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Francisco “Patxi” Mangado, the 54-year-old Spanish architect, compares his bronze-clad Archaeological Museum of Álava in Vitoria, Spain, to a “coffer guarding a treasure.”
The evocative title of the exhibition Cities of Artificial Excavation: The Work of Peter Eisenman, 1978–1988 at the Canadian Centre for Architecture in Montreal in 1994 turns out to be an oracular description of the architect’s City of Culture of Galicia in northwest Spain. Eisenman’s project of a lifetime, now 12 years in design and construction, has involved serious digging and earthmoving to create topographical man-made structures that blur figure and ground. With two buildings just open, the complex’s raw state presents an artificial landscape of thrashing, gnashing stone creatures restlessly rising up from the earth before subsiding into calm
Located on a rocky slope in the western outskirts of Madrid, this 2,691-square-foot concrete, glass, and steel house turns its back to the surroundings and interacts instead with the distant Pardo forest and Madrid’s skyline.
A 58,857-square-foot museum of modern and contemporary Catalan art in Barcelona's 22@ district, a former industrial zone that the city has redeveloped into a service and tech corridor.
With a very modest budget and a narrow, elongated site in a tiny village in Spain, the clients asked for a small house that could be used as a painting studio as well as an occasional weekend home for their children.
Swiss architect Gus Wüstemann defines his design approach as “program-free architecture,” in which “everything that contaminates the space with a program disappears.”
An 800-square-foot basement space for a sneaker and fashion footwear company, housing a press office and a showroom that doubles as a VIP meeting room.
A 26,910-square-foot brand showcase for the Spanish bathroom-fixture company, with offices and a garden at the basement level, a museum of the brand on the ground floor, a showroom on the first floor, and an event space on the second floor.
