1. The Pantheon in Rome. A. D. 125
When I was teaching at Roma Tre University, I had my morning ritual - espresso and croissant in a cafe opposite the Pantheon. It has always seemed incredible to me that the level of culture thousands of years ago was already at such a high level that without the technologies and materials that are at our disposal today, this amazingly beautiful dome and harmonious space could have been created.
Today we are discussing a lot about the recycling of materials and their reuse, often forgetting that already at that distant time, the Pantheon was, in fact, built from recycled materials.
The Pantheon is a timeless architecture that speaks of sensitivity and attention to space, structure, and the beauty of engineering. About that understanding of architecture, which, unfortunately, many architects have lost today.
2. Church of the Holy Trinity (Wotruba Church) in Vienna. 1976
Project author Fritz Wotruba
Fritz Wotruba was a sculptor, and it is all the more surprising that, having tried himself as an architect, he was able to design a beautiful church from huge rough "stones" on the top of the St. Georgenberg mountain in Liesing, 23rd district of Vienna. This is probably one of the least known buildings in the city, but it seems to me to be one of the finest in the world.
My own approach to architecture is in many ways about the use of technology and sculptural elements, and the Votruba church has greatly influenced the formation of my views. And also, it seems to me that it is very cool when a church can be created by an artist, not an architect. For me, this is an indicator that we can always go beyond our discipline if we have talent, intuition and desire.
3. Luis Barragán
When I was a student, it was by chance that I came across a copy of a speech by Mexican Luis Barragán (1902-1988), which he gave at the presentation of the Pritzker Prize (in 1980 he became its second laureate). Now it seems strange, but during my studies at the university there was no Internet, and it was almost impossible to get this text. Barragan spoke about the loss of poetry in architecture, texts about architecture, surroundings in architecture, and most importantly, that on that day, when he received the Pritzker Prize, he received it with all those who fight for poetry and beauty in architecture. And I, then a student, felt that day that I also received "Pritzker" along with Barragan.
Many years later, I traveled around Mexico and visited some of his buildings. I really wanted to see the stables of San Cristobal, designed by him, but I could not get there. Absolutely by chance, I met my friend's sister from Vienna, who lived in Mexico and was involved in equestrian sports. She said: "Show me a photo of the stable - maybe I know her." It turned out that she goes there every week for classes, but is completely unaware of who designed it. She arranged for me to meet with the owner of the stable, who was a close friend of Barragán and told me many stories from his life, for example, this one:
Once Barragán called the famous Mexican architect Legorreta, who at that time worked in his studio: "Ricardo, you must come to my house urgently!"
Legorreta replied that he needed to finish the job first.
Barragan insisted: "No, drop everything and come urgently!"
Legorreta appeared at Barragán's house only half an hour later.
Barragan opened the door for him and said: "You missed everything."
Legoretta asked, "What have I missed?"
“You didn't see the beautiful play of light in the two glasses of champagne on the table,” Barragán replied.
This story shows how he could feel beauty in simple, "everyday" things.
4. John Lautner
When I was studying in Los Angeles, I often climbed over fences to look at Lautner's houses (John Lautner, 1911-1994) - they impressed me so much. I liked everything about them: the organization of space, uniqueness, attitude to the environment, what he managed to build in nature and at the same time in contrast to it. But today, when I already know the laws better, I would certainly not do what I did as a student. The fact is that in the United States anyone who violates the boundaries of private property can be shot without warning by its owner.
5. Gosho Imperial Palace, Park and Katsura Villa in Kyoto. XVI-XIX centuries.
When I first flew to Japan, my friend arranged for me to visit the imperial complex, which, it should be noted, is not at all easy to do. Even for the Japanese, getting inside is very difficult: it requires either getting a private invitation or being there for one week a year when the complex is open to tourists.
I was incredibly impressed. We have created - and are creating - rich Baroque ensembles in Europe to emphasize our power and demonstrate complete control over nature. Here I saw a completely opposite approach. The villa and the palace are made very simply, not at all what they should look like in our European understanding, and are completely open to the surrounding landscape. And the park seemed to have always been in such a state, although, in fact, enormous efforts were expended to achieve such "ideality".
