There<\/a> is something strangely familiar about encountering the architecture of RCR Arquitectes. The work of Rafael Aranda, Carme Pigem, and Ramon Vilalta is unmistakably contemporary. Their architecture is abstract, intensely material, and often monumental in its presence. Steel folds, cuts, bends, and oxidizes. Buildings disappear into forests, become embedded in hillsides, or seem to hover between landscape and object. And yet the experience of their work does not feel entirely contemporary. Maybe this is because RCR\u2019s architecture is less interested in making objects than in making us conscious of things that already exist: the ground beneath our feet, the movement of water, the changing quality of light, variations in temperature, the passage of seasons, the aging of materials, and ultimately the passage of time. Here, balance is rarely symmetrical or static. It is closer to that of a scale in motion\u2014a negotiation between opposing forces that never fully resolves. Landscape versus structure. Rawness versus precision. Concealment versus exposure. Their buildings tend to hold two contradictory impulses at once: they assert themselves through a bold, often severe use of a single material, and yet they recede, deferring to the terrain, the light, or the client\u2019s ritual of use.<\/p>\n\n\n\nFrom Olot to the world<\/strong><\/p>\n\n\n\nRafael, Carme, and Ramon, or RCR, founded their firm in 1988. At that time, they were recent graduates from the Polytechnic University of Catalunya, who\u2014ignoring the advice of their professors\u2014chose not to pursue careers in Barcelona, deciding instead to return to their hometown of Olot, where they believed they could pursue work with greater agency, if with more humble commissions. Early success came with a winning entry for a lighthouse in the Canary Islands.<\/p>\n\n\n\nPunta Aldea, Gran Canaria<\/figcaption><\/figure>\n\n\n\nTheir Iconoclasm led them to a horizontal lighthouse, as opposed to the other 300+ entries that did not question a vertical typology. Even though the project was not built, their proposal gained them notoriety. It was published in regions as far away as Japan, where it made enough of an impression to be invited to a competition in that country. Winning that competition was pivotal. Their encounter with Japan, its culture, and ways of thinking transformed the trajectory of RCR\u2019s practice. The firm was relatively unknown outside Spain, yet in 2017 they won the Pritzker Prize for Architecture, the first time that prize had been awarded to a trio of architects. While their practice has been primarily regional, with most of their work located in the province of Girona, they have also made their mark globally, most recently with the Muraba Veil, a slender residential tower planned for Dubai. They remain rooted but, as they themselves say, with wings.<\/p>\n\n\n\n
Three projects and the influence of Japanese thought<\/strong><\/p>\n\n\n\nOn our trip to Spain, we visited three projects that illustrated the centrality of balance to their work: The Bell-Lloc Winery, The Tossols-Basil sports facility, and the Espai Barber\u00ed, their primary studio. For each of these, our guide highlighted the influence of the Japanese concept of wabi-sabi, an appreciation for impermanence, imperfection, and the beauty of things shaped by time.<\/p>\n\n\n\n
Bell-Lloc Winery: Balance between earth and architecture<\/strong><\/p>\n\n\n\nIt was very hot on the day we visited Bell-Lloc. The gravelly soil and blistering heat would not be out of place in a Hill Country summer. The winery, completed in 2007 on the outskirts of Palam\u00f3s for the Suqu\u00e9-Mateu family, perhaps best expresses RCR\u2019s ethos, as the architecture is almost entirely about descent. Visitors don\u2019t approach Bell-Lloc so much as they are lowered into it. The cellar is dug into the earth using bioclimatic principles, so the temperature and humidity needed for wine production to occur without mechanical intervention\u2014the building borrows its climate control from the ground itself rather than imposing one.<\/p>\n\n\n\n
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Walking the site, tilted, recycled Corten steel sheets define the promenade. Their surfaces had already rusted to a deep ochre, with slits cut between them to let in blades of natural light. Descending along this corridor, there is a series of rooms, each with a distinct purpose: the barely lit wine storage room that catalogs every bottle produced, then the tasting room\u2014a dark contemplative space that only appears luminous in photographs\u2014and finally an auditorium. Our journey through these spaces ended in an open-air pavilion covered by folded steel planes. The steel itself was recycled from a decommissioned cargo ship\u2014material with its own prior life, its own history of salt and use, repurposed rather than manufactured fresh. That represents wabi-sabi in its most literal sense: beauty located in a material\u2019s imperfection and history rather than in its newness.<\/p>\n<\/div>\n\n\n\n
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Bell-Lloc Winery, Designed by RCR Arquitectes<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\nThe balance at Bell-Lloc is also found in the interaction of forces that shape the wine itself: the bright expansive fields subject to variations in climate, a daylight world and the soil, an underground world of fermentation, silence, and cool jagged rocks. RCR themselves have described the building as an experience for all the senses\u2014you can hear the silence, sense the aroma of the wine, feel the changing temperature as you go deeper. Nothing there is symmetrical. The path through the underground rooms doesn\u2019t run straight; the light doesn\u2019t fall evenly. And yet nothing feels arbitrary. It is a controlled equilibrium, tuned until it settles.<\/p>\n\n\n\n
This excerpt from \u201c<\/strong>La fageda d\u2019en Jord\u00e0\u201d<\/strong> by Joan Maragall, whose poem incidentally is about a forest not far from Olot, captures the immersive quality of the experience:<\/p>\n\n\n\nThe traveler, upon entering this place,begins to walk slowly;counts his steps in the great stillness:he stops, hears nothing, and is lost.<\/em><\/p>\n\n\n\nTossols-Basil: Balance between human intervention and natural systems<\/strong><\/p>\n\n\n\nOn the edge of Olot, the Tossols-Basil athletics complex tells a different but related story. Here the \u201copposing forces\u201d weren\u2019t gravity or geology but a genuine public conflict. When the town needed an athletics track and sports facilities in a natural park along the river, the architects faced competing demands: athletes wanted a clear, standard-issue track, while environmentalists wanted the existing oak woodland left entirely untouched. Rather than resolving this as a binary\u2014clear the trees or don\u2019t build\u2014RCR threaded the track through two clearings in the white oak forest, keeping the surrounding woodland as a living, seasonal filter around the running lanes.<\/p>\n\n\n\n
RCR built the track so runners would appear and disappear between tree trunks as they circle it. The forest interrupts sightlines the way it would on an actual trail rather than in an engineered stadium. The seating for spectators doesn\u2019t sit on a raised, formal grandstand; it steps down with the existing slope, terracing into the landscape rather than sitting on top of it. Lighting towers, when we saw them, read less like stadium infrastructure and more like watchtowers rising out of dense clusters of trunks.<\/p>\n\n\n\n
In the entry pavilion, we saw some of the same elements from the winery\u2014rusted steel as cladding and the language of decay superimposed onto an otherwise precise modern structure. The pavilion overlooks the running track below. At the track level, it houses the gym, almost hidden behind an automated sliding door. The restraint in the structure represents their commitment to leaving things closer to their natural, unforced state. Tossols-Basil is a sports facility that refuses the usual sports-facility instinct to flatten, clear, and standardize its site. It accepts the forest\u2019s irregularity as a design partner rather than an obstacle, which is about as direct a translation of wabi-sabi\u2019s core value\u2014imperfection over control\u2014in contrast to most public infrastructure projects. The Arizona Architect Eddie Jones, a fellow traveler, noted that a visit to Tossols-Basil by one of the Pritzker Jurors convinced him that RCR should get the prize.<\/p>\n\n\n\n
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Espai Barber\u00ed: Balance between memory, transformation, and creative practice<\/strong><\/p>\n\n\n\nThe third stop was the Espai Barber\u00ed, or Barber\u00ed Space, which RCR built for themselves inside an early 20th-century foundry they acquired in 2004. Then, the building was in ruins. Once used for casting church bells and ornamental sculpture, the foundry had smoke-stained walls, fire-scarred ceilings, and floors that carried decades of industrial residue. Rather than scrub the building clean and start fresh, the three architects treated the residue as something worth preserving. The colors, textures, and scars of the old furnace and chimneys became the starting material for the renovation, carried out gradually from 2006 onward.<\/p>\n<\/div>\n\n\n\n
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\n\t\t\t\n\t\t\t\tEspai Barber\u00ed, Designed by RCR Arquitectes, Image by Sophie Mayer <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\nThe first room we encountered had a wall of bookshelves on one side that extended beyond the ceiling through a glass floor and into the three partners\u2019 shared office above\u2014the space where, by their own account, Rafael, Carme, and Ramon have spent countless hours in conversation around a single large table. That first room downstairs opened to a coarser foundry space divided by a curtain of wide polished steel strips, an element that appears in different forms in the firm\u2019s other projects.<\/p>\n\n\n\n
To go upstairs, guests are asked to remove their shoes, in what may be a nod to Japanese tradition or just a practicality since parts of the ground floor are intentionally unfinished. Upstairs, the spaces are more polished, built out of darkened steel and glass, but the dialogue between sleekness and roughness remains: the roof and some of the walls are original to the foundry. Visitors access the most dramatic space through the bare multi-purpose room at the ground level. This double-height space, seen behind the steel \u201ccurtains,\u201d had been set up with tables during our visit for a group of summer interns that were due later in the week.\u00a0A framed opening led to an interior courtyard that was reminiscent of an industrial ruin taken over by vegetation. A few large bells had been placed in this garden as artifacts. <\/p>\n\n\n\n
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Contained in this space was \u201cThe Pavilion of Dreams,\u201d a glass pavilion grafted onto the old industrial shell that serves as the office\u2019s main crit space. Slender vintage iron columns held up the pavilion. Inside, hanging vines enforce the illusion that the outside vegetation has crept inside.\u00a0Original materials\u2014plaster, stone, worn brick\u2014sat in direct, unresolved contrast with the glass and steel of the new intervention, rather than being harmonized into a single seamless style. The pavilion, open and bright, seemed to invite lively interaction, which stood in contrast to the other interior spaces that, with their dark hues, felt more conducive to introspection and focus work. The spaces told a story about close partners who cherish knowledge and a team that needs both focus and collaboration.<\/p>\n<\/div>\n\n\n\n
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\n\t\t\t\n\t\t\t\tEspai Barber\u00ed, Designed by RCR Arquitectes, Image by\u00a0Hisao Suzuki<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\nThe studio felt real, not a demonstration project built to illustrate a philosophy for visitors, but the setting where people have worked, daily, for two decades. It is a living laboratory about how to work in balance with nature, with impermanence, and with the scars of a real place.<\/p>\n\n\n\n
The Thread Connecting All Three<\/strong><\/p>\n\n\n\nVisiting these three projects in sequence made the throughline unusually clear. At every scale, from a private family cellar to a municipal athletics track to the architects\u2019 own daily workspace, the same basic move recurs. Identify two things that are naturally in tension\u2014earth and structure, athletes and ecologists, ruin and renovation, industry and domesticity\u2014and, instead of forcing a resolution, hold them in a sustained, visible truce.<\/p>\n\n\n\n
None of RCR\u2019s buildings resolve their contradictions into something tidy\u2014the wineries don\u2019t disguise the fact that they are buried, the athletics track doesn\u2019t pretend the forest isn\u2019t inconvenient for a standard-format track, and the studio doesn\u2019t erase the foundry\u2019s scars. Each project stays honest about the friction from which it emerged, and that honesty is the real inheritance of traditional Japanese ideas seen in RCR\u2019s work. It is less about rusted steel as an aesthetic signature (though it is beautiful) and more about a refusal to over-finish, over-explain, or over-control. Imperfection is retained because it is true, not because it is picturesque.<\/p>\n\n\n\n
Balance is not perfection, not resolution, not symmetry, not equal weight on both sides of a scale, but an ongoing negotiation. Walking away from three buildings built across three decades, in a town most people have never heard of, what stays with the visitor isn\u2019t a signature style so much as an attitude toward building and a tendency to leave things unresolved enough to still feel alive.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"What if the most compelling architecture is not the one that resolves all its contradictions? What if instead its power lies in the embrace of dualities: old and new, light and dark, permanent and ephemeral, massive and spectral? There is power in paradox. The work of Spanish firm RCR Arquitectes masterfully embraces this creative tension. […]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16],"tags":[],"class_list":["post-2607","post","type-post","status-publish","format-standard","hentry","category-projects"],"acf":[],"yoast_head":"\n
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