Javier Cenicacelaya and Íñigo Saloña are the winners of the Prize Rafael Manzano of Classic Architecture and Restoration of Monuments 2014 obtained by the labor that they have developed during decades of defense and putting in practice of a more conscious architecture of the context and of the needs of his inhabitants, capable of integrating the local tradition and the classic language in the modernity.
Javier Cenicacelaya (1951) and Íñigo Saloña (1958) obtained the architect’s title in the School of Architecture of the University of Navarre in 1975 and in 1981 respectively. Cenicacelaya got also Máster’s title in Urban Design for the School of Architecture of Oxford in 1978 and took doctor’s degree for the University of Navarre in 1984. Both have been Visiting Scholars of the Institute for the Arts and the Humanities of the Foundation John Paul Getty of Los Angeles and have given class in the School of Architecture of the University of the Basque Country, where Javier Cenicacelaya is A Professor of Architectural Composition from 1993, and in the School of Architecture of the University of Miami, where Cenicacelaya reached the Dean’s cargo, besides in many other national and international centers.
They founded in 1988 the international magazine of architecture Architectural Composition Art and Architecture, which would turn into an international modal for the classic contemporary architecture and the return to the tradition of the architecture of his time. This magazine forms a part of a wide path reivindicativa of architectural alternatives forgotten by the ultramodern fundamentalism, in that we can find the organization of exhibitions as Joze Plecnik 1872-1957, Architecture and City (1986), and Neoclassic Architecture in the Country Vasco (1990), exhibited in several cities of Spain, as well as frequent conferences and classes so much in our country as abroad and a great number of publications of books and articles about a wide subject matter.
His work has developed fundamentally in Bilbao, where they founded his study in 1983, contributing since then with his numerous architectural interventions in the area vizcaíno that there was consolidated a way of doing architecture removed from the formal corsets imposed by the architectural forefront. Pleading for using all the architectural resources they could be valid today in day, they restored the forms, languages and materials of the tradition to the set of available tools for the contemporary architect.
Between his more representative works in this respect we can emphasize the Rural Center of The Rigada (Musques), the room multiuses of the College Derio’s Sacred Family, the office block and Durango’s cultural center, the amplification and rehabilitation of a house in Galdácano, all of them in Biscay, and his contribution to the reconstruction of the Rue Lacken of Brussels.
The Rural Center was entrusted by Musques’s Town hall for the meetings of the local community. It lodges a lounge, bathrooms and, in a low plant, you douche for those who play in a nearby fronton. It is constructed by traditional methods, based on walls of load and structure of cerchas wood. The order is in use toscano, as the most rural of the orders, in the porticoes attached to the building, destined to protect the people of the rain, and to using as point of community meeting.
The room of Derio’s college had to serve for different uses: from ceremonies and school meetings, to zone of game for the smallest children in the rainy days, but also as symbol and representation of the set of buildings of the college. It is conceived as a great lounge, with a low wall to give privacy from the exterior, and big large windows to a top level, to have the maximum lighting enclosed in the cloudiest days. A cover to two waters protects to the building and creates a few very low frontons.
Durango’s building raises in one of the fronts of the square Ezkurdi, where one finds the most significant number of historical buildings of the municipality, turning with it into a particularly sensitive emplacement. In a lot only 10 meters of width were asking three different accesses from themselves, for a cultural society and for the offices of the top floors. With determining these, they chose to create the only relevant entry that was unifying three needed doors, without the building was losing the representation that his condition of cultural society was needing. A wide gallery acristalada answers in the top floors of the building one of the climatic traditional devices more commonly used in the own architectures of the Cantabrian regions.
In case of Galdácano they worked on an existing house, which existence they respected, rehabilitating her and him adding two new volumes. The house places close to a national monument: the Gothic church of Santa Maria, for what it was turning out to be fundamental to support the character of this place and the balance rested between the vernacular thing and the monumental thing. There was reconstructed the whole structure of the house, which it was in very bad been. The new additions provided the additional spaces needed by the family. In them the wood and the stone were used profusely; with the traditional Basque house like formal and constructive fundamental modal.
His building of housings in the Rue de Lacken of Brussels formed a part of an innovative and ambitious operation that was coordinated by the Belgian architect Maurice Culot: the reconstruction of a street completes that years before had been eliminated of the urban traditional fabric of the city to shelter a great modern building. In this set, the architects who contributed to his recovery, returned to the zone the scale, the materials and the language of the architecture marcadamente classic that previously had characterized her.
Besides these performances, his contribution is also prominent to the recovery of the urban image of the city of Bilbao, where they took charge of the restoration of one of his more representative buildings: the Palace of the Deputation of Biscay. This intervention formed a part of a wide set of performances that they converted to the city into the attractive tourist destiny that is today in day, merit unjustly attributed in sole right to the construction of the Museum Guggenheim, which was not but a complement to this notable operation of revaluation of the historical center and of the excellent widening of the city.
To the margin of the mentioned works, during his stay in the United States they realized in Florida you act as Saint John’s Church Neumann in Miami and housings in Alys Beach.
His work has been exposed in diverse places as the Fondation Pour L’Architecture of Brussels, the Trienale of Bologna, the Prince’s Foundation of London, or the Biennial one of Venice, between others, and they have received along his professional career numerous prizes: Biscay of Architecture (1988 and 1989), Young Spanish Architects (1990), I Become a member of association Architects’ Basque – Navarrese one (1991, 2003, 2007), City of Burgos of Architecture (1992), European Prize to the Reconstruction of the City (1992 and 1995), National Builders Council of America (1997) and the Charter Award of the CNU (2003), to that this new recognition adds now.