Panteon

We view architecture as a discipline based on three activities: theoretical research, teaching and professional practice. All three are necessary to reach our full potential as architects: research allows us to explore deeper into our interests, teaching allows us to voice it, and practice lets us confront it with construction processes, economic issues and public criticism.

We think that the fundamentals for good architecture meet in the balance between form, function and technology. From them derives the practice of free speech whose poetic art arises from the constant search for what is reasonable. Consequently, because the concepts we are interested in are far from frivolous or capricious, it is their logical and emotional intensity we use to capture sensations and stimuli. We pursue an architecture with a commitment to its intrinsic values while we steer away from the inconsistency of certain architectural proposals characterized by a graphic definition, artificially complex, whose constructive feasibility is limited to the paper it is drawn on. We prefer to build the site instead of building on the site, because architecture must be the sensible and natural response to its environment. It is the place that gives specificity to the project and the project that gives significance to it forever.

Our method of work is scientific, since it is based on the compilation of questions and development of solutions that meet in a unique order. Competitions make up a good part of our professional practice. It is through them that we can research and delve into our concerns. Many of them have to do with concepts such as scale, monumentality, new modes of living… which we always articulate under a single instrumental idea that structures the grammatical building discourse.

We handle a diverse variety of references, useful for understanding the fertile grounds for our ideas, and which feed the critical-theoretical concerns we work around. We travel and study to learn from great masters such as Le Corbusier, Mies, Aalto and Kahn, although we identify more closely to Terragni, Bunshaft, Breuer, Jacobsen, Koenig, Ellwood or the ancient builders.