Cosmopolitan Practices

Spain Exports

Enrique Encabo  Inmaculada Maluenda 

Selgascano, Serpentine Gallery summer pavilion, London

In the final weeks of 2014 and the initial ones of 2015, Spanish architecture suddenly took on a state of perpetual event. News began to seep in – at first sotto voce, then with the deafening din of a propaganda machine – proclaiming the ecumenical success of local architects. The announcements came almost one after the other (in incomplete, inexact, but illustrative order): the inclusion among the six finalists in the Guggenheim Helsinki competition of two Spanish teams (one formed by Goberna, Grau, López Conde, Blanco, and Carrillo, and the other by Jerez and Pérez de Juan); the winning of the Oslo Triennale curatorship by Casanovas, González Galán, Mínguez, Navarrete, and Otero, for their After Belonging Agency proposal; the appointment of Juan Herreros (who is already raising the Munch Museum in Oslo) to the post of Director of Advanced Studies at Columbia University’s GSAPP; the competition wins of Izaskun Chinchilla and Andrés Jaque in New York – to build the summer pavilions at the City of Dreams and PS1 –, Rafael de La-Hoz and Francisco Mangado in Meishan and Hunan – both in China, the country where EMBT has been landing building jobs for almost five years now –, and Amann-Cánovas-Maruri with AMM arquitecturas in Luxembourg and Switzerland; the double commission (also by competition) of Ecosistema Urbano in Russia (to revitalize the Voronezh Sea) and Paraguay...

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