His work has been extensively exhibited in recent years, ranging from Mies's Crown Hall at the IIT in Chicago, to the Urban Center in New York, the MA Gallery in Tokyo or the MAXXI in Rome and, more recently, at the Oris House of Architecture in Zagreb.
On the occasion of the award we made a selection of works published in METALOCUS, among which the Casa Gaspar (Cádiz, 1992), the Headquarters of the Caja de Granada (2001), the Casa Olnick Spanu (New York, 2008), the Nursery for Benetton (Treviso, 2008), the Museum of Memory of Andalusia (Granada, 2009), the Plaza Entre Catedrales (Cádiz, 2009), the Casa del Infinito (Tarifa, 2014) or the Casa Rotonda (Madrid, 2021).
Gaspar House by Alberto Campo Baeza, Vejer de la Frontera, Spain, 1992
On the occasion of the award we made a selection of works published in METALOCUS, among which the Casa Gaspar (Cádiz, 1992), the Headquarters of the Caja de Granada (2001), the Casa Olnick Spanu (New York, 2008), the Nursery for Benetton (Treviso, 2008), the Museum of Memory of Andalusia (Granada, 2009), the Plaza Entre Catedrales (Cádiz, 2009), the Casa del Infinito (Tarifa, 2014) or the Casa Rotonda (Madrid, 2021).
Gaspar House by Alberto Campo Baeza, Vejer de la Frontera, Spain, 1992
The project is developed on a square in the plan of 90 square meters, above it, a prismatic volume rises where the color white, very characteristic conjunction of Campo Baeza architecture together with traditional Cadiz architecture where both languages are understood and dialogue.
The house, defined by four enclosure walls of 3.5 meters, is based on a square measuring 18 x 18 meter which is subdivided into three equal parts. Only the central portion is roofed. The square is then divided transversely by two, 2 meter high, walls into three parts with the proportions A, 2A, A, the service pieces being located on the sides. The roof of the central space is taller, 4.5 meter high.
Olnick Spanu House, the first project in New York, the United States. A project that clearly reflects the Spanish architect's career. Architecture with capital letters, quiet and without fanfare.
In this impressive place, we establish a plane, a platform that underlines the landscape before us, seeking to enhance it. A large long box is thus built, 122 feet long by 54 feet wide by 12 feet high, with sturdy concrete walls that accentuate its relationship to the land. The roof of this box is flat, paved in stone, travertine, so that we may use it.
In this impressive place, we establish a plane, a platform that underlines the landscape before us, seeking to enhance it. A large long box is thus built, 122 feet long by 54 feet wide by 12 feet high, with sturdy concrete walls that accentuate its relationship to the land. The roof of this box is flat, paved in stone, travertine, so that we may use it.
The house intended for a poet is closed almost entirely to the outside, located on a corner plot, the architect Alberto Campo Baeza decides to give it a poetic feeling, the house opens with large windows to the garden generating a game of permeability and transparency in the south-facing areas, while with the orientation it will play with translucency.
Three concepts that connect and make the house be conceived as a different place: the primitive dwelling as a refuge and home, the metaphorical idea of nudity for the garden and a library on the upper level.
Three concepts that connect and make the house be conceived as a different place: the primitive dwelling as a refuge and home, the metaphorical idea of nudity for the garden and a library on the upper level.
House of the Infinite, Cádiz, Spain, 2014
There we have erected a house as if it were a jetty facing out to sea. A house that is a podium crowned by an upper horizontal plane. On this resoundingly horizontal plane, bare and denuded, we face out to the distant horizon traced by the sea where the sun goes down. A horizontal plane on high built in stone, Roman travertine, as if it were sand, an infinite plane facing the infinite sea. Nothing more and nothing less.
Offices are arranged inside the cube on seven floors around the central interior courtyard. The cube is built on a 3x3x3m grid of reinforced concrete that in the roof serves as a light-gathering mechanism, the central theme of this building. The two facades to the south operate as a “brise-soleil” and, filtering this powerful light, illuminate the areas of open offices. The two facades to the north, serving the individual offices, receive the homogeneous and continuous light of this orientation and are closed to the exterior by means of a stone and glass cladding.
The project by Alberto Campo Baeza, was developed in an urban context tense, full of history and difficult to handle by heavy regulations that protect the environment of the Cathedral of Zamora. The Campo Baeza architecture might seem that had not found its place, and yet found its way with a sandstone walls.
A lot of time from the competition, have been almost 8 years. Now we live in times of lower excitation-architectural icon, the time has helped introduce the building by Campo Baeza and now is more contemporary.
A lot of time from the competition, have been almost 8 years. Now we live in times of lower excitation-architectural icon, the time has helped introduce the building by Campo Baeza and now is more contemporary.
The sports pavilion is considered as a light piece, with translucent glass enclosure and GRC lightened concrete panel and metal structure. Pure tectonic space. The entrance hall, the classrooms and the swimming pool; are opaque volumes and constructed with reinforced concrete structure. Pure stereotomic space.
The Benetton Nursery was designed with different spaces according to their uses and proximity to the center: the main piece is the nucleus and axis of the project, it is surrounded by four prisms of lower height and where the children's classrooms are developed, to finally all be embraced by patios where children are protected and at the same time participate from the outside, delimited by a circular wall that surrounds the complex.
The pavilion consisted of a cylinder, 21m. in diameter (7x3) and 14m. of height (7x2), with a black exterior and a white interior completely full of light. It is an authentic ÁGORA inside which stands a stand crowned by shelves where the books were located.
The visitor enters through a courtyard with an entrance hall. In the interior, the space flows between the three floors, creating a large room, "a generous central space, the sum of two vertical spaces of double height that, when joining vertically displaced, create a sensation of great amplitude. House converge in that central space." Alberto Campo Baeza.
