conversando con...RCR arquitectes. Parte IDe los límites del dibujo. Nostalgia de la ingravidez

Abstract

RCR arquitectes share representation systems with other studios of similar entity. The homogenization that digitalization tends to impose leads us to identify an important repertoire of similar graphic representations throughout the Western wold. All the regulations that determine the whole of projects that come out of the offices also accentuates this uniform interpretation. In any case, it is possible to locate specific alterations of each studio that present different and enriching realities for the architectural graphic panorama. Probably, in these anomalies is where the most unique spirit that characterizes each studio is revealed, also in that of Rafael, Carme and Ramón.There is no great literature to help decipher the capital importance that your drawings have in the whole of your career. Undoubtedly, your wash painting technique composes the necessary torrent from which your works are nourished. This technique has characterized your identity as a study throughout these years of work. As you point out, it is an instrument with an almost automatic path between thought and arm. An agile path that leads you to present your ideas in a vigorous and abstract way. These spots of tinted water allow a prudential distance regarding the final form that the proposal will adopt and facilitate the conceptual debate, the genuine essence of their contributions. These drawings, of different formats, can be more or less precise (or fuzzy) contaminated, generally, with strokes and notes of thick pen that seek to set nuances and precepts that articulate the forthcoming project. This material reflects the maximum commitment between the architects and their work. RCR does not operate from a superficial inertia; all your works concentrate a rich number of variants that certify this strenuous intellectual work. William J. R. Curtis points out that your creations, both graphic and constructive, are developed during a long but harmonious process, and he evidences that necessary link that exists between both facets of your professional work (Curtis, 2017, p.6).In 2007 the professor Juan Antonio Cortés showed, under the heading of “Nature, painting, architecture” certain reflections that connected the RCR architecture with rhythmic issues ran by the painter Pierre Soulages, and also with the assertion of the existence of a particular style of the office, cemented through different variations anchored to a specific (personal) conception of the architectural fact (Cortés, 2007, p.22). His drawings are key to understand this intellectual and uncommon reality, and they are in continuous search for essences that make new interventions born from a thick line. At this point, it is necessary to argument how the architecture of your office is an international reference of first level. Nevertheless, the target of your drawings makes us glimpse an “artistic vis” of powerful constitution. Without a doubt, the future will confirm this pictorial explosion within the creative universe of RCR.