Monografías de Arquitectura y Vivienda36(1992)

RAFAEL MONEODirectorLuis Fernández-Galiano

3 Colin RoweLa España de Moneo

Redactor jefeJorge Sainz RedacciónAdela García-HerreraGina CariñoJusto IsasiDiseño gráficoJosé Manuel HorcajadasCubiertaJavier AlauProducciónJosé Jaime S. YusteAdministraciónFrancisco SolerDistribuciónCarmen AndradeSuscripcionesLola GonzálezPublicidadMercedes MedinaMercedes Puerta

Edita: AviSa (Arquitectura Viva S.L.)Redacción y administraciónCalle Rosario, 31.28005 Madridteléfono 266 99 00telefax 364 01 51A&V © AviSa. Julio-agosto 1992Precio del número: 2.700 pesetas

Compuesto con Xerox Ventura Publisher 3.0 Fotolitos: ClickArt Fotomecánica: Megacolor Impresión: MonterreinaNinguna parte de esta publicación, incluido el diseño de la cubierta, puede reproducirse, almacenarse ni transmitirse de ninguna forma, ni por ningún medio, sea éste electrónico, químico, mecánico, óptico, de grabación o de fotocopia, sin la previa autorización escrita por parte de AviSa. Todos los derechos reservados. All rights reserved.Depósito legal: M. 7.649/1989. ISSN: 0213-487X

Nota: este número se publica en dos ediciones, castellana e inglesa, por lo que aparece sin el habitual cuadernillo con las traducciones de los textos.Agradecimientos: nuestro reconocimiento por su colaboración a todas las personas que integran el equipo de Rafael Moneo y en especial a Luis Rojo de Castro.Cubierta: en portada, la nueva estación de Atocha (foto de J. Azurmendi) con un fragmento de Gente prohibida (1967), de Juan Genovés, en primer plano, y Madrid sur (1965-1985), de Antonio López, como fondo; en contraportada, las cubiertas del Museo Thyssen (foto de E. Belzunce) con un fragmento de La madrugadora (1958-1959), de Antonio López, en primer plano.

Fe de errores: en el número 33 ‘Cultura física’ se omitió a J.L. Canosa como arquitecto del polideportivo de L’Ametlla; en el 34-35 ‘Sevilla Expo’, la foto 3 de la página 21 es en realidad la Puerta del Agua de la Avenida 1, de F. Carrascal y J.M. Fernández; y en ese mismo número, en la ficha técnica del pabellón de Japón, debieron aparecer J. Molino y A. Barrionuevo como directores de obra, y M.I. Soltero y J.M. Oiler como aparejadores.

Fondo y figura6 Luis Fernández-Galiano

Un arquitecto de carácter Rafael Moneo: tres edificios, nueve ciudades

8 Alan ColquhounEntre el tipo y el contextoFormas y elementos de una arquitectura singular

12 Daniele VitaleMás allá de las ideasRazón y arbitrio en el proyecto construido

Construir la ciudad18 1980-1988, Jaén

La ciudadela del tesoro. Sucursal del Banco de España 26 1982-1988, Sevilla

Una esquina monumental. Edificio de Previsión Española 39 1983-1992, Tarragona

Construir en las ruinas. Sede del Colegio de Arquitectos 42 1984-1992, Madrid

Sobre las vías oblicuas. Ampliación de la Estación de Atocha 52 1987-1991, Sevilla

De la tierra al cielo. Terminal del Aeropuerto de San Pablo

Obras en proceso62 1986-1992, B arcelona

Huecos escalonados. Manzana Diagonal 66 1987-1992, Palma de Mallorca

La galería del jardín. Fundación Pilar y Joan Miró 14 1988-1993, Barcelona

Dos piezas sinfónicas. Auditorio de Música 78 1989-1993, Wellesley, Massachusetts

Cubo de luz. Davis Center, Wellesley College 82 1989-1992, Madrid

Cirugía del arte. Museo Thyssen-Bornemisza

Proyectos de concurso90 1986, Viena

Una plaza de cristal. Salas de Exposiciones del Messepalast 94 1990, Lucerna

Música junto al lago. Sala de Conciertos y Centro Cultural 98 1990, San Sebastián

Rocas varadas. Centro Cultural y Auditorio del Kursaal 104 1991, Venecia

El dosel de las estrellas. Palazzo del Cinema 108 1991, Estocolmo

Perfil nórdico. Museos de Arte Moderno y de Arquitectura

112 Bibliografía reciente y colaboradores

EditorLuis Femández-Galiano

Deputy EditorJorge SainzEditorial StaffAdela García-HerreraGina CariñoJusto IsasiGraphic LayoutJosé Manuel HorcajadasCoverJavier AlauProductionJosé Jaime S. YusteAdministrationFrancisco SolerDistributionCarmen AndradeSubscriptionsLola GonzálezAdvertisingMercedes MedinaMercedes Puerta

Publisher: AviSa (Arquitectura Viva S.L.)Editorial and Administrative OfficesCalle Rosario, 31.28005 Madrid, Spain Phone 34-1-266 99 00 Fax 34-1-364 01 51

A&V © AviSa. July-August 1992 Price of issue: $30

Composed with Xerox Ventura Publisher 3.0 Photolithography: ClickArt Color separations: Megacolor Printing: MonterreinaAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, whether electronic or mechanical, including photocopy, recording or any other information storage or retrieval system, without prior permission in writing from the publisher.ISSN: 0213-487X

Note: This is the first A&V issue to have a separate English edition. All translations are by Gina Cariño, and edited by David Cohn.

Acknowledgements: Our gratitude to all the people at Rafael Moneo's office and especially to Luis Rojo de Castro.Jacket: on front cover.the new Atocha Railway Station (photo by Javier Azurmendi) with a fragment of Forbidden People (1967), by Juan Genovés, in the foreground and Madrid South (1965-85), by Antonio López, in the background; on back cover, the roof ot the Thyssen Museum (photo by Eduardo Belzunce) with a fragment of The early-rising woman (1958-59), by Antonio López, in the foreground.

Monografías de Arquitectura y Vivienda36(1992)

RAFAEL MONEOColin Rowe Moneo’s Spain

Figure and GroundLuis Femández-GalianoAn Architect of CharacterRafael Moneo: Three Buildings, Nine CitiesAlan ColquhounBetween Type and ContextForms and Elements of a Unique ArchitectureDaniele VitaleBeyond IdeasReason and Discretion in the Built Project

Building the City1980-1988, JaénThe Treasure Fortress. Branch Office, Bank of Spain1982- 1988, SevilleA Monumenta! Corner. ‘Previsión Española' Building1983- 1992, TarragonaBuilding on Ruins. Tarragona Institute of Architects1984- 1992, MadridOver Oblique Tracks. Extension of the Atocha Station1987-1991, SevilleFrom Land to Sky. New San Pablo Airport Terminal

Works in Process1986- 1992, BarcelonaStepped Openings. Diagonal Block1987- 1992, Palma de MallorcaThe Gallery Garden. Pilar and Joan Miró Foundation1988- 1993, BarcelonaTwo Symphonic Pieces. Music Auditorium1989- 1993, Wellesley, MassachusettsA Light Cube. Davis Center, Wellesley College 1989-1992, MadridArt Surgery. Thyssen-Bornemisza Museum

Competition Projects1986, ViennaA Glazed Square. Messepalast Exhibition Halls 1990, LucerneMusic by the Lake. Concert Hall and Cultural Center1990, San SebastiánStranded Rocks. Kursaal Cultural Center and Auditorium1991, VeniceThe Canopy of the Stars. Palazzo del Cinema 1991, StockholmNordic Profile. Museums of Modern Art and Architecture

Recent Bibliography and Collaborators

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112

Moneo’s Spain

I am assuming that Catalonia is not part of Spain; therefore, quite truthfully I am able to say that I have never been to Spain. On the other hand, I have been to Barcelona, in January 1985, where I stayed at a hotel opposite to what I would call the duomo.

So I was slightly shocked by Barcelona, which in spite of Gaudí and all the rest is a mildly inadequate, destitute city. I had expected perhaps a poor man’s version of Genova La Superba, but found nothing like it.From this recognition, I took consolation in the knowledge that the Spanish crown had persistently suppressed Barcelona in favor of Genoa, port of entry to Spanish Lombardy, whose bankers had so frequently relieved the financial pressures of the Spanish crown.

But we all know this (or don’t we?), and we know that the pressures on Barcelona became relaxed under Charles III of Bourbon, allegedly an enlightened prince. All the same, it was too late to do much good.

In the foregoing, which are the observations of a naive Anglo-American foreigner casually walking the streets, I also had opportunity to think about the folly of Philip II in retreating to Madrid and establishing the capital there. For surely Spain belonged to the sea, on the one side to Barcelona and on the other to Lisbon.

Thinking about all this, I was also obliged to think about innate Spanish distinction (the Escorial and all that); and as I thought about it I returned to my hotel, which abundantly compensated for the walk.

Everything there was well conducted - red morocco all the way -, nothing of the usual Statler Flilton horrors, all of it seeming to exhibit a presence, a quasi-antique tenu which could surely date no later than circa 1925; so judge my surprise when I learned that this hotel was about forty years newer than I had assumed it to be. And hence more food for thought, not only on Spanish distinction but also on Spanish retardation.

It was thus, sitting in one of the red morocco chairs and holding a drink, that for the first time in my life I found myself contemplating with a mild favor the intolerable and repressive regime of the late General Franco. For after all, was it not as a result of the appalling policies of El Caudillo himself, determined as he was to hold back the course of ‘history,’ that I was able to sit, very briefly, in this modest, sparsely Spanish and highly elegant room?

I didn’t like the idea then, in January 1985, and I don’t like it now; nevertheless it still lives in my mind (perhaps festers in my mind) and I feel compelled to enlarge upon it.

Simply, I wish to propose as a topic of thought that brief moment of enlightenment likely to follow the overturning of a bad and impossible

36 (1992) A&V 3