I must admit that, at this point, it is not at all easy for me to be convinced and to like an architectural piece. And this Fontán by Andrés Perea convinces me, and I like it a lot: it is gorgeous.
We, architects, know how difficult it always is to build a building between party walls, one without the freedom that an isolated construction allows.
And in this case, it is a building in between. Like between party walls, but without them, not attached to them. Peter Eisenman's building is fine, but Andrés Perea's is superior, much better. Not only does it dialogue on an equal footing with the American master, but it also puts it in value. It is an extraordinary dialogue. For it is not at all easy to be embraced by a very singular architecture and to emerge victorious from the onslaught. Just as it is economically to succeed with a budget ten times smaller than expected, a miracle!
Elevation sketch by Andrés Perea. El Fontán by Andrés Perea, Elena Suárez, Rafael Torrelo.
From the very first drawings by Andrés Perea, it is clear what is coming. The sketches, being very Andrés Perea, are so universal, magnificent. And they translate very well not only the wisdom of a master but also announce very well what is to come.
To propose a free but precise structure, simple but effective, to support this beautiful roof, which I would insist, using a language in keeping with that of Peter Eisenman, is not easy. An arborescent metal structure with capitals that support the roof beams. It is an exemplary structure.
Fontán building by Andrés Perea, Elena Suárez, Rafael Torrelo. Photograph by Ana Amado.
Fontán building by Andrés Perea, Elena Suárez, Rafael Torrelo. Photograph by Manuel G. Vicente.
Andrés Perea achieves his aim with few but beautiful words. It seems as if he had had on hand the little book by Strunk and E.B. White, the American linguists who sum up everything in omit needless words. Because that, the omission of unnecessary words, is what Andrés Perea has done, with a splendid result. He accomplished, in his own words: "the beauty of the intermediate states in the final result." Less is more in the most profound sense of this architectural principle.
The skylights, like a piano keyboard, arrange and project a marvelous light into the covered space.
I recommend you to visit this beautiful space of contemporary architecture. You will thank me for it.
We, architects, know how difficult it always is to build a building between party walls, one without the freedom that an isolated construction allows.
And in this case, it is a building in between. Like between party walls, but without them, not attached to them. Peter Eisenman's building is fine, but Andrés Perea's is superior, much better. Not only does it dialogue on an equal footing with the American master, but it also puts it in value. It is an extraordinary dialogue. For it is not at all easy to be embraced by a very singular architecture and to emerge victorious from the onslaught. Just as it is economically to succeed with a budget ten times smaller than expected, a miracle!
Elevation sketch by Andrés Perea. El Fontán by Andrés Perea, Elena Suárez, Rafael Torrelo.
From the very first drawings by Andrés Perea, it is clear what is coming. The sketches, being very Andrés Perea, are so universal, magnificent. And they translate very well not only the wisdom of a master but also announce very well what is to come.
To propose a free but precise structure, simple but effective, to support this beautiful roof, which I would insist, using a language in keeping with that of Peter Eisenman, is not easy. An arborescent metal structure with capitals that support the roof beams. It is an exemplary structure.
Fontán building by Andrés Perea, Elena Suárez, Rafael Torrelo. Photograph by Ana Amado.
Fontán building by Andrés Perea, Elena Suárez, Rafael Torrelo. Photograph by Manuel G. Vicente.
Andrés Perea achieves his aim with few but beautiful words. It seems as if he had had on hand the little book by Strunk and E.B. White, the American linguists who sum up everything in omit needless words. Because that, the omission of unnecessary words, is what Andrés Perea has done, with a splendid result. He accomplished, in his own words: "the beauty of the intermediate states in the final result." Less is more in the most profound sense of this architectural principle.
The skylights, like a piano keyboard, arrange and project a marvelous light into the covered space.
I recommend you to visit this beautiful space of contemporary architecture. You will thank me for it.
Text by Alberto Campo Baeza.
