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AND TER 1989
PUBLIC PARK AND RESIDENCES Old Port, Monte Carlo, 1998
ono pire un ipo itaùa one o mi ea. ennisti prequio se
We have both pursued an environmental sensibility for many years now and, even though a response to context has defined virtually all great architecture of the past, the mainstream design scene has continued to marginalize our work. To what do you attribute this peculiar situation? Anyone who seeks to speak in a new language should not be surprised if he/she is not understood. He will certainly be kept on the margins. And, I am frankly not surprised that it happens, and would rather be greatly concerned if I got a plumber replying: I agree, pal. Perhaps, my disregard for plumbers’ approval originates in the fact I do not care for the honor that men may bestow, but for the smile of angels. I divide architects into three categories: first, the commercial architect, what some people would call the “hack” architect; second, the professional architect who practices with a high degree of professionalism within an accepted discourse; and, third, the inventive architect. These three categories correspond closely to the notions of stereotype, type and prototype. He who invents
omvama-
a prototype is fracturing artistic convention, extending present lore, and introducing new symbols not immediately understood. Once a culture starts understanding the meanings embodied in those prototypical symbols, the prototype becomes an understood type. As the culture that once gave context to the type starts shifting away, the type becomes a stereotype. Those who dwell in a culture, homogenized and pasteurized, feel more comfortable with stereotypes. This is a possible explanation as to the why of my serenity when I am marginalized. Sometimes, when I feel too lonely, I fancy that I am on the edge of the forefront. Years ago – it has now changed – whenever I gave a lecture I felt a wave of hate coming from the audience of architectural professionals. Maybe it was because I was no longer only presenting ideas but also built buildings. No more could they dismiss my images as “easy to draw but let’s see if he can build them,” because they were already built. In essence, the buildings were too strong a demonstration that they had put an existential wager on an exhausted horse. Some of them called me in those years gone “the Antichrist”. Now, some call me The Messiah. Tomorrow…what?
266 l’ARCA 5
02_33_AMBASZ.indd 5
18-01-2011 15:48:16