JUJOL FUNDAMENTAL, VENICE BIENNALE<\/p>\n
—————————————————————————————Zebra Crossing—————–<\/p>\n
Rem Koolhaas, the Dutch doyen of European architects, curator of the 14th edition of the<\/p>\n
Venice Architecture Biennale, is the one who chose the name <\u201cFundamentals\u201d, grafting<\/p>\n
architecture> for this new edition. He proposes a look at the traditions of each territory, <\/p>\n
to learn from the past, because the current architectural model is exhausted. A concept <\/p>\n
essential, into which the project \u201cGrafted Architectures\u201d by the curator fits perfectly<\/p>\n
of the Catalonia pavilion, Josep Torrents, which references the renovation that the architect<\/p>\n
Josep Maria Jujol carried out on Casa Bofarull, in Els Pallaresos, between 1913 and 1933.<\/p>\n
\u201cGrafted Architectures\u201d is a project rooted in the world of botany, where grafting is<\/p>\n
one of the keys to the survival of most plant species. It is the reference <\/p>\n
current architectural reference for new proposals that harmoniously merge with the pre-existing elements.<\/p>\n
pre-existing. Grafting conveys the idea of creating a new organism that combines the <\/p>\n
strengths of the original components, which possesses greater strength than these elements had<\/p>\n
when separate. According to Torrents: \u201cIt is about overcoming franchised architecture <\/p>\n
that standardizes all cities\u201d. Although grafts are something intrinsic to botany, the <\/p>\n
concept of contrast in creation, and the interplay with found elements, we find it in the styles of<\/p>\n
transition, in Cubism and in \u201ccollages\u201d.<\/p>\n
A concept that stems from a traditionally rural architecture, that arises from the rich<\/p>\n
precariousness so widespread in Camp de Tarragona, which Jujol knew very well, and applied to<\/p>\n
many of his creations and designs. \u201cGrafted Architectures\u201d was inaugurated in Venice <\/p>\n
on June 5th, within the framework of the \u201cEventi Collaterali\u201d. The exhibition presents to the public a <\/p>\n
about thirty drawings that Jujol presented to the Bofarull sisters, when they commissioned him<\/p>\n
to repair the roof of their farmhouse, a repair that lasted for twenty years, and<\/p>\n
finally represented the total renovation of the farmhouse.<\/p>\n
The poet Alex Susanna, director of the Ramon Llull Institute, commented that, setting aside the<\/p>\n
contemporary buildings, the highlight of the Catalan pavilion is the vindication of Jujol \u201cThe best-kept secret<\/p>\n
of 20th-century architecture. Few architects remain so unclassifiable to <\/p>\n
discover\u201d<\/p>\n
Josep Maria Jujol, the largely overlooked figure of Modernism, always in the powerful shadow of Antoni<\/p>\n
Gaud\u00ed, finally comes to light. The international showcase that his recognition represents <\/p>\n
within the framework of the Venice Biennale, is the culmination of combined efforts, in which the<\/p>\n
institutions of Tarragona have long played an undeniable role, sometimes with severe<\/p>\n
setbacks, (I still recall the outcry regarding John Malkovich’s visit fee, and the two<\/p>\n
brilliant performances of \u201cThe Infernal Comedy\u201d in the celebration of the centenary of the Theatre<\/p>\n
Metropol) and always with the certainty of showcasing the work of a great artist. It was Jujol who <\/p>\n
designed many of Gaud\u00ed’s marvels such as the facade of Casa Batll\u00f3, the<\/p>\n
ceilings and the wrought ironwork of the balconies of La Pedrera, the mosaic bench in Park G\u00fcell, in<\/p>\n
Barcelona. To which must be added the magnificent works carried out in Camp de Tarragona, and which have <\/p>\n
their apex in the Metropol Theatre of this city. The architect Josep Llin\u00e0s, who was <\/p>\n
responsible for the theatre’s remodelling, following Jujolian references, created something akin<\/p>\n
to grafted architecture in its execution.<\/p>\n
It is vital to resume the steps initiated years ago towards the \u201cJujol Foundation\u201d, in Tarragona,<\/p>\n
which various crises have gradually erased. Now that Jujol’s work and figure are considered as <\/p>\n
the starting point of the history of contemporary Catalan architecture.<\/p>\n
———————————————Josep Maria Rossell\u00f3—————————————————–<\/p>\n","protected":false},"excerpt":{"rendered":"
JUJOL FUNDAMENTAL, VENICE BIENNALE —————————————————————————————Zebra Crossing—————– Rem Koolhaas, the Dutch doyen of European architects, curator of the 14th edition of […]<\/p>\n","protected":false},"author":1,"featured_media":2492,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[107],"tags":[],"class_list":["post-2490","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-zebra-crossing"],"_links":{"self":[{"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/posts\/2490","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/comments?post=2490"}],"version-history":[{"count":0,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/posts\/2490\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/media\/2492"}],"wp:attachment":[{"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/media?parent=2490"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/categories?post=2490"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/josepmariarossello.com\/en\/wp-json\/wp\/v2\/tags?post=2490"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}