º, what diverted me definitively, and by force, by the speciality of urbanism.
In Urbanística had to Larrodera for theory (never went) and to Longoria and to Maruja Pérez Sherif in practices, as I said. The most important exercise was to do a Partial Plan in a terrain of Arturo Soria, in team, in which we were Fernando and Nieves, Ignacio Lafuente and I. As we did not know that do and bored us a lot the method of the partial plan current, did a big Unit of Room, in which it fit all the world, and on a park. Maruja Said us that well, but that we had to project the park. We did it and it put us remarkable.
Under construction we had to Camera, one of the bichas black of the School. It gave us two or three classes, because in what they began the conflicts disappeared. I remember that in a class explained a metallic structure, and exaggerated a lot of with the reinforcements in the knots, avenges to put angular and cartelas. It raised Zacarías Jiménez and said him: “D. Antonio, would not be simpler to take liquid steel and do him a mogollón in the knots, instead of that wrap of cartelas and angular?”. Camera took out a notebook and a pencil and said him: “How it calls you?”. I do not know if Zacarías answered him, but afterwards somebody commented: “Uf, which fright! I thought that it took out the gun…”. This fame had Camera. Afterwards we approve with some practices and some examinations something louts.
In Composition II had again to the inefable D´Ors, with Jaime Lafuente (brother of Ignacio) and Adolfo Amézqueta. D´Ors pretended to teach a methodology of personal project and really unpresentable. We approve by means of some examinations fiction in which we pretend, to our time, follow his method to project no what. With four foolishnesses put you remarkable, as it used the known technical to sell cheap.
In the School this year did, then , little thing, but was something more. We begin for recording in a strip a reading declaimed of the work “Marat-Sade”, of Peter Weiss, one of the myths of the period. Ibamos To all class of conferences, events and happenings, and devoured to Marcuse, Castilla of Pino and other then fashionable authors. Afterwards we hammer higher and, as Paco Partearroyo had a machine of cinema Super 8, decide to do a nihilistic film, that called PLONC. It began with some cartoons, that filmed photo to photo, on models of Antonio Ceresuela, that drew extraordinarily well. The actors, main and only, were Olga –a blond girl, very good-looking, that was then girlfriend of Paco- and Jose Noriega, that was the good-looking and blond of our gang. The argument was elementary, almost non-existent, but did it. We première it for the friends in a buhardilla that had José Ignacio López Brea, and invite to Moneo. It did not say at all of the film –that, inside his nihilistic trifle, cost the redundancy, was not of the all bad-, but commented. “It go, it go, they are you like Bofill…”. I think that said it with some envy.
Some did us more fellow of Moneo, as I already said, and some Sunday –no many; he hartaría and his woman would protest him- did excursions. I remember especially a day that went to see villages of Guadalajara, for example Cogolludo, with his impressive palace renacentista. It did a lot cold; we went down us of the car to see the building or the square that was, afterwards went up us apresuradamente, and lit a cigarette. Moneo Went in the car in that it went I, and observed as it repeated the vicious rite. One of the times, said: “But this to smoke, so well so well is? It was not that one was losing ….” I do not know if it was a comment any one or a statement of hedonismo potential, not to seem a puritanical.
Moneo Had remained very frustrated with the course, as we were a small promotion, but with quite a lot of interesting people, and that had not done at all. Pactó With D´Ors have us in 5º again, that said him that yes, and that would put to Sáenz of Oíza in 4º, and happened the summer preparing the systematic course that we had asked him. When arriving October, D´Ors, that was a classical betrayer, placed him in the old plan together with Sáenz de Oíza –this is, carrying to two of the most important modern professors to the plan to extinguish- and to us put us to Emilio García de Castro, looking for like this destroy what Carvajal had initiated. García de Castro had the precise and cruel mote of “Eye stone”, because it had an eye of glass; it was a rather mediocre architect, bad professor and of scarce culture, with the one who did not do another thing that litigate us. This character finished of chair of Projects of Seville, aupado by some of his friends, and for misfortune of that School. It was homosexual and helped him one some pink mafia of the School, francoist and vergonzante.
Moneo Applied the course that had contrived for us to the promotion of 5º of the Old Plan, and he and Oíza suspended to many. The students –of a massive and mediocre promotion, to which does not rescue the presence of some illustrate, like Vellés and López-Peláez- opened them a file, that the mierdecilla of D´Ors did to prosper something. The following year Moneo withdrew of the School and devoted to prepare the opposition to chair of Elements of Composition, taking like draft the course that had reserved us. Years afterwards, when it already did time that had won brilliantly the chair of Barcelona, that afterwards will relate , and hojeando with him and in his study the memory of the opposition, said him: “Rafa, have to admit that when you prepared the chair of Elements, did it on what had begun for the program of 5º devoted to us, and that, like this, your historial of systematic professor, that so much success had in Barcelona, was generated in origin by the demands of that impertinente promotion, mine, that asked you methods to project”. And the recognised it. “Yes, truly, like this it was”.
We work enough in projects for that mentecato of Eye Stone. We did, that remember, 6 solutions in plant for distinct programs of house, one of which it was necessary to develop; I did it with an open block. Pepe Yuste said that afterwards it went us to put 12 churches in heaved. It put us a hotel.
My father asked me always if in the School did not teach us proportions, that was a his obsession, and I said him that the truth is that no. Afterwards it commented him that of what did not have neither idea was of construction. He retorted that the construction was a foolishness, and that any afternoon taught it to me all. When I had to develop the open block for Eye stone, as it was necessary to deliver a complete constructive section to the scale 1/20, said him that it had arrived this afternoon. The took several papers of croquis and, looking my project, began to draw manually heaved the constructive section while it went it to me explaining. When it spoke of an alternative drew it also at the side. Like this, in less than an hour, explained me and drew, of cornice to sótano, as it could build my building. Afterwards I happened it to clean and remained me stupendous. But, especially, I learnt it. I think that I have lost those drawings of my father of the constructive explanation, that saved, as they were stupendous. My father, as it drew extraordinarily well, anything that did, although out of construction or until of mathematics, remained extraordinarily transformed by his gifted and magic hand.
The projects for Eye Stone did them to consciousness, but bored us, and had one some compensation with practices of Urbanismo (like the previous course, Larrodera gave the theory, and neither went), of what were professors Eduardo Mangada and Carlos Ferrán. We (my group) had directly to Carlos, and with them learnt finally something of urbanismo and, besides have a good time. We devote us to do pieces of a General Plan that they had done, the one of Irún, and of the that covered things that they already had resolved and that we had to resolve. One of the things was to do the general zoning of uses of the municipal territory, and assaulted us a lot of doubts, especially by as go out to the step of the arbitrariness. No the one who of our group of work fished a day the General Plan of Bilbao, of Bidagor and of the year catapún, that did the figure of a condor and declared his belief on an organic city. To us us fascinó and discover that we could convert the municipality of Irún in the figure of a dinosaur, and devote us with emphasis to the obstinacy and balancing in him, more or less, formalism and seriousness. The answer interested, although it was very criticised. As a result of that course Paco Partearroyo and I work a small season in the study of Mangada and Ferrán. Mangada Was especially interested in a book of Kevin Lynch, “The view from the road”, with which wrapped us and wanted to that we did a similar work on the road of Extremadura. Of that I have had always true become friends with they.
In History of the Architecture had to Chueca, but he went little, and we also, in just correspondence. It practised a luck of gastronomic criticism: “Exquisite composition, delicious façade,..” It said things eat: “By the munificencia of the Catholic Kings,…”, everything very rimbombante. It was a course without penalty neither glory, although perhaps we would have to have had more patience with Chueca of which had and something had learnt and until enjoyed. His assistant and substitute was José Miguel Merino de Cáceres. In the examination, in addition to other things, put us draw the Door of Alcalá. I had drawn it several times, by what knew it to me enough and was remaining me well. Merino, strolling and watching, looked my drawing and me espetó: “it Takes out the chuleta!” I looked him of bad humour and said him: “I do not have chuleta”. Also, to approve, it was necessary to do a graphic work, and Fernando, Nieves and I choose to do some drawings of Santa María del Naranco, San Miguel de Lillo and Santa Cristina de Lena. They were plants and heaved and sections, but these were fugadas. It remained a lovely work, but no gave it back to us, would throw it by here.
I approved, finally, Structures I in February –the truth is that it already knew a lot of- and examined me free in June of Structures II with Luis Felipe Rodríguez. It had studied also a lot for this second asignatura, as my failure with the first had scared me, and took out remarkable. Because, in accordance with the regulation of then, I could not be official in 5º, since it was missing me an asignatura of two courses before, with what was free. For this reason, Eye Stone –that hated me, by the times that had put me with him- said me that it had authorised me to be followed the course, but that could not me describe, and that it had to happen to examination.
We did it in July, in the class of on top of the all, the one who call the fridge, but in that date with a heat insoportable. It was necessary to do it there, as it had to be in paper hit on the board. I convinced to Ojo Piedra that it left me do it in papers bible, that I would fix to the board with papers cello by up, one on of another and without taking out them, and left me. It wanted to do it in this paper because, as I drew very well to pencil, in that paper drew fantastic, if, as it was the case, did not want to do copies. It put us project a house of houses of luxury in the terrain of the square of Columbus corner to Goya, where then there was a basamento of shops, with a friso of Oteiza, and a historical house on, and where could not build in reality. Or it was, the dream of the especuladores. I remained me of a piece and asked him to my father that could do. The said me that, given the disposition of the professor, the best is that it did one marries type Gutiérrez Soto. I did not know what was this, and then brought me of the study some copies of the magazine Architecture with houses of this architect, and explained me a bit the way to do them. I put me to this and, the truth is that I happened it quite well with the program superburgués of living rooms, library, canteen, suite main, zone of service, game of boys, etc., etc. and recubrí the program –see that employed exactly, but without knowing it, the method of Gutiérrez Soto- with a wrapped softly expressionist-racionalista, to the Madrilenian way of the years 30, more or less, with round corner and terraces in voladizo. When it saw me Eye Stone draw that, the truth is that no believed it to him: it looked me of milestone in milestone without attaining understand that I, a species of progre hippy with the peel long and moustaches mejicanos, was able to do those plants. The case is that it loved him and approved me, almost the only of the examination. It gave us back the exercise corrected by him with red pencil, and to me had signalled me a twist of door. But the very miserable avenged of me, as it had had to me put remarkable, given my complete course, on the one hand, and what liked him the examination, by another. It was a shit. To Errazquin, that was of my course and quite good, and that did him an exercise type Torres Blancas very beautiful, better that mine, loaded it to him. I had warned it to him: “you do not go through him on to this cabrón, that is very dangerous”. I remember that Javier Followed, that was ours professor of End of Career, and to the that I knew by Ignacio Marry, taught him the examination because it went through there of cotilleo and asked him what seemed him when it already had plants it type drawn. It said me, with something of contempt: “Very traditional”. And I answered him: “But, for Eye Stone, well, no?”. And it answered: “This yes”. Afterwards I thought that the just word was conventional, no traditional, although he went by here.
It remained me for September urban Installations, that gave Tarzán (Blond Requena). I studied as I could the practice that put in the examination and there fixed them to me to do it, more or less. When finishing the examination, jointly with Nieves Ruiz and Ignacio Casas, went to speak with him to say him that it remained me only that to finish the career. It said me that to so many people had remained him this asignatura to finish, but finally went out approved. With Ignacio of the Houses rolled up a lot, as he fixed them to him to say him that his father was of Talavera, with what remained loved (the had to to be of there). And with Nieves arrived to argue. It said him: “Ah!, you argues me. It knows more than me? As come to give class with me next year”. And this said it seriously; Nieves liked him, contrary to the rumours in very another sense that ran on him.
So for the following course remained me the End of Career. I already had begun one of Institute, with Ignacio Prieto like professor, to the way of Fernández Alba in the years 60 (Loeches, and these things), that abandoned because it could not deliver still, and began another still, a bit absurd, of dispensary of urgency in road, that there was place Aburto and that also abandoned. Finally, and already in October, began a third, that was a big complex polideportivo, with swimming pool covered, discovered, polideportivo and gymnasium, of the that it was necessary to elaborate like project of execution one of the pavilions, and that I was doing in this quarter, to deliver in February. It kept on being Ignacio the professor, but was not like the tutors of now; you did the project entirely only, unless you wanted to consult him something, thing that I did not do.
Before delivering the project, in December of 1970, celebrated the expected opposition to chair of Elements of Composition, with three squares for Madrid, Barcelona and Seville, to which presented Alejandro of the Sota (that it had given the asignatura the first year of the plan), Antonio Fernández Alba (that it had given it afterwards during two complete courses and one incomplete, the one who resigned), Rafael Moneo, Federico Correa (that it had given it in the School of Barcelona) and Alberto Donaire (that it had been professor with Alba a year in Madrid and afterwards had given it in Seville).
The exercises were in the Living room of Acts and gone on down a big quantity of public. The court was chaired by Víctor D´Ors and composed by Luis Moya, Javier Carvajal, Lozoya (chair of technical drawing of Barcelona) and Rafael de la Hoz (parsley of so many sauces, when seeming, in representation of the Schools of Architects and according to a legislation of then).
Fernández Alba, that was the one of greater educational merits for that subject and that had a brilliant historial like architect, perfectly published in New Form, did not do it of the all well, as although it was quite interesting was too intellectual and abstract, little architectural, all full of alambicados graphic and that misunderstood . It remained lujoso and important, but something rare. Alejandro of the Sota did it very bad, limiting almost to teach his, on the other hand, excellent architecture in all and each one of the exercises, accompanied of Galician “comments”, for saying something. To a lot of people seemed him fantastic, but to me seemed me very limited and very soberbio, as if they had to give him the chair simply by his work, as he expected. Rafael Moneo did it extraordinarily well, resulting be the emergent star in those oppositions, a disclosure for many, although no for which already knew it, between which explained us his ancient students. Federico Correa did it also regulate throwing to bad, too simple and natural; it was the person to which I saw then for the first time with the tie of the same cloth and colour that the shirt. Alberto Donaire did it discreet, even throwing to well; something soso, but very completito and of boy applied like him was. All the world said afterwards that it was of the Opus, in sight of the result, but is not truth, because I, that knew him for having been mine professor with Alba and, besides, because the two were students of the Institute Ramiro of Maeztu, know well that it was not truth at all. It was of a Catholic group, this yes.
As there was so much public and so expectante, after the fourth exercise the court said that, to fulfil with the regulation that forced to say the result the next day like prompt, went it to say happened the 12 of the night, to do it what before. I think that was a trick so that it was few people, but there were all. Eduardo Mangada fixed them to him so that the Concierge of the School, that think that was Polo and that lived there, opened us the bar, and there were taking glasses until the court appeared and put us all in the Living room of Acts.
They began to vote for the first square. D´Ors did it by Moneo (voted him the thrice), but went out Fernández Alba, to the that voted him the others four. Afterwards it went out Donaire for the second square, and already organised a strong pita. Afterwards it went out Moneo for the third, and already organised the big bronca. All the world shouted, organising an immense barullo, and the court remained seated and terrified. Ones protested because it had not gone out Moneo in the first place, others because it had gone out Donaire in the second, others because it had lost Of the Sota and others because there was stray Correa, and the majority by several things at the same time. Sáenz Of Oíza attained to do a gap between so many voices and declared that it left the School (by cause that Moneo had not taken out the first place), what in effect did.
Finally the court encouraged to go out and were advancing, D´Ors in front, by the central corridor of the Living room of Acts. But half of the way it put in front of him Antonio Cruz (Monchi), that had been ours mate in 4º and 5º and that it was moneísta, and advancing slowly of backs, went him saying things to D´Ors, that pale and with the eyebrows hirsutas, avoided to look the face of that giant stranger. Monchi Said him things like this: “Víctor, are a true son of a bitch, and what would have to do was to give you a blanket of hostias….” It results curious the one who D´Ors, that had wanted to cure in health voting the thrice to Moneo (which, in reality was absurd) had not achieved it, as his deserved fame of maniobrero did that all did him manager of the desaguisado.
The court was , remain us a while speaking in the main door of the School and already went us tiring and going us. Afterwards the opositores had to choose square, by order. Alba chose Madrid, of course, Donaire chose Seville and Moneo had to choose Barcelona, that was the only that remained, with what the Catalans, that so many times have luck, carried to Moneo, that took them out the School forward.
It said that they had given the second square to Donaire so that Moneo had to accept Barcelona instead of Seville, since being Moneo fellow of Correa, had not wanted to step him what considered his square. Because Correa was the start of a line of “Composition” (Elements of Composition was initiation to projects, but the Catalans, in sight of the name, considered it also the initiation of the theory) that continued with “Aesthetics and Composition”, of which had won the chair did little Xavier Rubert de Ventós –an intelligent man, of course, but also a pelmazo insoportable, in reality-, and that followed with “Composition II”, of which Oriol Bohigas was also recent chair. The failure of Correa spoilt it everything, and Moneo, although fellow of them, appeared there in half as little less than an intruder.
Years afterwards, speaking I with Luis Moya when I did the thesis doctoral on his work, and already in the season in that it relaxed a lot with me and spoke of all the things, asked him as it had been that of Donaire. He said that Donaire was a very applied boy, that all did it well, and that it was very appropriate for chair. “Because –it said-, total, what is a chair?”. As saying, very little thing, although he was it. It said me that Fernández Alba there was fantastic state, and that had a big historial, that had showed already his big class in Madrid, that was besides something greater, and for him had to be in all logical the first square. Of Federico Correa said, textualmente that “was not at all”. Of of the Sota said that it had not done it at all well and that his architecture to him seemed him good, but no so fantastic as to others. Of Moneo said that it was a genius for the education and the intellectual, and that it was sufficiently young so that it did charge of a so important School and so conflictive like the one of Barcelona. It admitted that they altered the logical order so that Moneo had to conform with this square. So it resulted that the old francoist were, in reality, quite cucos, and commanded to Rafa Moneo knowingly like viceroy to the Catalan School, what in truth was, and it is necessary to recognise that this resulted so good for him as for Barcelona.
In January of 1971 ingresé like second lieutenant of complement in practices in the Regiment of Engineers number 1 of the Division Armours plate Brunete, with headquarters in Camp, and there sorteé these practices of militias as I could while, by the afternoons, and if it did not have service, went finishing the Project End of Career. I finished it before the practices, and after a week of permission (or rather of escaqueo) that asked him to my boss, the lieutenant Adolfo González, that was kind and nice in addition to good military (a rare avis, that there was me request loaned books of Freud). It was necessary to deliver it in a paper hit, drawn in the School, and the rest of the planes, that were the majority, aside. I imitated to Ángel Fernández Alba and to his friends, that employed the trick to do an important plane in a copy very very take# out and in a beautiful colour and hit it in the board, drawing already on the paper of this some complementary things and the labels. It knew that this trick colaba, so I took out the general plant of my group, drawn to pencil and with shadows, in a copy in blue intense, that remained fantastic, and hit it, drawing some things more and with some labels quite chulos to rule and compass with letter bauhaus. It was Carvajal the President of the Court and put me an approved, with him that I remained me happier that some pascuas. Days afterwards, when it walked by the School resolving the papers of the title, tripped me with Carvajal, that there was me excellent die in third, and that me espetó, with voice of thunder: “Capitel!, it has done you a project end of carera of formality!” I put face of circumstances, balbucí something and went me in what I could.
But, long afterwards, when we had to sell the house of my poor mother, already with the stray head, and it was necessary vaciar the flat, I took out almost all the projects of the career, that went saving in a maletero, and carried them to me to the study. Already there, and looking for them place, gave me curiosity the end of career and unrolled it to look it. The truth is that it seemed me that it was more a 7 that a 5, by what thought that the School, to end of accounts, always is equal. Claro, that project, that was an architecture that could compare with Jacobsen, and something with of the Sota, to Carvajal, although before it was of these rolls, then was an organic, that no longer interested him a lot, and dismissed me with an approved. But the project was quite well and very very developed. So to me it happened me the same that happens them to a lot of students, that the courts are little eclécticos, follow his own criteria, always something narrow, and tend to put notes too low.
I did the End of Career in an apartment that had rented like study in the prolongation of the Castellana (that then it called still Avenue of the Generalísimo), in the 12 D of a building hit to where was the café Oliveri. I rented it with Paco Partearroyo, Nieves Ruiz and Fernando Nanclares, that went partners during quite a lot of years, although the truth is that, then, only Paco had finished already the career. I considered that, as in the practices of militias paid, no longer would have to ask money to my father, then , after the practices, already would go out something.
And the truth is that something went out us. The first happened it to us my father, a small hotel residence in the street Prince of Asturias. The thing no cuajó, as the customer did not understand with the owner of the solar, and remained in preliminary draft. We ask him to the customer 90.000 ptas. And it gave us only 30.000 –less bad-, with which buy a machine to write Valentine and went us to dine to the restaurant “Ruperto of Nola”, that was in White Towers. We were solteros and followed living home of our parents, so we could throw with scarce problems. But, well, it was going out any another thing, more or less precarious. Then hardly there were contests, and if there were them were only of subjects very important and that did not consider to our scope.
Being entertained with some promises, a day of April, or by here -of spring- called me José Manuel López-Peláez to propose me, of part of Antonio Fernández Alba, if it wanted to be professor of Elements of Composition, where he was already. I remained me quite surprised and did not know what think. But the case is that only some days afterwards called me also Javier White, a prime mine of the that already spoke, no very near, but that it was prime by both parts (and that also was, as I, of Cangas of Onís) and that was then of architect boss of the Delegation of House of Oviedo, shelter that had looked for by opposition and in view of that the exercise of the profession in Madrid was little less than impossible. It explained me that with the work of the Ministry did not give already for more, and that it had to refuse the commissions. If I went me with him to Oviedo could place me in the Delegation, if it wanted to, but, especially, opened a study and did projects by the afternoons, or I all day, if it preferred it like this.
I remained me more surprised still that with the of the School, and something perplejo, because, the truth, go me to Oviedo, no me apetecía at all, although this seemed the best professionally speaking, by what was quite concerned. Like this the things, explained it to him to my father, a day home, when he was reading the newspaper, to see what thought and that advised me. My father remained stopped some seconds and asked me: “But, in the School pay?”. I said him that yes, clear, that did not know what, but that yes that paid a sueldete. He said me that if it was like this, that went me to the School, that always meant a true luxury, especially with Fernández Alba, because go me of common architect to Asturias seemed him a very sinister thing, very little recommended. I did him case; also, of course, because it coincided with my win to remain me in Madrid, that was what really me apetecía, conserving the recent society with my friends, so I called to Peláez to say him that it had decided to be professor, and to my prime Javier to give him calabazas; with what in this way, a bit to the silly, and without having it thought never before, began an academic career in which it had to remain me already all the life. It had then 24 years.
D´Ors had divided the chair of Fernández Alba and had appointed two professors, bosses of independent group of him, that were Genaro Cristos and Francisco Alonso of the Jewel. This was quite unusual and irregular, as Alba was chair numerario and the other, at all, neither had educational prestige any, but like D´Ors was the director had to obey him. It did it to carry the waters to his mill. But Alba, that had recovered to Manuel of the Houses –that had been assistant with of the Sota- achieved that they appointed it also boss of group, with what attained to dominate –or that it was well, anyway- at least the half of the course. Like this they configured two groups, one the directed by Alba, with Julio Vidaurre, López-Peláez, Estanislao Pérez Pita and Ramón of Soto of professors, and another the one of Manolo Marry, with which were Ángel Fernández Alba, the brother of Antonio, Javier Navarro Zuvillaga, Luis of the Rich and I. Personally, I was happy, as it liked me be with Manolo, to the one who I knew something for being the greater brother of Ignacio, that went mine mate of bachiller and of career, and also with Ángel. I, certainly, arrived to the School like a duck to a garage, but reassured me something when seeing that, sure enough, that was rather a full garage of ducks. At least, the comparison did not go to be too scandalous.
We did a course with a program something marciano, of analysis of neighbourhoods and that finished in a design of “habitat of emergency”. There is testimony edited, as of that course Juan Daniel Fullaondo published a number of the New “magazine Form”, the no. 93, of October of 1973. In that course had of student to Javier Ortega, afterwards mine partner, professor, and today chair of drawing. Also to Alfonso Millanes, that went equally professor, although afterwards it left the School. They were students also that year, think that of Julio Vidaurre, Gabriel Allende and José Barbeito, the two afterwards professors. I think that also it was in this promotion Jaime Cervera Bravo, today chair of Structures.
It seems me that it was when I began of professor when Josefina (the enabled of the School, to the one who called the “portaaviones”, by his immense leading; it was very fat and limped) put like officials to his nieces Virginia and Alicia Eavesdropper, that are sisters, two good aunts impressive, that then were jovencísimas. Virginia was –is- extraordinarily good-looking, and to me liked me a lot, but never had the sufficient value to say him at all. I frecuentaba to Ángel Fernández Alba and to his friends, between which was Manolo Gómez Gaite, alias “Christ”, because it had beard and remembered it, a good-looking uncle, of good plant and very nice. Manolo had then an English girlfriend bajita with which went to do a veraneo in Africa. But before going broke with her and remained without company for the trip. Then it went to the School, looked for to Virginia and proposed him to her the plan. She said him that yes, and went . And afterwards they married.
The courses of Elements with Alba kept on being something perplejos of program, at least for us. I encouraged me by desnatar the exercises and explain them all the possible. The second year, or the third, associated me with Manolo Casas, and join our groups to give together class. I think that it was the second year when I asked the Scholarship of Training of Personal Researcher, that gave me, and when, also, had an accident of car in the province de León, going to Cangas de Onís, with Fernando Nanclares and my brother Emilio, to carry the project of building of houses that had commissioned us Álvaro Fernández Valle in, that went my first work, and that edificó in the park corner to the avenue of Covadonga. It remained quite well; still today, that there follows, look it with some satisfaction. The three remain quite bad of that hit, although without gravity, but were escorados a time. I crashed me with a flamante SEAT 127 that had bought me, and that, although they did not give him total accident, remained quite bad, by what sold it.
One of the first years did a trip to Barcelona with the students. We were José Manuel López-Peláez and I, but accompanied us also Alfonso Valdés, Isabel Sáiz of Arce and somebody more than now do not remember. It was full Franco regime, think that Carvajal was then the Director-commissioner of the School, and between his enredos and the ones of the others this was closed. No if it was the own Carvajal, even, the one who had closed it. They had a Greater School that served them of shelter, to give talks, and this, and there went to stop, as Fernández Alba had spoken with Bohigas and went us to give some conferences. One went to give it the own Bohigas, another Cantallops, that of that was partner of Elías and of Martínez Lapeña, and another Clotet and Tusquets. Bohigas Arrived and when it was placing the slides I gave me account that went to teach the same his works that had taught us already in Madrid some weeks before. I said it to him, that were the same students, and remained paradísimo. “And now what do?”. I said him that why did not explain, without images, the history of the modern architecture in Barcelona, that I had heard it to him explain, and that knew by heart. It seemed him very well, this did, remained estupendamente and anybody gave account of at all. Afterwards Cantallops taught us a big quantity of buildings of house done by him and his partners. Well. And afterwards they arrived Clotet and Tusquets, that went to teach recent work. I, that did the times of speaker, seated me with them, and with the woman of Óscar, in front. It began Clotet, that carried the peel to the afro and seemed Garfunkel. It explained a house of flats, beautiful, afterwards a very small and sophisticated house, and afterwards went up Óscar to the estrado, without going down Luis, and taught the Belvedere Georgina, a small chalet, disguised of templete classical, with a lot of accents “pop” and venturianos. I think that to the students liked them enough, but afterwards, in the colloquium, saw that to Alfonso Valdés, and maybe to some another elder, that do not remember, had bothered them a lot. I suppose that no only by the permisividades formal and the pseudo classicism of the subject, but also by the cynical and confident attitude of Tusquets.
The true is that, in the colloquium, and being in the screen the image of the Belvedere, that had a car on, as like this it was thought, Alfonso Valdés asked. “How much said that it has cost the work?” They answered: “Four hundred one thousand pesetas”. And Valdés asked: “With car or without car?”. They remained a bit stopped, and Clotet, that was the one who then was in the estrado, said him: “But, reason this aggressiveness?”. I was seated between Óscar and his woman, that asked me, “But who is this uncle?”. I answered with difficulty: a disciple of Oíza, that was well, but that it was of mentality very racionalista and technical, and to the that, apparently, has owed him to seem fatal your sophisticated games. Well, it argued something more and finished the thing. The students remained loved.
José Manuel López-Peláez, that had not said at all, had to remain concerned. In reality, he was of an architectural mentality quite puritana, resembled the one of Valdés, but without the violent disposition of this. The true is that it commissioned me a class for his group on the School of Barcelona, as it thought that the students were a bit absent-minded and something traumatizados. I prepared it, carried also to ours to take advantage of the occasion, and treated to explain them the intellectual position, apparently frivolous and very sophisticated of this group of Catalans. I think that I achieved it and that the waters went back to his course.
I think that it was in 1973 when I decided to ask the Pension of Architecture of the Academy of Fine arts in Rome. No longer it did by contest of projects, but asking realise a work of investigation. I was to see to Moneo by two reasons, one because it was necessary to carry letters of official recommendation of your professors, and another to ask him council on the subject of investigation to present. Between the two pergeñamos a subject on analysis of the architecture of the roman empire, that afterwards I developed and that remained well. In a moment die, I asked him: “And you, in Rome, what did?”. He remained a bit stopped, and afterwards said: “Then , the truth, is that I did not do at all, absolutely at all; this yes, know Rome, perfectly, church to church, house home, shop to shop…”. Afterwards I went me to see to Carvajal, that was then Dean of the School, and that had me identified like adherent of the opposition. I explained him the of Rome –he, like Moneo, had been pensionado-; it seemed him very well and it did me a lujosa letter, although it noticed him a lot the bad that seemed him that I, that had taken out excellent with him, out of the opposition. Afterwards it asked him Fernández Alba, my boss, the letter.
Being in the preparation of this, my mother said me that Luis Menéndez Pidal, that had been very fellow of my father, had an exhibition of his work in the Royal Academy of Saint Fernando. Go you to see him, said me, my mother, that is very greater, and will be there very alone. My father had died the previous year, in May of 1972. Less bad that, at least, me vió architect and professor of the School.
The case is that I was to see to D. Luis and, sure enough, and like my mother thought, there was he only, in the middle of his drawings. I rolled me up something with him and, to speak of something, explained him that it presented me to the of Rome. He said me that it was a glorious idea and remembered when they were Moneo and Hernández Gil, as he was in the jury, and me elogió a lot of to Dionisio, and said me also that he did me a letter. Afterwards, suddenly, it said: “Ah! Useless! Entirely useless! It is Chueca in the jury!” And it explained me that Chueca always had his disciples and enchufados particular and that did not give place to any another thing. Afterwards it remained thoughtful and said me that, well, that asked it, and that instead of giving me a letter that he went him to write directly to Chueca.
The case is that I asked it and that, as Menéndez Pidal there was profetizado, no gave it to me. I received a letter of D.Luis, in which it commanded me the one who he had received of Chueca. This said textualmente in a paragraph. “Glorious candidature the González-Capitel! It has obtained the place of first acting.” D.Luis wrote me: “Already it knows you, fellow Capitel, that in this type of parties only play the headlines”. The true is that I remained me without going to the Academy. Although that was not a good year. The pensionados planted with the direction, by the precareidades and absurd of the regulation, and resigned all in February.
In the School, to the third or fourth year begin with the program of Fernández Alba, but, to half of course, said him that we went to enter an ours program. We did an exercise on compilation of residential typologies of Madrid, that finished published by the School of Architects by obstinacy of the own Fernández Alba. They were the times in that the mayor García-Lomas had frozen the sector Malasaña (of here went out the modern name of the neighbourhood, that in reality calls of the Wonders) and put the ultimo exercise like an application of the typologies studied to the sector frozen. They were also, arquitectónicamente, the times of the Tendenza, and of Aldo Rossi, and with these references and the one of Venturi, oriented us we, also attending to what Moneo did in Barcelona.
Of those years was student Fabriciano Posed, that afterwards worked with Javier Vellés, José Ángel Cowboy, afterwards professor of the School, Julia Alonso-Martínez, that went my girlfriend, and Victoria Burillo, whose brother Luis was assistant ours scholar and afterwards professor of Drawing and of Projects. We had begun to do trips with the students, prolongation, in my case, of which did in summer with my friends since we finish the career. In those years the ideology of the School was little more than invalid, did not know where, or in what, was the architecture. My friends and I, in our particular trips of summer, that begin in 1971, check that the architecture was in the streets of the cities of Europe, and also in the bookshops. We went back loaded of books and of slides of Him Corbusier, the School of Ámsterdam, Go Eyck, Dudock, Rietveld, Jacobsen, Utzon, Terragni, Aymonino and Rossi, Loos, Otto Wagner, historical architecture,…. I put in class all the slides that brought, showing that the architecture was here, in the immediate past, and that of here was necessary to learn. Already, through that and of the already said begin to clear us and to fill the School, little by little, but very acutely, with his own culture.
One of these years, Julio Vidaurre, to the that had encouraged to do it, won the chair of Technical Drawing and asked us help to hire to the professors. We recommend him to our friends and known better, Ignacio of The Houses, Paco Partearroyo, Ginés Sánchez Hevia, Javier Vellés, Alfonso Valdés, Juan Antonio Cortés, María Teresa Muñoz… On the other hand, and for Elements, recommend to Antonio Fernández Alba that –in addition to Javier Frechilla that had been assistant scholar- put to José Luis Noriega and to Antonio Rivière. The School went like this encouraging, as besides Antonio Vázquez of Castro had won the chair of Projects II -very supported by Fullaondo, that had gone of the School, argued with Carvajal, that did not leave him do the program- and Javier Followed the one of Analysis of Forms. In this chair competed also Adolfo González Amézqueta and Elena Iglesias, the inefable marriage. Amézqueta Won the second square and went some years of chair to Seville. Elena Churches did not win square. Neither Francisco Cabrero, that did a glorious opposition, and that to me seemed me that it was the one who owed to having been the chair. In the court, chaired by López Durán, the old cacique of the asignatura, only Ruiz Aizpiri, chair of descriptive, voted by Cabrero. I said him to him in a corridor that had liked me a lot his exercises, and that there were other young professors like me that thought the same. It surprised , it appreciated it to me enough, and since had with him some friendship. I remember that the simple of Helena Iglesias, in front of a glorious drawing of the Museum del Prado that Cabrero had done like one of the exercises of the opposition and that had blue shadows, said: “Ah, blue! Claro, as it is facha,…”
Antonio Fernández Alba had attained that the second chair of Elements –the one who detentaba Alonso of the Jewel, whose square in the School was, with few doubts, a payment of D´Ors to the collaborations in projects that that gave him- went out to opposition, to which almost forced to Juan Navarro Baldeweg, that was then in United States, to that presented , and won it. Also it competed Helena Iglesias and also lost. From then –Juan incorporated to Javier Climent, carried to Ángel,…- the asignatura of Elements, divided in two, but with the two good groups, went during quite a lot of years the same base of the School.
On the other hand, Sáenz de Oíza, that had gone as a result of the opposition of Elements and that was about to to lose the square, went back to the School, and with him were Vellés and Valdés, Araujo, Ruiz Cabrero,… Carvajal renewed also his people with Alberto Campo, Ignacio Vicens, and some another. Antonio Vázquez of Castro also had mounted his group, and, like this, with the teams of those five personalities –to which it would be necessary to add also some other groups, as the one of Vidaurre- worked the School during quite a lot of years. All this were the seventies, the truly fundamental for the institution, founders of a culture that was in crescendo during the eighty and the ninety until arriving to the height that did it famous.
By those times did a species of association with the ones of Sáenz de Oíza, and, with him same like big boss and president, did all the Tuesdays in the Living room of Acts a conference or theoretical class, of which commissioned each one of us by turn or achieved a visitor illustrate, and to which went all our groups. By there they happened all the questions that more or less were in cattail and that concerned us. This lasted quite a lot of years and went the main food of cultural diffusion of the School of then. Also we take the habit to do critical sessions of the contests to which presented professors of the School, that resulted quite interesting and fun. They did many times. This arrived to institutionalise something more, call them “Sessions of Academy” and some times did them in collaboration with professors of Barcelona, as Oriol Bohigas, Ignacio Solá-Moral or the own Moneo. One of these was the devoted to the contest of the Faculty of Sciences of Córdoba, that won Sáenz of Oíza, and in which they had also a prize Ortiz and Cruz. It celebrated a session with presence of the jury, between which was Oscar Tusquets. I appeared also in the table like speaker. Also it was Moneo, that elogió the project of Oíza, to counter the very criticised by others and leave to his teacher a sweeter flavour. The anecdote of that day, although only it is important for me, went that, begun already the act, went in in the living room Consuelo Martorell, so high and so good-looking, and that to me liked me so much, and Oscar, that was to my side, saw it and said me: “Who is that woman?”. And I said him: “A student, that besides has boyfriend….”. “A student, a student! It can not be! It will be the woman of a professor!”. Years afterwards, in 1981, invited him to my wedding with her, since it had been something prophet. It did not come, but it wrote me congratulating us.
I knew by these things to Sáenz de Oíza –or, better said, he knew me to me-, as I had not been his student. We did us more or less friends by the deal in the School, and afterwards something more when Javier Vellés invited us, to 1978, to veranear in Pollensa, just at the side of the house of the teacher, and when I was finishing the thesis. There I knew to all his family, and especially to his daughter Noemí, that liked me a lot. We go out together that summer and afterwards was mine student. Javier Vellés and I went almost all the afternoons, to the 5 or like this, after the siesta, home of them, that was at the side. Oíza Expected us, something anxious, with the newspaper in the hand, and in what we arrived began us to comment the news. It finished us hurting the belly of as much as laughed us. It was a summer of laughs. Afterwards I took advantage of to stick to Noemí and go us by here.
Sáenz de Oíza (gift Paco) was a man calvo, of figure very enhiesta, with big glasses of shell that put in the in front of the way of Him Corbusier (seemed something) when the presbicia counter him the myopia, of nose aguileña and of face very interesting and expressive. Extraordinarily intelligent, was the best charlista of the world. In those Tuesdays, when it touched him give class, did not carry slides, did not do him fault, or appeared with some planes in photocopies blackened, very bad, to project in opaque. It carried very bad that the other put slides. A day, after a class of Alfonso Valdés with a lot of slides, Oíza said him: “Of course, you have put slides like the one who shoots with an ametralladora, tatatata, tatatata, tatatata,….”. It was enormously inventive and ocurrente, very nice when it wanted to and extraordinarily unkind when it gave him wins it. When it came somebody famous to give a conference and had a lot of influx of public, he encelaba and mounted a corrillo typical of comment, very concurrido, when finishing the talk of the another. There were jokes, anecdotes and examples or councils that always explained. A day, in class, after explaining something of his repertoire, a student said: “Don Paco, you repeats ”. He went back with face of contempt and said him: “I Think that it makes a mistake, the one who repeats is you”. Another day occurred that it came a father of a student to see him, definitely because his son suspended, and he said him: “Ah! It is you the father of Fulano? A moment that I give him the telephone of my father…” Had a lot of fame of good professor, although the truth is that hardly ever it prepared at all and it fiaba everything to his capacity of improvisation and to keep an inventive talk. It was a big architect, as his work tests, although perhaps it was too intelligent to be architect, as de la Sota –his big rival, deep down- said. The true is that, as it saw the contradictions of everything and that the architecture was a convention, sometimes remained perplejo, without knowing by where throw. But his architecture, although of uneven fortune, always was empeñada, always had intense intentions; it can that it did works and toneless projects, but never neglected or to go out of the step, always with a lot of obstinacy. And it built the two better towers of the city of Madrid, that will not be never surpassed. I remember him with a lot of affection by what learnt of him, by what laughed me with his exits and because I had the honour that it appreciated me and considered me a fellow.
But before consummated these things of the union of our gangs and of the Tuesdays that expanded in crescendo the culture of the School, suits to remember some other episodes, quite a lot of them previous. Being D´Ors director, exactly a day before ceasing, when the Board of Professors was gathered to choose to the new, the police went in violentamente in the School, as there was an assembly –perhaps D´Ors called them, as it was used to to do after giving permission-, devoted to hit to all the world and arrived to go in to the Room of Professors, interrupting the Board. D´Ors resigned –big thing, as it ceased the next day- the new director did not choose and remained Arangoa, that was deputy director boss of studies of accidental director, and was quite time. This had to be to 1972.
Little time afterwards, in the class of Aesthetics and Composition –of whose asignatura was D´Ors chair- carried by Simón Marchán and by Ignacio Gómez de Liaño, there was some happening throwing to gulfs, that some reported to Arangoa. This called to Simón and to Ignacio, that did not appear, and then suspended them of employment and wage.. It was logical, as not going if it calls you the director is, of course, grave fault. (Although testimony of Simón Marchán is that it did not call them). But the thing is that it mounted a letter of signatures supporting they and asking his reincoporación, to me happened it to me, and signed. The next day it arrived Fernández Alba, riñéndome for having it signed, as Arangoa proposed to expel to all the signatories. And the truth is that they threw them to all, less to me, although it also is necessary to say that to the following year went back them to hire to all.
We did not know what had happened, but a day Fernández Alba enteró –do not know if by the own Arangoa or by other roads- that when it had proposed throw to a numerous group of professors of the School of Architecture, the Minister, or somebody important of the Ministry, where no fiaban of Arangoa, as it was a stranger for the diet, asked report to Miguel Ángel García-Lomas, that had been General Director of Architecture and that then was not at all –was before being Mayor-, but that it was man of confidence of the dwarf of the Pardo, and something as well as the francoist sheriff of the architecture. García-Lomas called to Arangoa and said him –according to Alba- that if it thought that the son of Antón Capitel was red is that he was a gilipollas and went him to break the face. It is not textual, of course, but owed to be something like this. The case is that to me did not throw me. I knew it a lot of years afterwards, and thought, that my father –that of that already had died- had received very few things of his precarious historial francoist, but that, finally, something was something.
By the way, I had said him to my father that in the School yes that paid, but the truth is that the thing was not so clear. The year in that we begin did not give us an agreement, but a paper of nomination, in which on the one hand it appeared the emolumento of 500 pesetas by hour of class and, by another, sobrepuesto with distinct machine, said that there was a limit of 14.000 pesetas to the month. Since the hours of class were 60 to the month (all the days, of Monday to Friday, of 11,30 to 14,30), López-Peláez and I were to ask to the that did the times of administrator, that was Valentín, as it is that if we gave class by value of 30.000 pretended to pay us less than the half. Valentín said, that, well, well, that the professors of projects went very little, and that what calculated is that they went by value of 20.000 as a lot; it did not know to explain the of the 14.000. By the way the “claúsula”, for calling him something, of the 14.000 was signed by Arangoa, to the that I was to see to protest. (This was before the of García-Lomas). It promised that they would pay the 20.000, and like this did it always, if I do not remember bad. They earned the discount of the Hermandad, 800, and gave us (did it in hand, Josefina, that was the enabled) 19.200. Or perhaps less, when removing 14% of taxes, do not remember well. It results especially significant to remember that then (with D´Ors of director and Arangoa like Boss of Studies) the professor administrator of the School was a Francisco Lencina, that gave class –is a say- in Analysis of Forms (was a simply invalid character, for saying something soft) and that had recognised fame of scoundrel from his youth, as it confirmed me to me Gerardo Zaragoza, my professor of drawing, as the such Lencina had been in his academy, where already had seen him the ways.
But the case is that José Manuel López-Peláez and I did the 60 hours of complete class, and some more than no longer corresponded us, as then there was not tutorías. And besides they were showed, as then fichaban the hours of permanence in the School. Somebody said us that they did not give us the agreements because these were, in effect, by 60 hours and 30.000 pesetas, money that received sure enough of the Ministry, but the School remained with the 10.000 for the uses that estimated convenient.
Convinced of this, José Manuel and I remain in going together to see to Valentín, the one who did the times of administrator, and contrive a treta, so silly like effective. We went the two, rolled us up with him, and afterwards, while he was trying to wrap us with his supposed reasons, José Manuel would remain with him in the dispatch to entertain him and I would complicate in the cupboards of the big room of the administration to look for the agreements. The truth is that I found them immediately, all carefully banked, and without signing, of course, by the professors, that not even knew them. I looked for the two ours and went me to the dispatch with them in the hand. Without giving option to Valentín sign them, deliver them so that the cursara properly, and said him that we expected to earn our complete wage of immediate form. That, as we were moderate people, did not go to ask what owed us of before if it proceeded since to pay us what was our right. It remained of a piece and did not say at all, but the following month, and already for ever, earn the 30.000 pesetas (less the 1.200 that Josefina discounted for the Fraternity). As we were the two solteros and lived both with our parents (I with my widowed mother), the truth is that the 28.800 that won were then a stupendous wage. I could invite to what went to the girls with which went out, and sustain patiently a study with very scarce, almost invalid, work.
I explain this because it is curious and fun, but, especially, because it gives idea of that School, in many respects very sinister, of the late Franco regime, that touched us still live and to which gave the best of our life, filling it with a lot of effort of a culture that to us had us , to a large extent, dribbled.
I add here an anecdote that explained me Ángel Colomina, and that suppose true. Ángel was a professor and architect very brilliant, extraordinarily intelligent; it was of Oviedo, and years afterwards went to Canaries to work, of where no longer went back. It was and it is very fellow of Fernando Nanclares. In the first times of Elements of Composition of Antonio Fernández Alba, more or less when I was student of them, Ángel was professor, and by the odd and irregular ways of agreement of the School he was some year appointed and earning a lot, as afterwards it delivered it with others that were not appointed. A day that went to earn to the dispatch of Josefina saw that it also went Ricardo Magdalena, that had been his professor and had suspended him. It put in front of him in the tail so that it could see the immense quantity that earned when he saved it to him with premeditada parsimony. Afterwards, after it finished it to him to put all spectacularly in the pocket and said: “Man, gift Ricardo! What such? Already it sees, I have put me of professor in the School and am lining me!”. It left him of a piece. It is very fun, and expect that it was truth, as the imagination of Ángel always gave for a lot.
After D´Ors had the caradura to resign the day before his cessation, by cause of an entrance of the police to which is very likely that he same had called, Arangoa was a long season of Director in functions, in whose stage the most brilliant management that remembers was the lattice of the windows of the classes that gave to the terraces, to avoid that the students showed to them and threw things to the police. To 1975, more or less (perhaps before) when the death of the already ridiculous and ancianísimo dictator, was chosen Juan del Corro Gutiérrez, chair of mathematics, Director of the School. Roll had been mine professor in first and second, and was well. I followed his class with assiduity and approved always, even with note. It was coined of the García-Lomas, and thus, very known of my father. I was fellow of his son Juan, that went mine mate of academy of drawing with Gerardo Zaragoza, and had to see like him approved the Analysis of Forms the first year, and for being the one who was, and I had to repeat. Well it is true that he, perceiving the ridiculous of the situation like this did it to me notice to way of apology.
Corro did Boss of Studies to Santiago Fernández Pirla, chair of legal architecture, and create to remember that it was Candel, chair of economy, the Secretary. A mathematical –trio, legal, economy- little appropriate to direct the School. I create to remember that Corro was at the same time Director of the School and Dean of the School of Architects. At the beginning they did it tactfully, but, little by little, they did it worse, and, especially resisted to modernizar the structures of power of the School, strongly sued when they already were the times of the transition.
In time of Corro I had a conflict with the boss of bedeles, Luis, because some students had put in the statues of plaster that decorated the halls something of anti-francoist type. Luis did the on call Civil times, removed what had done and reported them. We saw it Ignacio de la Casas and I, and increpamos to the bedel saying him that did not have to take part in favour of the already, on the other hand, missing dictatorship, and that did not happen at all because they put things in the statues. Luis us increpó to his time and said us that it went us to report to the Director, thing that did. To me it called me Corro, but no me riñó at all; it said me, by the contrary, that there was reprendido to the bedel for putting with the professors. Corro, in some very punctual cases or of detail, was to the height of the circumstances, or, at least, was sufficiently clasista to do things like this.
But the management of the School went from bad to worse. In reality it seems to be that it carried it Pirla, that began to do reforms mentecatas in the building. The most symbolic was the one to remove the big plate of benefactores of the library of the big front where was to carry it to the previous corridor, where remained fatal, and with the object to do a taquilla of attention to ask books from the hall of the library. But this, as I say, was not more than a symbol; the School went very bad, and, of another side, sued the change of structures of direction and management of the School, in concrete the Board of School, or assembly of representatives of all the estamentos that, according to many of us, had to direct it. They celebrated quite a lot of assemblies of professors suing these things, to which some times went Roll, to the one who imprecábamos with our requests.
Like this the things, all very hot because the structures of school power did not adapt to the democratic transformation of the country, and by the bad internal management, finished taking the decision between professors and students to throw to Corro and to his team of direction. This was to 1980. Like this, by the good, and by force. And as it said it did . The students did not leave them go in more to the School and asked them the resignation. The building occupied of form acrática, filled of painted, and the students, supported by a quantity of professors quite significant, did strong in the building and Roll did not go back to go in already never. I think that the students, on the other hand, happened enough, in the sense that they called constantly to his house to say groserías and had it harassed.
The thing put very grave and the Ministry decided pactar calling to some chairs to agree a team of direction that did charge of the School and carried it to the normality. The assembly of professors and students had chosen to Fernández Alba to propose it like director, thing that the Ministry accepted, but he did not want. Finally, between pupils of the two estamentos and the Ministry pactó a provisional direction with Larrodera like director, Aroca like Boss of Studies and Navascués like secretary. This worked; the team formed a Board of School with representation of all the estamentos and the School threw for in front.
No far of this period mounted a strike of students of End of Career to protest by the, according to them, big quantity of suspenses. They shut in the holidays of Christmas in the new pavilion and did not go out of there day and night. By the way, Fisac, that never went professor of the School, supported they and was there encouraging them. It was this an intolerable behaviour by his part, that to me never will forget me like one of the symptoms of how was in reality this character, then , in definite, the students were shut because they did not approve; this is, because they did not know to do a project end of decent career, by a lot that to the own School could him , acaso, throw big part of the fault, or of the cause, of that situation.
A day of that conflict was I in the hall of the bar arguing with a group of students, that had been mine students of Elements, and that empeñaban in that if they did not know to do well a project, the School had the fault, and, thus, would have to approve them. I said them that this was not truth, as it tested the fact of the a lot of that yes knew and that managed without problems; but that, besides, the School had two missions, one teach, and the another, check that it knew for expender titles that comport professional attributions very concrete, exclusive and dangerous, and that if it fulfilled badly the first mission, could not resign of the second.
When we were complicated in this, happened Sáenz de Oíza to big zancadas. Oíza was precisely one of the members, the main, could say, of the court of end of career, and the students took advantage of for increparle. One said him that they had calculated that in the last session the court had spent a minute of time correcting each project. Oíza went back with extreme rapidity and him espetó. “It is not truth. If we refer us specifically to the his, sufficed me five seconds to suspend it”. It gave the turn and went leaving to the student with a palmo of noses. Genius and figure.
After throwing to Roll, and inside the new, and provisional, structures of the School, happened to belong to the Board of School, think that called . This had to be already to the year 79 or 80, because I already had read the thesis doctoral, that did on the architecture of Luis Moya Blanco, directed by Moneo.
The history of my thesis starts of my knowledge of the Labour University of Gijón. As Paco Partearroyo and I, with Nieves Ruiz and Fernando Nanclares, worked something for Asturias, went some times there. Paco and I did the doctorate and were specifically in a course with Julio Vidaurre, and had to do him a work. To me it occurred me that Paco did a photographic report on the Labour, I did the text and present it like work. To Julio liked him a lot.
Carlos Sambricio was already professor of the School and when enteró that I had done a text on the Labour, said me that this was importantísimo, and that he was doing another on the Falangist architecture, or no what, and that went to propose to Salvador Tarragó –that it was the director of the magazine rossiana “2C-Construction of the city”- that published them the two. It called to Salvador and remained with him in Madrid, in his house, a Sunday in the morning. I carried my text, the photos of Paco –that they were a swearword as of 150- and some copies of planes of the Labour, that I had home, as they were of my father.
Salvador looked and remiró all during a lot of while, and afterwards said: “I can not publish this”. And Sambricio: “But, what say? You are not hortera! How you do not go it to publish? It is that it does not like you?” “Like, clear that likes me. This is a lesson of impressive architecture. But, if to me in Barcelona call me fascist for publishing to Rossi, if I publish this me fusilan. This could publish it a magazine ecléctica, like Architectures bis, for example.”
Total, that went us with the tail between the legs. I, giving him gone back in my house, and already to the following week, thought: “Claro! Architectures bis! I go to call to Moneo to see if it interests him.”. I lived then home of my mother, already widowed, and with my brother Emilio. The following Saturday to the meeting with Tarragó, after eating, called home of Moneo. It put . I said him: “it Hears, it looks, Rafa, is that I have written a text on the Labour University of Gijón, of Luis Moya, and perhaps interested you for Architectures bis”. To the another side heard a deep silence that lasted some seconds. And afterwards: “you Say that an article on the Labour University of Gijón, of Luis Moya? And who say that it has written it?” “I; I have written it I” “What you have written an article….? As clear that interests me, interests me a lot of! Why you do not come you home to take coffee?” “Now?” “Yes, now same, if you can…” “Cost, go. What late.”
I took the car and went me home of Rafa. I create to remember that it lived still in his first house of The Look, in the Oria street, that was not exactly the colony, almost confront of Dionisio Hernández Gil. I carried me the text, the swearword of photos and the folder of planes. The looked it all and afterwards said that it remained with the text and with the photos, and that the Monday in Barcelona, that had eaten of editorial, would present it. “When it go back already I call you”. And like this it remained the thing, with satisfaction on my part.
The case is that it arrived the Thursday and Moneo had not called me. I knew that it went back always the Wednesday, by what was a bit mosqueado. But it gave me a bit of court call it, by what decided to call to Ignacio Solá-Moral, with which I had already friendship, to see if it knew he something. This is, conscious I, like man of the capital, that Barcelona is a village. I called him and I gave in the white. It said me: “Then , it looks, yes, because I, that am doing them a thing now, went precisely to the food of the Monday. It arrived Rafa, and in a moment die took out the text and the photos, all the world put to look them, and immediately said Oriol: “Claro is that this magazine is to publish to the fachas of Madrid. Already we have published these houses of Cano Lasso, and now already, go to by Moya.” Moneo Jumped: “But Oriol, is that you do not understand at all,…”, and put to argue violentamente. All us hartamos immediately of the discussion, less Federico Correa, that without doing them case, looked slow and sosegadamente your collection of photos. At last they tired , and when seeing Oriol that Federico followed with the photos, said him. “And you Federico what think?” And he said: “I already knew this work, as it does years, a summer and from Comillas, approached to see it. And it is a fantastic work, create I. To me it interests me a lot.” Oriol remained quiet, but, more or less, decided that it would publish .
I, after these data, called to Rafa, that quoted me in his study. It said that it had read the text; that was well, but that it had to pulirlo a bit still, and that when it had the definite version went back it to him to give with a collection of photos chosen to purpose. Like this I did it. It took time in publishing , because I remember that all this was in 1975, year of the death of the dictator, and did not publish until 1976, in the number 12 of the magazine. I had put him the title of “On the construction of an ideal city”, but they changed it to him by “The labour university of Gijón or the power of the architectures”, like reply to the title of the previous article, that did of companion and that called “Ideology and language in the architectures of the power”, written by Helio Piñón, and that was well, but without leaving to handle some of the commonplaces to the use.
The true is that, after this, and knowing Moneo that I, like professor, was doing the doctorate and needed to do a thesis, said me: “And why you do not do the thesis on the architecture of Moya?”. I answered him. “If you direct it to me your, yes”. The said that yes, that directed it to me, and I presented it and launched me. I said it to him to Moya, that seemed him very exaggerated, but put to my disposal the archive of his study, that then no longer worked; hardly it was there. I put me there in depth, photographed and copied many of his planes and drawings, located his articles and the publications of his works, visited many of these and went to Gijón repeated times, even to dive in an archive of planes –of copies- that there was there, pertinent of the work.
I decided to do the thesis fundamentally on the work historicista and, also, that went it to divide in two parts. One, the theory that deduced of his writings, that were quite a lot, and that I went to order, almost to the way of an evangelist, and to gloss, more than to criticise. And another, composed by the analysis of the works, that went to be the most important from the “Architectural Dream” until the Labour. I delivered it and I read in 1979. The court chaired it Antonio Fernández Alba, and was composed also by Antonio Bonet Correa, Ignacio of Solá-Moral, Carlos Sambricio and Rafael Moneo, as then the director formed part of the court. They put me excellent by unanimity, that was the equivalent to the “cum Laude”, as this note did not exist then in the Technical Schools. I carried to eat to the court and to some fellow to the restaurant “Pepe Bottle”, that was in the square of Two May. I had left to be boyfriend of Julia Alonso-Martínez; perhaps the roll of the thesis, always so hard, had poisoned us. The thesis, that had cost me a lot of effort, published it the School of Architects in 1981 in shape of book with the title “The architecture of Luis Moya White”. A lot of years afterwards, when I worked in Fine arts to the orders of Dionisio Hernández Gil, this said me that a day had appeared Adolfo López Durán by his house with my book under the arm and had said him. “It looks, it looks, what to us seemed us very well and to you no, now value it!” Definitely it referred to discussions in the School on the modernisation of the education when Dionisio and Moneo were professors of Analysis. The true is that, as I thought, the big personality of Moya, able to write defending the classical architecture and attacking the modern, and able to do classicistic architecture no conventional, was almost the only base of the conservative architectural ideology in the Franco regime. Without Moya had remained simply in ball.
Luis Moya had left to belong to the School in 1971 or 1972, to give class in the School of Pamplona, of the Opus Dei. The ones of Pamplona stuck it because D´Ors had invented a history with the greater “professors” (Moya, Camera,..), that was to appoint them “supernumeraries”. What did was, in definite, remove them the classes and invite them to the retirement anticipated. Moya, as they called him of Pamplona, was , and there was quite a lot of years.
I explain it because Moya added the School of Pamplona to the list of his benefactores, then compound so only by the Marianistas, to whose School (Pilar) had gone and that they were ones of his more important customers. Thus it decided to divide in two the legacy of his library, a part for the School of Pamplona and another for the School Mayor Chaminade, his work, and of the Marianistas. I suppose that with the School of Madrid, of which had been so much time professor –one of the more illustrate- and that at the end had given him a slap, did not want to know at all.
But, anyway, my thesis meant in some measure one some reconciliation with the School and, like this, Antonio Fernández Alba –mine boss and that it was president of the court of thesis- put in contact with Moya –I knew that this, in fact, respected it a lot, and the proof was his vote in the opposition of Elements- and asked him that it left to the School of Madrid his professional documentation; his planes and drawings, go, and what to him seemed him convenient. To Moya seemed him well, and like this remained suited.
A good day Moya called me to me and said me that it had sold the study, by what it was necessary to carry his material to the School with urgency. I did not know that do, so I called to Javier Ortega and asked him the favour that it helped me to carry it in my own car. Like this we did it, in several trips, and leave it deposited and entirely disordered in the library. When We Were collecting it, Moya said me that before we put it everything in the School I would have to choose a drawing for me. It seemed me stupendous, and after a lot think chose the plane of the definite façade of Saint Agustín, that had decided already like cover of the book of my thesis. In the middle of the election, said me. “The truth is that you would owe to choose 2. What less, after your effort”. Then I took also the axonometría seccionada of the pyramid of the “architectural Dream”. He, when seeing the election, commented: “What technical!”. I do not know if it was one some disappointment because I had not chosen them more artistic “”. Afterwards it went up to his house and went down with another drawing of the façade of Saint Agustín, one of a previous version to the definite, smaller and quite beautiful. And it said me: “it Looks, it remembered that this had it home, Remain it to you you also”. So I have three very good drawings of Moya, given by him same.
Luis Moya was a man with a very singular head –the said that of Indian, by his ancestry mejicana-, of half height and with glasses, as it was extremely miope. When I knew him hardly saw; it cleared me that to my knew me by the voice. It was kind and very good charlista, extremely literate and with quite a lot of critical sense. When already it relaxed with me –as at the beginning desconfiaba- happen a lot of afternoons speaking of a lot of things, although it was used to to be the the one who explained it almost everything. His woman, Conchita Pérez Masegosa was a very singular woman, little sociable and very critical, and that to me took me a lot appreciated by my dedication to the work of his husband. It called me Cristóbal Columbus; that is to say, the discoverer. Both were to my wedding when Chinina and I marry us in Saint Agustín, his Church. The priest –that was a jesuita fellow- spoke of the in the homilía.
Afterwards Javier García-Gutiérez Mosteiro did another thesis on Luis Moya, this time on Moya like cartoonist, in all his appearances, and attained to organise something the legated that Javier Ortega and I had left caóticamente in the Library. It discovered a lot of drawings, that I not even knew, and that justified perhaps the comment of Luis when my election. Afterwards we organise some exhibitions. One was for the School of Architects, another for Gijón, more complete, in the building of the Real Institute of Jovellanos. Another, almost the same that this, went for the Spanish Academy of Fine arts in Rome, done when Ricardo Aroca was the director of the School, and to the one who had asked him Felipe Garín, then director of the Academy, that did him something. Of that were to Rome, to inaugurate the exhibition, Aroca, Hernández León (that it was then the Boss of Studies) and Mosteiro and I, that had mounted it. In the Academy of Rome, the drawings of Moya remained splendid, and the Romans that saw them found them so natural like glorious.
With all these things, the legacy of Moya went ordering, and what exposed saved already framed. The ordenación stronger was, however, back, with reason of a last exhibition, that I proposed to Gerardo Mingo, inside the series that did the general direction of Architecture in the arquerías. We did it Mosteiro and I like commissioners and documentalists and my partners, Consuelo Martorell –my woman- and Mónica Alberola like designers. It commissioned a big series of new photographies to the photographer, architect and professor of the School Eduardo Sánchez. The exhibition remained very well, had quite success and did a glorious catalogue, whose texts write almost solos –added only some complementary texts of Luis Moya González and Juan Moya Arderíus- Mosteiro and I. As a result of the bequeathed the School of Architecture devoted a classroom to Moya, where put a plate.
The case is that, already doctor, Antonio Fernández Alba proposed me that it covered the square of Attach Interim of Technical Drawing, no to give class there, but to follow with Elements of Composition, and that improved of nomination. Julio Vidaurre remained calm because, as it did not have doctors, no put him anybody that did not interest him. I asked it, they gave it to me, and followed giving class in Elements, although I helped also on time to Julio.
But we go back now to the Board of School (to the revolutionary or provisional, to which I belonged) and to the year 1980. I was thinking that, in spite of my historial, no to at all in Elements, as there was chair –Antonio-, aggregated –Juan Navarro- and attach –Manolo Marry-. For the academic career in Elements there was not porvenir, and I, decididamente, wanted to do the academic career. The profession was fatal and there were a lot of things that disliked me.
So I fixed me in that what was vacant and without any numerario was the ancient chair of D´Ors, the one of Composition II, that was theory, occupied like attendant by Miguel Durán Lóriga. I began me to dazzle with this idea and, in fact, aimed me to an opposition to the body of adjuntos for this asignatura. Afterwards I agreed me of Moneo and thought that, to the turn of some years, and fed up of Barcelona, would finish presenting to this chair, that went him like ring to the finger. So I decided that it went him to wrap I same. Better be the attach of Moneo that dazzle me I with the chair and that stepped it to me he. A day went me to see him and asked him that what such would seem him give in Madrid this asignatura like Interim Chair. It said me that it could be and that if there were possibilities. I said him that yes, and that in fact thought to pose it in the School.
And I posed it in the Board of School. I said that it already had spoken with Moneo and that agreed. So the Board approved to propose him like Attendant of Chair, but for this had to resign Miguel Durán. Larrodera –Provisional director then; afterwards it was it effective- remained in speaking with him and ask him the withdrawal. In the following Together Larrodera informed us that Durán denied to resign; that it had knowledgeable of how worked the subject and that for destituirle was precise to declare previously his “pedagogical inability”. The truth is that I had testimonies very sinister of how gave class this gentleman, by what did not doubt in supporting this statement, that approved in the Board by a majority, and did effective, in spite of the violent that all that resulted him to Larrodera. It did like this, him destituyó and said him to Moneo that requested the nomination. It did it, they appointed him, and it gave class with big success more or less from 1981 until 1985 in that it went of Dean to Harvard.
I remember a meeting a day, do not know of what, in which we were Carlos Sambricio and I, with Manuel Castañs and Antonio Fernández Alba. Carlos Sambricio took out the subject of Harvard and Moneo, without any doubt to see that it said Alba. And this said: “But, Carlos, you, for real, want to go to Harvard, because this is a foolishness, achieves easy….” Carlos said “Looks, Antonio, for me Harvard is like Hollywood for a blond tetuda…”. Manuel Castañs died of laugh.
But we follow with the important. When Moneo seated the square, Antonio Fernández Alba proposed that to me, that was inscribed in the oppositions to attach of Composition, that appointed me already interim of this asignatura and that worked in her with Moneo. I said that well, but went back to trip with the interim, that was interim, Maria Victoria Gutiérrez Guitián, that neither wanted to resign. Since it had forced to Durán thought in forcing also this destitución, that was easier, but I did not want. I was still in Elements and was preparing the opposition to the adjuntía.
I was already then attach interim of Elements, because Manolo Marry, the attach to title, with which I worked simultaneously, had gone . It had seated the square of Boss of the Inspection of Monuments of the General Direction of Fine arts, sucediendo to Dionisio Hernández Gil, that had been appointed General Deputy director of Restoration by Javier Tusell, that was then the General Director (with UCD and the government of Suárez), and that had created this sub-directorate for Dionisio and so that it could continue with this place the impulse and the modernisation of the official restoration of monuments that had initiated. Being already Manolo of Boss of the Inspection, already in the year 1980, commissioned me do works in the Cathedral of Oviedo, and afterwards any another, with which I began one some career like architect restaurador. To this period began to go out with Consuelo Martorell Aroca, one of the most good-looking girls that had stepped the School, if no the one who more, charming and nice, and that it was my student in Elements. On 3 July 1981 we marry us.
Juan Daniel Fullaondo had gone back to the School and put it of attach of Sáenz of Oíza, and was the only that called it of you. It was very jealous of the fame of Moneo and, although theoretical friends, spoke very bad of him. It seated him fatal that called to Moneo to be interim chair of Composition, instead of to him. The most famous professors and wanted by the students of the group of Oíza were Gabriel Ruiz Cabrero, Javier Vellés and Alfonso Valdés. In some seasons Fullaondo acaudilló the envy to these professors, and between all the others went down them the notes to his students. A course, after an indecent descent of notes, I got angry me, as it had seen the exercises, that were very brilliant, some of ancient mine students, and mount an exhibition –the truth is that I do not remember as they initiated the contacts- in the Gallery Ynguanzo, that was of the widowed marchioness of Santa Cruz of Ynguanzo, an Asturian title, and a lady that had two children in architecture and that was interested in doing some exhibition of this type. We gather a gang of professors and of students, and some fellow painters, as Guillermo Pérez Villalta and Carlos Forns; we exposed the exercises of the students and ours things. When it inaugurated , the success of public was amazing, did not fit in the gallery, of course, but almost neither in the street of Antonio Maura. This exhibition had some echo, strolled by some schools of architecture and any another gallery and went out in some modern magazines of the period –was 1980-, what did us ingresar in the “moved Madrilenian” like the group of architects of that roll. Of all this remained also a book, “Modern Architectures”, edited by ProNaos and paid by the General Sub-directorate of Plastic Arts of the Ministry of culture, to which ask a scholarship.
Enough years before –when, in the 70, took out the School advance as we could- had done a gang of 7 –Manuel of the Houses, Carlos Sambricio, Gabriel Ruiz Cabrero, Javier Vellés, Alfonso Valdés, Javier Frechilla and I-, and had forced it, to consolidate a friendship incipiente that had of the School. We decide to dine together all the Fridays, a day home of each one, and with the women and girlfriends. We said that we had a Logia masónica, and happened it fantastic. In the School, envidiosos, other professors, called him “the mafia”. If it was or no a mafia, perhaps more or less worked, as five arrive to chairs, all less Javier Vellés, that went of the School, and Alfonso Valdés, that went in in one some decadence, threw him afterwards like professor, as it followed of associated after a lot of years, and afterwards of some sad peripecias died prematurely. The Logia lasted some years, and afterwards went diluting. Gabriel, Javier Vellés and I mount a new gang, with Antonio Riviére and with other more youngsters that had been ours students: Cristóbal Bellver, Pedro Miralles, Pedro Feduchi, Luis Moreno, Álvaro Soto, Sigfrido Martín Begué and Consuelo Martorell. They were, clear, other women and girlfriends, and some other girls that were not architects, as Selina Blasco, friend of Pedro Feduchi and that afterwards married with him, and Paloma Canivet. We went all the Fridays to the bar Chicote, that then was in total decadence, and afterwards dined by here or home of somebody. This lasted also some years, happen it very well and the friendships consolidated a lot. There has been other two drops, as Cristóbal Bellver and Pedro Miralles, the two Valencians, died very prematurely.
In those times carried the magazine Architecture, the one of the School, Jerónimo Junquera and Estanislao Pérez Pita. I had collaborated sometimes with them, and also had done it Carlos Sambricio, Javier Frechilla, Gabriel Ruiz Cabrero, Alfonso Valdés, Mayte Muñoz and Juan Antonio Cortés. When it arrived the new contest of the magazine by part of the School, and in view of that the seven had collaborated already so much with them, proposed them present us all together. They did not want to, because then we would be majority, which was absurd as the seven did not present any monolitismo. The case is that we said them that then we would present us alone, as like this we did. The Dean of the School was Larrodera, at the same time that it was, create to remember, the director of the School. To me and to Frechilla knew us and estimated enough, by what had this baza. But anybody encouraged to be the director. I spoke with which then was my coined, Manuel Vega, journalist and founder of quite a lot of magazines, to see if it encouraged to go with us, and said me that yes. I encouraged to my time to Gabriel and to Javier to present with me of directors and to propose to the others four like advisers of editorial. Like this we did it and we win the contest. We were in the magazine until the year 86, after having won a new contest in the 82. My coined Manolo mounted it to us everything, but to the year said that it went . We substitute it with Juan Paz Canalejo, architect and fellow ours, that was to the end. Also we had some seasons to Macarena Big, Ramón War and Luis Moreno Mansilla. We did a magazine that was very pedagogical –were all professors- and also very popular. Then there was few and had big success. This yes, in 1986, when we did it better, the School did not renew us the contest, so we went us by where had come.
In the years in that we began in the magazine Architecture, Alberto Field was very active in the School and –create to remember that with the help of the School- brought to some personalities to give conferences. I remember to Siza, Mario Botta, Richard Meier, Vittorio of Ugly, Mario Galdensonas, etc. Celebrated talks and critical sessions. I was then a critic in heave, and like this was parsley forced of all these sauces.
To finals of 1982, when Moneo gave class of Composition II with the help of Juan Antonio Cortés, José Barbeito and María Victoria Gutiérrez Guitián, celebrated the opposition to the adjuntía with two squares for the body and of this asignatura, that is to say to what I was inscribed. They presented with me the quoted María Victoria (Mariví) and Emilio Jiménez Julián, a Valencian. In the court were Fernando Chueca Goitia of President, and besides Ignacio de Solá Moral, Jaime López de Asiaín and the two brothers Trillo de Leyva, Manuel and Juan Luis. The opposition was a first exercise of autobombo and program, in which they threw to Mariví, another second of three lessons of your program taken out to the draw, of the that the court chose one, that had to develop by writing and afterwards read, and a third practical, in which they put us do an arrangement of the square of the Comendadoras. In the presentation of the practical exercise there were a lot of people, was Moneo, and was also Manolo Marry that it had carried to Dionisio. This came me well in front of the court –in front of Chueca- as it supposed that the public went by me. They gave me the first square and to Emilio the second. At the beginning they seated you provisionally in the square, that afterwards had to occupy by contest of access. To us it seated us in the square a disposal of the L.R.Or. Of 1984, that changed us of Adjuntos to Headlines. It was worse, but with better name.
I did not begin to give class –and, like this, never gave it with Moneo-, as to consequence of the ascensión to the power of the PSOE with the government of Felipe González, to Antonio Vázquez of Castro, chair of the School, appointed him General Director of Architecture, and proposed to Manolo Marry that it left the Inspection of Monuments to happen with him of General Deputy director. Manolo accepted and recommended me to me for the Inspection. Dionisio proposed it to me and there was. It was General Director of Fine arts Manuel Fernández-Miranda, a chair of archaeology gijonés, nephew of gift Torcuato, something greater that I and very intelligent and nice. It died years afterwards prematurely. The Minister was Javier Solana and the Subsecretario, Ignacio Quintana, an ovetense, also intelligent and nice.
I had to ask the commission of service to D. Paco Sáenz of Oíza, that was then the director of the School, with which I had the privilege to have some friendship, and that informed it positively, clear is, but did it rezongando and saying me that no him apetecía at all that me out of the School. This flattered me, clear, coming of him, but said him that it neither would be long.
In Fine arts found –already knew it- to some quite known architects by me, the greater part of them professors of the School, such as Antonio Almagro, Carlos Baztán, Amparo Berrinches, Alberto Humanes and José Miguel Merino of Cáceres. I went like this the General Inspector of Monuments of the State, according to the Law of 1933, and of 1983 to 1985, the last before the transfers to the Autonomous Communities and of the new Law of the Historical Heritage. There I had a good time, although also badly some times, learnt a lot and commissioned me the restoration and the terminación of the Museum of America, of Luis Moya, work that did first of job and afterwards like free professional when I went back to the School. Compatibilicé This place with the direction of the magazine Architecture, and in him was doing a work of investigation that finished turning into a book that has had enough success: “Metamorfosis of monuments and theories of the restoration”, that was published by Alliance Forms.
In 1985 the Minister Solana did to approve by the parliament the new Law of the Historical Heritage Spanish and was celebrating the transfers to the regions, by what the Inspection remained almost without content. Besides, Dionisio Hernández Gil had been appointed General Director after Fernández-Miranda –I was a season general deputy director in functions- and created the Spanish Institute of the Historical Heritage, appointing to Antonio Fernández Alba like Director. To me it said me that if it wanted that it remained me, but I appreciated it to him and went back to the School.
There I incorporated me to the chair of Composition II, that carried Juan Antonio Cortés like Attendant, as it had resulted to be Professor Title when having approved the proofs of idoneidad that did the L.R.Or. They followed with him Pepe Barbeito and Mariví. It was Larrodera the director of the School –now no longer provisional- and proposed me be I the Attendant of the chair. I said him that no, because it wanted to be in dedication no complete to be freer with the magazine Architecture and neither liked me go through on of Juan Antonio, although he think that of this mine gesture never know.
Afterwards they did professor associated of the asignatura to Bernardo Ynzenga, to the that I only knew of sight, and to Juan Antonio seated him badly, as it was greater that we and without experience to give the asignatura as it gave –something founded by Moneo- and condemned him to give comment of texts in both groups, thing that Bernardo did with joy and efficiency. Of that did us fellow. The main program gave it Juan Antonio and I, each one his and to the two groups. In the afternoon they gave it Barbeito, that bent to Juan Antonio, and Mariví, that bent me to me. Bernardo gave the comments of texts on the books recommended of the two programs. We did it during two courses, at least, and worked well. There are testimonies of some publications that prepare.
Moneo, as I said, had gone to Harvard, where already had been professor, hired like Dean of the Faculty. A season before going called me to see us and chat, and went us walking by the Castellana until the Station of Atocha, where to him him apetecía look the gap that would have to fill up with his project. There it explained me the of Harvard, saying me that, after his family, said it to me to me before that to anybody, and that did it because the chair went to go out to opposition and he already, with the of Harvard, did not go to present. Like this, that had to prepare me.
In effect, it went out the opposition to chair, and no one, but 2 squares. What had occurred is that Juan Miguel Hernández León, that had presented and won an adjuntía of Aesthetics and Composition, as it aspired logically to chair, there was presionado to Adolfo Amézqueta so that it went out a square. Amézqueta, that had gone to Seville like chair of Analysis of Forms, had recovered his situation in Madrid presenting to the chair of Aesthetics, that had won. After the L.R.Or., the department of Composition gathered the asignaturas of Aesthetics, Composition, History of the Art and History of the Architecture. Also something of Analysis of Forms, as Helena Churches and his husband had manoeuvred to achieve this absurd thing, since Analysis is drawing and would have to be in another Department, and like this be together and dominate the cotarro. Helena had been chair of Valladolid, of Analysis of Forms, by opposition, and of Madrid by contest of transfer. After this manoeuvre, that allowed the School and the Ministry does not know reason, dominated the Department and Adolfo was the director. Juan Miguel said him to Amézqueta that took out the chair of Composition, not to compete with him if it was of Aesthetics, and convinced him so that it asked two squares. He same said me to me, that knowing that I went me to present, attained that they went out two, one for him and another for me.
The case is that we inscribe us to the squares and also did it Juan Antonio Cortés, that could not present because it did not have the sufficient antiquity, but that asked to the Council of Universities the exemption that foresaw the law, and that it had to have conceded, anyway, when it celebrated the opposition. Also it inscribed Miguel Ángel Baldellou, that was not at least title and that also needed the exemption.
Amézqueta, that was the president of the court appointed by the Department –or was, autonombrado; the secretary was Pedro Navascués- denied to celebrate the 2 squares at the same time and separated them, inexplicably, although afterwards we knew because it was. So they had to celebrate separately. They were time of oppositions, owing to the impulse that the L.R.Or. It had given them, and also it presented Carlos Sambricio, that already was attach, to the one of History of the Architecture. To this presented also Navascués, that already was chair of History of the Art, does not know reason, although afterwards it knew : Navascués had said him to Chueca that wanted to be academic of Fine arts, and this said him that then the best was that it was the chair of History of the Architecture. The true is that it did not attain to be it and afterwards, however, did him academic. The clan Chueca was stronger that the conventions.
The opposition to History of the Architecture was before that ours. I do not remember well the court. I know that it was Ignacio of Solá-Moral, Helena Churches and a Valencian of the that has forgotten me the name; I do not remember more. It was very argued and, finally, won Carlos. In the last exercise, and acting Navascués, I seated me at the side of Carlos. Navascués Said no what that to Carlos seated him fatal, and this began to do noise with the seat. His woman, that was behind us, said him that it went out of the classroom, that could not mount numbers, and Carlos went . It was Chueca in the room, that had to be in bad place, because when seeing that it remained free the seat of Carlos, changed he, do not know if because me vió and had win to do comments. The case is that it did me quite a lot, and as we were in first row and he owed to be a bit deaf, did them in high voice and all the world looked him. Navascués Spoke, think that of the 18th century, as eating him the terrain to Sambricio, and did not put images. And Chueca, after a while, said: “Which more boring opposition! There are not slides…”, in high voice, and I said him, more bajito –do not know if it heard it-, “Yes, gift Fernando, but fix that it is his candidate”. Because it knew well that Chueca supported to Navascués and no to Carlos. The case is that Carlos went out. Navascués Took a tremendo rebound and already poisoned for our opposition.
It celebrated the first ours square. To Juan Antonio had conceded him the exemption, by what also presented . The court were Amézqueta, Navascués, López Aisiaín, and other two that do not remember. It was not Helena Iglesias, that acted between frames. The three did it quite well. I think that did it quite better, although this was not more than an opinion without value when proceeding of me same, but had –and this already is more objective- a lot of more merits that they. Besides I presented for the second exercise an investigation –what afterwards was the book “Metamorfosis of monuments and theories of the restoration”- that it was very interesting and very elaborated. Nevertheless, that gave him the square to Juan Miguel, neither bothered me neither surprised me. It was not bad candidate, was fellow of the gang and remained still another square.
It celebrated afterwards the second square. They followed being Amézqueta and Navascués in the court, and also López Aisiaín, that was by draw and that went back to go out. They were besides the ínclito Rafael Manzano and a chair of unknown Valency that called Violeta Montoliu. The surprise was that it presented Baldellou, that had received the exemption, and already understood the of the separate squares: they were expecting, pulling the term, so that it gave him time to Baldellou to present. By the way that was also inscribed to the chair of History of the Art, but explained us that there was a pact, gave it to him to Antonio Ruiz –very good professor- because to Baldellou had promised him the second square of Composition. Baldellou, although it is greater that I, had done the doctorate did very little, and do not know if it was not to title when it presented to chair or if it was it, anyway, from did very little time.
Juan Antonio and I did it the same. Or it was, very well; I, create honestly, that better, and followed having better curriculum and better investigation. Baldellou Did it very bad. It noticed that the educational project was for History of the Art, or for the two things at the same time. The project of investigation, on Velázquez Bosco, did it fatal; it had until disordered the slides. I remember that, when finishing, Leopoldo Uría, that then was of general deputy director in the Institute to the orders of Fernández Alba, said me that there was it fact very well and the another very bad, so it had won. I said him that no; that it already had understood that I did not go to win by no means.
And like this it was. It won Baldellou, with big scandal of the public, that mounted him a chicken to the court, as if it was in the Franco regime. The most fun was that Jose Luis Rodríguez-Noriega call him chorizo and fascist to Amézqueta, that extrañaba and scandalised because it believes red! Ja! Simón Marchán, indignant, came me to say that this did not have remedy, but that the investigation that had done was stupendous and that had to publish it, and put me in contact with Alliance Forms, whose director was Fernando Villaverde, that approved the edition of the book. Afterwards Fernando was , and him sucedió Paco Calvo Serraller, that followed throwing the book for in front. I finished to write it in the summer of 1987, in Cangas of Onís, when it was born my son Alberto, and published in 1988. It has had several reprints and turned into my more known book and important. Now it goes to publish, will go out in 2009, a second revised edition and increased. It has been the only significant publication –in the sense of original investigation- published in Spain on the restoration and the interpretation of the changes in the architecture of the past.
The result of the oppositions depressed me enough and happened it fatal during a time. For me it was an absolute failure, as this was the line of my educational career for which had prepared me a lot. Never I will forget the manoeuvres of Amézqueta and of Helena Churches, neither neither the collaboration of Navascués and of Manzano. All they deleted me knowingly that it deserved the square. The School of Madrid remained without that I was chair of Theory, and she lost it to him, no so much I, that, over time, already gave me the same. In Composition continue giving class until final of course, but I decided to leave me of there, and using a clause of the L.R.Or., I asked my change of Titularity to Projects. It was necessary to have the venia of the Department to the that wanted to go, that obtained by means of the friendliness of Antonio Vázquez of Castro, and command the request and the curriculum to the Council of Universities, that conceded me the change. I went back to give class with Manolo Marry that, after having been General Director of Architecture, had presented to chair –I advised it to him vividly- and had won it. Also they had won chairs of Projects in those years Juan Daniel Fullaondo and Alberto Field. This was to 1987. We worked together Manolo Casas, Emilio Tuñón and I, carrying Projects I. They were the times of the vertical workshops, and already had disappeared even the horizontal condition of Elements of Composition, that at the beginning conserved . The first year had a promotion in which we did very good friends, as Mónica Alberola (that afterwards it was mine partner and professor with me in the School), Juan García Millán (that it married with Mónica and that went long afterwards director of the magazine Architecture with me of 2000 to 2008), Pilar Sánchez Izquierdo(that it worked long with Manolo Marry), Vega Ortiz (daughter of Miguel the bookseller), Pedro Moral, César Cabanas and Paloma Santamaría, that worked some time with me.
Being already again in the courses of projects called me of the School of Valladolid –called me Javier Rivera, professor of History and director then of the Department of Theory and Projects- to propose me that it presented me to a chair of Composition of there. I said him that no, that had withdrawn me of Composition, but that called to Juan Antonio, that sure that it wanted to. Also I said them that if they took out a chair of Projects yes that it would present me. They did the two things. They took out the one of Composition, to which presented Juan Antonio and won, and took out the one of Projects, already in 1989, to which I presented me. They were in the court, appointed by the School, Manuel Trillo and José Ignacio Linazasoro, that had been chairs of there, and by draw went out Oriol Bohigas, Juan Navarro and Muntañola. It came me well that the court was well, with Oriol and Juan to give him true height, as it presented me only and no me apetecía that it seemed a military walk. I prepared enough the educational project, thinking that it would serve me more advance as like this it was, and went back to explain the “Metamorfosis of Monuments” like project of investigation. It was already a book, and gave it to him to all the members of the court. I took out the square and incorporated me there already in May or June, with the course almost finishing.
The first that found there was a quite wild strike by cause of Projects. Complicated, but, in reality, because they suspended. Javier Rivera said that it had to speak them I, that the fact that it was flamante chair and of Madrid had a lot of importance. It did a meeting in the living room of acts and spoke them. I said them especially that the most important capital of the career was to know project and that it was necessary to work. Salvador Kills commented, that well, that seemed a colonel and that this was what did fault. The truth is that the strike finished.
Rivera insisted on in that it presented me to Director. It said that it would choose me all the world. I said that yes, but with the mouth girl. To measure that went happening the time every time me apetecía less, and a day, from Madrid, called him and said him that it was decided to not to present me; that it loaned me to be director of the department. It had occurred me that to Ramón Rodríguez Llera, that was professor of history and was in Rome, sure that him apetecía. Javier said, that well, as to the department, but that did not say at all and like him had done to run the voice that it presented me I, did not go to present anybody. “Then, the last day present to Ramón, no longer gives him time to present to anybody, and goes out”. Like this we did it and it went out. These of letters are some strategists and likes them be directors of a School of Architecture more than to a silly a pencil.
I had a good time in Valladolid. I was director of the department. They did me case in everything. With finance of the School of Architects carried to a lot of lecturers; I did to parade by there to the greater part of the more lujoso of Spain. Ramón, already director, said: “Antón reigns, but does not govern”. I left there many good friends: Javier Rivera, Ramón, Salvador Kills, Josefina González, Miguel Ángel of the Church, Paloma Gil, Julio Grijalba, Darío Álvarez, Pedro Luis Galician, Fernando Díaz-Pinés (that it was mine student in Madrid)…..I was three courses. Before fulfilling the three won a square of chair of Madrid, but remained me in Valladolid until completing the course.
In Madrid had gone out three together squares and inscribed me, as it was my opportunity: or then, or dificilísimo go back. We present us Luis Fernández-Galiano, María Teresa Muñoz, Salvador Pérez Brook, Francisco Fernández-Longoria, José Miguel Prada Poole and I. The court were Antonio Vázquez of Castro, Manuel of the Houses, Muntañola, Luis Crag and Helio Piñón. In the first exercise, Salvador Pérez Brook, that already had lost in a previous opposition against Linazasoro, presented in plan combativo, and taught them something as well as 10 cars of slides of the round big with his projects and works, taking advantage of that the first exercise did not have limitation of time. I was not able to go in to the exercises of the others, but neither to go me of the School. When the of Salvador, intrigado, went in to see that it happened: they went out plants of chalés. I went me. I went back to look a lot afterwards and followed going out plants. It was like a Venezuelan serial. I did not remain me to the comments of the court, but was as to the 2 of the morning. They explained me that Helio had said him that if it had confused them with directors of some Japanese multinational and pretended to place them works. Only we happen to the second exercise Fernández-Galiano and I. I presented a project of investigation on Alvar Aalto that today is a book in the publisher Akal. They gave us the squares and remained a vacancy. This was to finals of 1991.
Pérez Arroyo resorted the result in front of the Rector, especially with the argument that he was a big proyectista very experienced, employing to Fernández-Galiano, that does not exert the profession, like example of offend. We answered to the resource, with the help of a lawyer of Ricardo Aroca, but the Rector did not resolve. It happened the time, I did not have haste, as it was still in Valladolid, but the thing happened already of dark chestnut tree. We ask him to Ricardo –that it was then the director of the school- that said him something to the Rector –already had done it- and said that yes, that would insist, but that sent him also we a letter. I wrote him arguing my condition of chair of the asignatura and to having won the square in good lid –I yes was proyectista- and Galiano sent him a very gone up text of tone. The case is that it reacted and sentenced salomónicamente accepting our nomination, but ordering to the court that, regarding the third square that had remained empty, that went back to judge the performance of Pérez Brook and that followed with him the opposition. The court gathered , went back to judge to Pérez Brook, and instead of a 2 put him a 0. It saw come. The thing finished here, as Salvador did not insist.
Well, in reality, it did not finish, as Longoria and Prada Poole opened a contentious resource. I, that had been in the administration and something know of administrative procedures said that the dispute could not be admitted to formality, as they, to the have not resorted against the rector, had not exhausted the administrative road, previous to the contentious. But, with my surprise, admitted it to him and gave us knowledge to us, like parts affected, so that us personáramos in the procedure. All the world said us that we had to do it by that if it could not be fatal. It was lie; if somebody is in an alike case the best is that no persone in the procedure; only it will lose time and money. We in fact, were seated in our square, and had said us also that in case to fail the dispute in favour of them, to us, already in square, no removed it to us. The case is that Galiano and I, by obstinacy of him, decide to leave to the lawyer of Ricardo and hammer higher, and took one of the dispatch of Alzaga, of the that do not remember the name. When it did the main writing did it quite bad and I had to it to him correct. It earned us 250.000 ptas. And we would owe him other so many at the end. This end arrived and gave me the reason: there was not place to the dispute by have not exhausted the administrative road. But they had admitted it to formality, and in saying this took seems me that three years. I said him to Galiano that to the lawyer did not pay him the second part, in reality, had not done at all, more than a bad writing that besides had been useless. But Galiano said that these people was very dangerous –this is truth- and that it was better to pay him, so we did it. Craso Error, if you see you in case seemed do not pay. They live the courts and the picapleitos! It results quite clear that the court, when admitting in a principle the resource “so that there was not indefensión” did not do another thing that prejudice to which had won and protect the existence of lawsuits and of picapleitos. If in Spain left in the 50 percent to the lawyers and judges and to his activity the country was saved.
When it was in Valladolid arrived there the rumour that Víctor D´Ors had married with Alicia Eavesdropper. The truth is that with Alicia anybody had dared in the School. His sister Virginia married in followed –with Manolo Gómez Gaite, as I already said-, but Alicia remained soltera. Already something greater gave him the himself to D. Víctor, that was then more than jubilado. They say that Chueca, to the enterarse, commented, definitely with envy, “Ah, Víctor, pillín, pillín,..” Ricardo Aroca explained the three lies that D. Víctor had explained him to Alicia to convince it. One, that had money; another, that no longer was active sexually and the third, that went die prompt. The truth is that it lasted some years, but died relatively prompt. When Ricardo Aroca married years afterwards with María Jesús, his secretary, although Ricardo was not jubilado neither there was so much difference of age, I, to do him rabiar, asked him: “And you, which lies have explained him to María Jesús”. It gave him a lot of anger, of course, and did not say at all.
All the wrap of the dispute of the opposition was when I already carried a time of chair of Madrid, then , as I said, seated us in square after the resolution of the rector. At the beginning I associated me with Manolo Casas, in a chair with two bosses, and a lot of professors, our mates of always of Elements and some others. Afterwards we separate us and I carried me to the modern, that Manolo left me with some generosity, but that, in reality, were my friends: Emilio Tuñón, Luis Moreno, Álvaro Soto, Pedro Feduchi, Luis Rojo and Federico Soriano. This last, in accordance with his disposition, went immediately to another group with a more modern boss that I.
The truth is that we were not very in accordance with the program –the disentimiento on the programs has been many times, and will keep on being, common characteristic of the groups of projects-, but did a solution that worked. They were the times of the vertical workshops, and decide to do a program mark, with a thematic and a common place, and of here concretise two specific programs, one for Projects I, II and III, that carried it Emilio, Luis, Álvaro and the another Luis, and another for Elements of Composition and a part of Projects I (to balance the number) that carried it Pedro Feduchi and I, what coincided with the classrooms, as we had a big and another small. I gave sometimes theoretical classes more organised and for all in the big class. We were like this a few years and went out well; we did some publications that reflect this stage. We did also some fun trips with the students: to London, to Berlin, to New York,… Afterwards, something more advance, went in with us of professor Sergio de Miguel, that had been mine student of doctorate.
I think that it was to 1994 when Ricardo Aroca proposed me that it was Sub-director of the School, commissioning me of Investigation, Doctorate and postgraduate. At the beginning I said him that no, but I finished saying him that yes. I was 6 years, as I continued something, very little, with Juan Miguel Hernández León when him sucedió. Before, being director of the department Antonio Miranda, Aroca had said him that it appointed me representative of Projects in the commission that elaborated the Plan of 1996, and there was; it was quite tin, especially by the insoportables postures of some, varied of them professors of projects, that now will not appoint, as if it did it could not avoid censor them.
The Sub-directorate with Aroca was not badly. I amused me, I worked, I learnt things, and related me with interesting people of the distinct School of the one of projects. The worst was that, like Sub-director of Doctorate, had to go to the commissions of the rectorship where also was Helena Churches, what I carried very bad, by the already known and because it is insoportable. We had a few fights, some fat, and I won them all, but did not like me at all.
Participate of the direction of Aroca, of the editorial of the new Plan and all this was interesting and many times fun. Aroca Worked in those years untiringly for the School, gave him to all the turn, instituyó a lot of things, and today owe him almost all the well that the ordenación of the School has. In the concrete, the worst were the Boards of School, as Aroca caused a fierce opposition of the gang of Amézqueta and Helena, to which had joined Soriano and his, and the boards were true battles campales, as Ricardo, to the that likes him the fight, enjoyed with those conflicts that to me resulted me exhausting.
When in 1996 it began the new Plan –then denostado by all, absurdly, as the Plan 1975 was one of the worst that the school had- I loaned me to go to first, that in the second semester already had projects. Also it was Fernández-Galiano, equally voluntary. I had to compatibilizar this year the group of Elements –for which looked for me like extra assistant official to Pilar García Arranz, that had been mine student and him apetecía- and allocated with me to 1º of the new Plan to Pedro Feduchi and to Sergio of Miguel. The other remained with the old Plan. It was a very good promotion, to which follow giving class in second, some –few- changed and others no. Of that first promotion did good friends, as Antonio Moral, David of Diego, Miriam López Rodero, Laura Andueza, Victoria Mateos, Anais González,… today all architects. To this promotion, together with the old Plan, carry them to a trip to see the works of Him Corbusier in France –travel that we already had done again- in first, and to Extremadura, Lisbon and Oporto in second, together with the following promotion. Afterwards we did trips shorter with other promotions. Several times did in autumn a trip by Asturias Santander and the Basque Country. Again we went back to New York, but I was not..
To the following year already were all to the new Plan, always in 1º and 2º, delivered us the semesters and groups and did similar or distinct programs. There are testimonies published. Afterwards they were going in new professors (Mónica Alberola, first, and afterwards Luis Díaz-Mauriño and José María Churtichaga), and the ones of before, less Sergio of Miguel, were disappearing. Luis Moreno and Emilio Tuñón finished the doctorate and did headlines. They mounted his own educational units and carried to Luis Red, first, and to Álvaro Soto, afterwards. Pedro Feduchi proposed an optativa of Design of Furniture, that accepted him , and left to give class in the normal courses of Projects.
The education in the new Plan, in first and second, resulted for me highly satisfactory. It was resembled Elements of Composition, but along course and half and with boys younger. It noticed a lot –and it follows noticing- the high note of the selectivity with which the students go in to the School. It began the big influx of women, something more than the half.
In 1998 Juan Miguel Hernández León proposed me participate in the foundation of a new magazine, with the publisher Iberian America, having to Pepe Ballesteros like the responsible editor. It went to be a magazine of format no conventional, cheap, and went to call “Passages of architecture and critical”. It asked me to which people seemed me that we could call, and I said him that to Gabriel Ruiz Cabrero, to Emilio Tuñón and to Luis Moreno Mansilla. It called them, and we incorporate also to the council of editorial, in shape more theoretical that real, to Eduardo Souto, Elías Torres And José Ramón Sierra. The magazine started and worked; it was very economic, had a lot success in the School and devote us to carry out it, without earning or with emolumentos symbolic. During two years wrote a lot of articles and belonged very actively to the council of editorial.
But in 2000, precisely when Juan Miguel Hernández León presented to Director of the School and went out elected, to Pepe Ballesteros occurred him that we could present us to the direction of the magazine Architecture, the one of the School, and convinced us to Ricardo Sánchez Lampreave and to me that we did it with him. Javier García Mosteiro, that was then in the Board of the School with Fernando Chueca like Dean, encouraged us a lot to do it, as it trusted we and was very empeñado in that the magazine continued and improved. We encourage us finally, we present us and we win the contest. But I put me bad. I invented me to Juan García Millán, the husband of Mónica Alberola, that had been mine student and afterwards partner, so that it covered me the drop, and like this initiated it they without me. To the following year Ricardo decided to leave it and I, that already was well, incorporated me. Afterwards it went Pepe and remain Juan and I alone. In 2004 we went back to present us to the contest, with Ricardo again like adviser of direction, and went back it to win. We did like this the magazine during 8 years and half, almost 9, taking out 32 numbers, and remain quite happy to having done a magazine that could understand like school and that had quite a lot of quality. In 2008 we went back to present us to the contest, although with few hopes and with no too many win. We lost.
In the School was giving class some years with Sergio, Mónica, Luis and José María. We follow at the beginning in first and second, but afterwards the department changed us to 5º, first, and to 4º, afterwards. We went back to 1º and 2º in the course 2008-2009. Precisely in the previous spring chose like Director of the School to Luis Maldonado, and in the department of Projects Darío Gazapo sucedió to Gabriel Ruiz Cabrero. A change of generation; mine began to glide to the dotage.
Antón Capitel · Doctor architect · professor in ETSAM
Madrid · may 2009
Es arquitecto y catedrático de Proyectos de la Escuela de Arquitectura de Madrid, fue director de la revista Arquitectura (COAM) de 1981-86 y de 2001-09. Historiador, ensayista y crítico, ha publicado numerosos artículos en revistas españolas y extranjeras sobre arquitectura española e internacional. Entre sus libros destacan diferentes monografías sobre arquitectos.