JUJOL FUNDAMENTAL, VENICE BIENNALE
—————————————————————————————Zebra Crossing—————–
Rem Koolhaas, the Dutch doyen of European architects, curator of the 14th edition of the
Venice Architecture Biennale, is the one who chose the name <“Fundamentals”, grafting
architecture> for this new edition. He proposes a look at the traditions of each territory,
to learn from the past, because the current architectural model is exhausted. A concept
essential, into which the project “Grafted Architectures” by the curator fits perfectly
of the Catalonia pavilion, Josep Torrents, which references the renovation that the architect
Josep Maria Jujol carried out on Casa Bofarull, in Els Pallaresos, between 1913 and 1933.
“Grafted Architectures” is a project rooted in the world of botany, where grafting is
one of the keys to the survival of most plant species. It is the reference
current architectural reference for new proposals that harmoniously merge with the pre-existing elements.
pre-existing. Grafting conveys the idea of creating a new organism that combines the
strengths of the original components, which possesses greater strength than these elements had
when separate. According to Torrents: “It is about overcoming franchised architecture
that standardizes all cities”. Although grafts are something intrinsic to botany, the
concept of contrast in creation, and the interplay with found elements, we find it in the styles of
transition, in Cubism and in “collages”.
A concept that stems from a traditionally rural architecture, that arises from the rich
precariousness so widespread in Camp de Tarragona, which Jujol knew very well, and applied to
many of his creations and designs. “Grafted Architectures” was inaugurated in Venice
on June 5th, within the framework of the “Eventi Collaterali”. The exhibition presents to the public a
about thirty drawings that Jujol presented to the Bofarull sisters, when they commissioned him
to repair the roof of their farmhouse, a repair that lasted for twenty years, and
finally represented the total renovation of the farmhouse.
The poet Alex Susanna, director of the Ramon Llull Institute, commented that, setting aside the
contemporary buildings, the highlight of the Catalan pavilion is the vindication of Jujol “The best-kept secret
of 20th-century architecture. Few architects remain so unclassifiable to
discover”
Josep Maria Jujol, the largely overlooked figure of Modernism, always in the powerful shadow of Antoni
Gaudí, finally comes to light. The international showcase that his recognition represents
within the framework of the Venice Biennale, is the culmination of combined efforts, in which the
institutions of Tarragona have long played an undeniable role, sometimes with severe
setbacks, (I still recall the outcry regarding John Malkovich’s visit fee, and the two
brilliant performances of “The Infernal Comedy” in the celebration of the centenary of the Theatre
Metropol) and always with the certainty of showcasing the work of a great artist. It was Jujol who
designed many of Gaudí’s marvels such as the facade of Casa Batlló, the
ceilings and the wrought ironwork of the balconies of La Pedrera, the mosaic bench in Park Güell, in
Barcelona. To which must be added the magnificent works carried out in Camp de Tarragona, and which have
their apex in the Metropol Theatre of this city. The architect Josep Llinàs, who was
responsible for the theatre’s remodelling, following Jujolian references, created something akin
to grafted architecture in its execution.
It is vital to resume the steps initiated years ago towards the “Jujol Foundation”, in Tarragona,
which various crises have gradually erased. Now that Jujol’s work and figure are considered as
the starting point of the history of contemporary Catalan architecture.
———————————————Josep Maria Rosselló—————————————————–
