Upcoming Interview by RTF

How did the initial experience of designing and managing projects at Perkins & Will eventually help build MQ Architecture?

In  the summer of 1996, I was able to visit New York and Chicago for the first time, and I was infatuated with the energy and scale of these cities, therefore the idea of coming to work to the US became almost imperative. While looking for job opportunities, a friend put me in touch with Jose Gelabert-Navia, the principal at Perkins and Will in Miami, who was interested in expanding on the international team in his office, and gave me the opportunity to join the Miami chapter. Little did I know this was going to become the foundation of my professional career. Under the corporate brand of Perkins and Will, Miami won several large educational projects, but the office was relatively small (18 employees when I joined in January 2000). Therefore, I got exposed to a large array of tasks and a level of commitment that was probably unusual for a recent graduate. Carlos Chiu, my Project Manager, was crazy enough to lead a team of young architects to do the Construction Documents and later Construction Administration of a High School for 3,000 students in Fort Lauderdale. To this date, I remember it as one of the most challenging and exciting periods of my life. I had to quickly learn to work in another language, with different units, and with seasoned contractors and consultants to meet impossible deadlines. That early exposure to technical drawings and construction sites was fundamental for my future professional development. Understanding the importance of architectural drawings not only to communicate ideas, but also as the tool to erect a building made me realize the importance of understanding every single line that we trace in our drawings.

MQ Architecture has been influential in the American Architectural landscape. How do you define your approach towards design?

I appreciate your consideration for our work. The US is such a big market, and the scale of our work is relatively small, so it is hard for me to consider our contribution influential.

My approach to design is rooted in the traditional values of the Polytechnic School of Architecture of Madrid, where I graduated from in 1999. The syllabus has a very strong blend of humanistic and technical knowledge filtered through the classical Vitruvian statements: Function, Form and Construction. Under those parameters, we aim to understand the distinctive conditions of any project (climate, surroundings, topography) and respond to the client needs to find balance, beauty, and lasting architecture.

I have always felt affinity towards Construction, the understanding of materials, how they can be assembled and ultimately making a building. Additionally, the understanding of the construction itself, working with the different trades, can be insightful and should influence what we design. I always encourage young architects and students to visit Construction Sites, to work for a Contractor, to understand how what we dream of is later materialized by other hands that may not understand what we aim to achieve. That is why communication is absolutely necessary at al stages of the process (with the client, with the consultants, with the contractors or any other stakeholder). 

This acquired knowledge is the gateway to innovation: researching the market, understanding its products and services, working closely with contractors and workers and implementing them under a rigorous system and methodology.

What propelled you to pursue Real Estate Development and Construction Management after Architecture?

As architectural students, we learn how to design a building, how to put it together, how to navigate the codes, even how to administer the construction, but there seems to be a disconnect with one of the most important aspects of creating a building: the financial factor that generates any structure. Without money, there are only unbuilt ideas. Any residential building, hotel, retail or entertainment building starts on an excel sheet that backs the feasibility of such project. Many times, we walk out of our educational programs with a very romantic idea of design, and we come late to the real world of development and construction.

From 2005 through 2007 I was fortunate to collaborate with Alberto Campo Baeza on his first project in the US, a radical glass shrine on top of a concrete podium. On the first stage of the project, I produced and coordinated construction documents with a wide range of consultants from different disciplines.  Later, I received an offer to work directly for the owner, first as the project manager and later as the general contractor. As my role changed on the project, my vision of the construction process widened, and it has helped me comprehend how certain key roles are necessary to complete a successfully constructed building. The client, a Real Estate developer, introduced me to the subject, and led me to consider a future in the field and I applied for the Master in Real Estate at Columbia University because I desired to expand my knowledge and capabilities in this subject. Interestingly, I graduated in October 2008, at the same time Leeman Brothers bankruptcy and the Market crashed.

Linking to this subject, I have recently been working with a business partner looking for development opportunities that would allow interesting design-built work fully controlled and delivered from MQ Architecture. Perhaps one of the few last resources for small firms like ours to produce meaningful architecture with a financially feasible enterprise.

What are your most rewarding projects and what makes them stand out?

Perhaps the most rewarding project I have produced to date is the Magazzino. The private space later converted into a public museum represented a turning point in my career that helped me launch MQ Architecture as a professional practice.

Magazzino, which means warehouse in Italian, attempts to pay homage to its name and the Arte Povera collection which it houses. While the artists worked with elements considered to be poor, low-quality, or readily available, we wanted to pursue this philosophy by using simple components and building techniques. The “in situ” formwork concrete wall, shaped with phenol-treated wood panels, makes up the skin of the new container; the roof cover is solved by using a simple structure involving metal gable trusses, and the white interior walls create a neutral backdrop for enjoying art. Moreover, the client’s request was clear: they wanted a space that would “let the Art standout as the protagonist of the space”, therefore, I aimed for a quiet building that would create a silent background. I think that humble quality, manifested in a naked proposal, is precisely the quality that makes the building standout. 

Adding to the question, the long-standing relationship with the client allowed me to work not only as an architect, but also as the general contractor, allowing for a very cost-controlled project delivery. This lowered the number of change orders by having a direct relationship with all the sub-contractors. Being on site we could explain, supervise and make last-minute decisions if needed. The approach was also sustainable, up to 85% of the contractors were local meaning they were within a 15-20 mile radius of the job site. Benefiting both the local economy, reducing the carbon footprint and reinforcing the community

The Juniper Workshop in New York was another rewarding experience. The Showroom was one of my first collaborations with MQA Associate Juan Carlos Bragado, and  was a low budget project with a tight schedule that we were able to deliver in record time during COVID 19 contextualizing a historical “cast iron style” building to deliver a flexible and collaborative hub that elegantly showcases the technical aspects of their beautiful products.

Ultimately, because of his friendship and mentorship, Alberto Campo Baeza’s Olnick Spanu house in Garrison, NY was a wonderful experience. Working as a project architect and project manager allowed me to enjoy and learn from a great architect with a shrewd vision of architecture. This house, like the rest of his work, reflects himself: honest and inspiring. I could not ask for more.

What is your perspective on the evolving role of architectural criticism and the influence of architectural critics in the digital age?

The digital age brings an incredible level of exposure and immediacy for architecture. The vast volume of projects accessible online creates a river of information. Social media, blogs, and online publications have emerged as powerful platforms for architects, critics, and enthusiasts alike. However, it is now challenging to distinguish between meaningful critique and the allure of social media validation. While platforms like Instagram offer instant likes and visibility, true distinction lies in the depth of architectural criticism.

In the narrative of architecture leading up to the digital era, the discourse was largely occidental and dominated by white voices. The perspectives and contributions of architects from diverse backgrounds were often marginalized, resulting in a limited representation in the field. However, the digital age has sparked a transformative shift, ushering in a more inclusive, diverse, and democratic conversation.

How would you highlight the importance of constantly evolving in architecture? How do you look at it in your work since you began?

Firstly, regarding the architect's practice and career, evolution is imperative. From hand-drawn plans to computer drawings and now artificial intelligence, architects must stay ahead of design innovations. Knowledge doesn't freeze post-graduation; instead, professionals must continue learning and evolving.

Secondly, regarding architecture itself, the question arises: is constant evolution desirable? Does it make sense to evolve creating entirely new architecture over and over again while we reject the old? I lean against it. Architectural projects, often spanning years, shouldn't swiftly become outdated upon completion. Old buildings shouldn't be demolished; they should be repurposed. A building should be capable of changing its shape and adapting over its life span. Similarly, when contemplating the evolution of materials, sustainability, durability, and improved values becomes vital for the environment and future of architecture. I curated this idea of reuse and repurpose of an existing structure when I began my work on Magazzino Italian Art.

How do you look at the work beyond designing for young architects, such as the likes of involvement in publishing, handling media and building an online presence?

Architecture, inherently vocational, doesn't universally lead to traditional practice; indeed, only a small percentage of new architects will exercise the profession per se. Some of us find fulfillment in academia, others specialize in different types of consultancies that assist and support the architects. While career reorientation to other fields is acceptable, it's crucial to differentiate between a choice for personal growth and one prompted by dissatisfaction or exploitation. In the latter , we as a collective of architects should be critical with ourselves and ask the architectural associations to force changes and conducts that will improve work conditions in all practices.

Regarding involvement in publishing, handling media, and building an online presence, as architects, we have a unique approach to problems and other disciplines, making our input valuable in areas such as publishing, communication, and media management. The younger the generation of architects, the more naturally the develop this online presence. 

What kind of attention do you give to the ‘community’ in conceptualizing a project?  How do pragmatism and subjectivity go hand-in-hand in it?

I would say it depends on the size and use of the project. Typically, for residential and single houses, only a review by an examiner from the Department of Buildings is usually necessary. In some countries, there is a requirement to recreate the volumetric shape of the project before construction is approved, allowing time for the community to voice concerns. In the United States, changing urban regulations to amplify community input is a matter for public administrations and must be addressed in the upcoming years with the help of architects and urban/building departments.

As projects grow in size or involve public use, community involvement becomes more crucial. In urban masterplans, community engagement is vital to reduce inequality and improve infrastructure, public spaces, and venues. Architects should seek a balance between development and community needs, since communities often have a better understanding of how things work in their neighborhood. Therefore, we make a concerted effort to listen to the public during open board meetings, addressing questions and concerns and providing solutions throughout the project's development.

Where do you find global architecture a decade from now?

A decade from now, global architecture will undergo a profound transformation driven not only by sustainability and climate change but also by the two major technological advancements experienced in the last couple of years.

Virtual and augmented reality will redefine architectural spaces. The “metaverse” cannot be an isolated world of fantasy, and its success will depend on seamless integration with the physical world. Architecture could be the backdrop for these augmented experiences not only for the user but also during the construction phases.

Artificial intelligence, on the other hand, despite job loss concerns, will enhance productivity in offices reducing tame in tedious and repetitive tasks. While current applications focus on generating iterations and images during schematic design, future implementations of AI could revolutionize permitting, bidding, construction documents, and construction administration. AI will be able to read construction documents, foresee construction issues, and respond to contractor inquiries. This will simplify processes, reducing the manual workload. This will empower architects to devote more time to the creative aspects of our profession.