Architects studying another architect are tempted to have empathy: an emotion that makes them identity with their subject, as has happened to Ángel Verdasco in the course of his research, now presented in twin books.
Of all those who opened our borders from the 1950s on, the figure of Curro Inza has been fading, overshadowed, perhaps, by the unquestionable glow of his predecessors and succesors. As Verdasco says in the introduction, in the years that Inza was editorial secretary of the magazine Arquitectura, he coincided with the major figures of architecture of the time. Even from an intimate angle, Inza appears as a lost link in our evolution, a piece of a key puzzle which, thanks to these two publications, can now be reread a bit more clearly, a bit more completely.
Through his writings Inza stands out as a master in the complex art of paradoxical thought that reached such heights with Alejandro de la Sota. He often realizes his contradictions and even displays them with pride, but without ever seeming to want to pass for a critic, as Verdasco says.
But it is in his built work that we find the architect resolving his contradictions and translating them into a fully contemporary architecture where reason gives way to the irrational. Inza made experimentation a method, resorted to a poetic violence that enabled him to swim amid different currents and take the risks that came with the expansive historical moment it was his lot to live. In the final analysis, the twin books demonstrate that an entire period is identified with its own confusion.