For Ricardo Flores and Eva Prats, their practice is drawing, meticulous and meditative to the point of fixation. This is how they describe it in the new issue of AV Monographs, which covers more than twenty-five years of work, organized into four sections that shed light on a process of thinking in pencil that they pursue uninterruptedly, both in their projects and in their classes.
The story begins at their own studio at Carrer de Trafalgar 12, when, captivated by the magic of a place that had already been inhabited, they decided to leave everything as it was; an attitude that became a constant and that allows them to occupy a warehouse in Poblenou, the Arsenale in Venice, and the Royal Academy in London in the same way. They go on to say that the attention they pay to material stories is the same attention with which they read the stories of the societies in which they intervene, and that this enabled them to harmonize the voices of different interlocutors in their first projects in Barcelona, in a block of social housing in Terrasa, and in the development of a new neighborhood in Sweden.
They are also able to elucidate how, in each stroke, they dilute matter into light, taking equal advantage of the Barcelona sun at Casa Providencia and of the Italian sun at the Microsoft Campus and their other projects in Venice. Thus, they leave for last the valuable lesson of how to draw a project in a building without erasing the previous one, a concern present in everything they do, but which is self-explanatory in their interventions at the Mills Museum, Casal Balaguer, Sala Beckett, and Teatro Variétés. All of these are intense lessons, carefully accompanied by texts of their colleagues Jorge Otero-Pailos and Jan de Vylder, who decipher their musings through sketches and tracings.
For Ricardo Flores and Eva Prats, their practice is drawing, meticulous and meditative to the point of fixation. This is how they describe it in the new issue of AV Monographs, which covers more than twenty-five years of work, organized into four sections that shed light on a process of thinking in pencil that they pursue uninterruptedly, both in their projects and in their classes.
The story begins at their own studio at Carrer de Trafalgar 12, when, captivated by the magic of a place that had already been inhabited, they decided to leave everything as it was; an attitude that became a constant and that allows them to occupy a warehouse in Poblenou, the Arsenale in Venice, and the Royal Academy in London in the same way. They go on to say that the attention they pay to material stories is the same attention with which they read the stories of the societies in which they intervene, and that this enabled them to harmonize the voices of different interlocutors in their first projects in Barcelona, in a block of social housing in Terrasa, and in the development of a new neighborhood in Sweden.
They are also able to elucidate how, in each stroke, they dilute matter into light, taking equal advantage of the Barcelona sun at Casa Providencia and of the Italian sun at the Microsoft Campus and their other projects in Venice. Thus, they leave for last the valuable lesson of how to draw a project in a building without erasing the previous one, a concern present in everything they do, but which is self-explanatory in their interventions at the Mills Museum, Casal Balaguer, Sala Beckett, and Teatro Variétés. All of these are intense lessons, carefully accompanied by texts of their colleagues Jorge Otero-Pailos and Jan de Vylder, who decipher their musings through sketches and tracings.
