The fables are the way that Ambasz uses to comment on his architecture. It disregards of formulating theoretical analyses, because he thinks that the fables last far beyond that the ideologies. Of this form, liberated of any determining academician, it is allowed plan new methods of existence seeking to overcome the previous ones under a clearly definite goal: to formulate an agreement of architectural reconciliation based in harmonizing the artificial nature created by the man with the organic nature.
The formula that Ambasz chooses to make real the agreement is based in placing green on grey, a system of I swing on hard that chases the dictations that the site proposes, avoiding to impose a predetermined form. His intention is to recover the notion of refuge and the method that it uses allows him to separate any cultural load that acts like determining.
Of this form, when all the functional needs are satisfied, the architecture begins.
This Ambasz’s, controversial and bold formulation, proposes to evoke the architecture as a value added to the technical and utilitarian resolutions, confiriendo poetics to the pragmatic thing. In this scene, the House of Retirement in Cordova can be defined as a fable of green on grey in Andalusian lands.
The work must not be considered to be an architectural ontogenia. The image that Ambasz develops is a result of a singular reformulation of the Andalusian house, prepared with a poetical conception near to the surrealism. He attends one where the mask, the viewing-point strikes sequentially, the gradiente descendant towards the organizing emptiness, the explosion of light in this emptiness, the graduation of the lighting in the openings on the nature and the rumor of the water added to the sense of architecture.
Under this disposition the house develops. A front formed by two walls re-dressed in white stucco placed in an angle of 90 °, they mark the point of revenue and establish the only visual reference from the exterior. In the top part of the vertex that both walls form, Ambasz allows himself another evocation, installing a handcrafted balcony to which the designed one comes near by means of two stairs in projecting leaned in the interior part of both planes, to stimulate the ascent and other one the decrease. The viewing-point institutes a badge of the Andalusian atalayas of observation used centuries behind to control the movement of the invading troops, but in addition it provides a vibrant image of the landscape. A crack in the wall following the inclination of the stairs it acts as banisters and at the same time it forms a part of the top waterfall, leading the water up to the source located in the court.
On having transposed the access, a descending walk that is expanded as it is advanced, it allows to come up to the court, a redefinition of the classic Andalusian court, for which they open all the rooms, or in this case, the only room.
The interior of the house of Retirement is a great constant space excavated in the land that protects it from the warm climate of the south of Spain. A gallery crosses the court establishing the point of transition between interior and exterior. The areas limit themselves for hollows opened in the nature to bathe of own light different sectors of lounge. Floors and walls covered with blue rollers of crystal change his character of agreement to the intensity of the light that covers them. An informal court of curvilinear conventions is opened behind, allowing the ventilation crossed in the whole interior.
Ambasz’s poetics do not do without the technical tradition, for the contario, the house was constructed according to the local technologies using reinforced concrete and double walls of brick, with thin columns used to support the vaults that give to the court and to help to shape the spaces in the interior. The soil was excavated to raise the walls, then contained with compacted sand. A coating based on fiber of glass fused in the seams, wraps the buried partitions.
Ambasz’s operation dilutes in the nature any fact instituted by the architecture to establish an inseparable convention, but it evokes it in the metaphor of the wall and the viewing-point. A definition that is not submitted to a formal impulse, but proposed as an element of the alive own house, as part of the poetics of his architecture. Or in any case, like part of the procedures that govern the art of his poetry.
Marcelo Gardinetti . architect
La Plata. february 2013