Architecture News

Fonolleres House: Blending Indoor-Outdoor Living in a Medieval Spanish Village

In the historic Spanish village of Fonolleres, the architectural practice Anna and Eugeni Bach has undertaken a remarkable transformation of a holiday dwelling, integrating indoor and outdoor living seamlessly. This project, known as Fonolleres House, involved the thoughtful expansion of an existing residence on the village's periphery, with a core focus on maximizing the utility and enjoyment of its exterior areas. By introducing a series of artfully designed porches, pergolas, and terraces, the studio has redefined daily life within the home, encouraging its occupants to embrace the Mediterranean climate and engage with their surroundings in new and vibrant ways. The design philosophy was deeply rooted in respecting the village's rich heritage and evolving architectural character, ensuring a cohesive and harmonious blend of old and new.

Rather than opting for a complete demolition and reconstruction, Anna and Eugeni Bach chose a more sensitive approach, preserving the majority of the original structure. Their extension strategy was inspired by the gradual growth and adaptation seen throughout Fonolleres, a quaint medieval settlement in Catalonia's Empordà region, home to only 39 residents. The village's architectural identity is characterized by structures crafted from ochre-colored stone and ceramic, which have been incrementally expanded and modified over many centuries. This historical evolution served as a blueprint for the material selection in Fonolleres House, where terracotta bricks, timber, and silicate paint were meticulously chosen to mirror the tones of the local buildings. This deliberate palette ensures that the new additions subtly integrate into the existing fabric of the village, creating a unified visual narrative.

The architects emphasized their commitment to sustainability by retaining as much of the original house as possible, thereby minimizing construction waste and energy consumption. Their intention was to create a residence that appeared to have naturally grown from its setting. This vision materialized in a monochromatic design where individual elements, though distinct, are unified by their geometry, texture, and color. The extension maintains the general outline and scale of the original house, yet it introduces a diverse array of outdoor features, including an expansive porch, a circular pergola, a private terrace, and a barbecue zone. These additions are not merely aesthetic; they are functional spaces conceived to leverage the Mediterranean climate, enabling activities typically confined indoors to flourish outside.

The studio explained that in the Mediterranean climate, life predominantly unfolds outdoors. Consequently, a large porch was designed to serve multiple functions throughout the day, featuring a spacious dining area for social gatherings and a cozy living space ideal for socializing or leisurely naps. This generous outdoor area extends across the garden and partially over the swimming pool, providing a shaded haven for dining, reading, and relaxation. Further enhancing the outdoor experience, a circular pergola offers shade for an intimate breakfast nook, while a distinctive triangular barbecue volume projects from the facade, adding a sculptural element to the exterior. Each new addition was given a unique geometric form to differentiate it from the main house and to underscore its individual character. This geometric interplay is also echoed inside the house, where a triangular double-height void connects the ground-floor library and music studio with the master bedroom above. This internal design fosters a unique acoustic environment, allowing music to ascend to the bedroom, and provides convenient access to books from both levels, catering to the owner's passions for reading and music.

Behind the main bedroom, a secluded reading room provides a private sanctuary dedicated to the owner's cherished book collection, connected directly to the library below. This double-height triangular space is highlighted as a particularly special feature, linking the most personal areas of the home—the master bedroom, studio, and library—in an intimate and functional manner. Established in 1999 by the husband-and-wife team Anna and Eugeni Bach, their Barcelona-based studio boasts a diverse portfolio encompassing urban planning, architecture, interiors, and object design. Their previous works include the conversion of a 19th-century chocolate factory into a family home and studio apartment, as well as an apartment building in Barcelona distinguished by its vibrant yellow balconies. This latest project in Fonolleres exemplifies their innovative approach to integrating architectural design with historical context and environmental considerations.

Lanza Atelier's Serpentine Pavilion: A Fusion of British and Mesoamerican Serpent Symbolism

Lanza Atelier's latest Serpentine Pavilion masterfully fuses ancient symbolism with innovative architectural methods. The project, conceived by Mexican architects Isabel Abascal and Alessandro Arienzo, reinterprets the serpent motif through both British historical building practices and Mesoamerican cultural narratives. This unique blend results in a structure that is both functionally stable and rich in symbolic depth, offering visitors a fresh perspective on traditional design. The pavilion’s brickwork pays homage to historical serpentine walls, while its overall form evokes the protective and connecting essence of the Mesoamerican serpent. This year’s installation stands as a testament to creative fusion, transforming Kensington Gardens into a site of cultural dialogue and architectural exploration, offering a compelling visual and conceptual experience until its closing in October 2026.

A Detailed Look at the Serpentine Pavilion's Visionary Design

In a recent exclusive interview, Mexican architectural studio Lanza Atelier elucidated the profound inspirations behind their design for this year's Serpentine Pavilion. Architects Isabel Abascal and Alessandro Arienzo revealed how the winding elegance of historic crinkle-crankle walls, characteristic of rural England, served as a foundational element for the pavilion's geometry. This design choice not only connects the structure to Britain’s architectural heritage but also showcases an ingenious approach to stability, utilizing fewer bricks through its undulating form—a clever solution to historical taxation on building materials. Simultaneously, the architects wove in the rich symbolism of the serpent from Mesoamerican cosmogony. Unlike its often negative portrayal in British folklore, the Mesoamerican serpent represents a powerful, positive force, embodying protection and a conduit between earthly and celestial realms. This dual interpretation allows the pavilion to subvert conventional meanings, transforming the serpent into a guardian presence within Kensington Gardens. The structure features rhythmic brick columns supporting a lightweight, translucent white canopy, specifically designed to regulate sunlight and create an airy, luminous interior. This thoughtful integration establishes a visual rapport with the adjacent Serpentine South building, with the brick elements echoing its facade and the white roof harmonizing with its handrails. Further enhancing the immersive experience, Lanza Atelier custom-designed furniture, including stools and chairs, which can be configured to mirror the pavilion’s serpentine curves, fostering a cohesive and interactive environment for all who visit.

This year’s Serpentine Pavilion transcends mere architectural display, emerging as a dynamic canvas for cultural exchange and innovative construction. The design team from Lanza Atelier not only demonstrated a profound respect for historical techniques but also boldly reimagined them through a contemporary lens. The pavilion challenges viewers to consider how cultural narratives influence design and how traditional constraints can spur creative solutions. The ingenuity behind the crinkle-crankle walls, originally a response to economic pressures, now stands as a graceful testament to sustainable and efficient building. This thoughtful integration of form, function, and narrative offers a compelling space for reflection, showcasing that architecture can indeed be a powerful medium for storytelling and cultural dialogue.

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Gothic Majesty: Unveiling Gaudí's Unconventional Early Architectural Masterpieces

Antoni Gaudí, an architect celebrated for his flowing, organic designs adorned with colorful tiles, also embarked on a journey through a distinct stylistic phase early in his career. This period saw the creation of several neo-Gothic structures, often overlooked in favor of his more famous, later works. These five buildings, far removed from Gaudí's iconic aesthetic, stand as testaments to his experimental beginnings, revealing a different facet of his genius.

Gaudí's Gothic Legacy: Five Unconventional Masterpieces

In the bustling heart of Barcelona and its serene outskirts, as well as in other regions of Catalonia, stand magnificent structures that defy the popular image of Antoni Gaudí's architecture. During his nascent professional years, Gaudí crafted a series of buildings deeply influenced by medieval aesthetics, predominantly utilizing robust materials such as limestone, granite, and slate, rather than the vibrant mosaics that would later define his style. These architectural gems, some nestled within historic castle grounds or encircled by moats, represent his ambitious endeavor to reinterpret and elevate Gothic principles while simultaneously forging his unique artistic voice. Far from the tourist trails of central Barcelona, these less-explored sites provide a profound insight into Gaudí's foundational period, showcasing a masterful blend of tradition and innovation.

College of Saint Teresa-Ganduxer, Barcelona, 1889

Erected in a northern enclave of Barcelona, the College of Saint Teresa-Ganduxer, completed in 1889, is a four-story edifice explicitly designed for a congregation of Teresian nuns. Its striking medieval character is no coincidence; Gaudí drew direct inspiration from the concept of a castle, particularly influenced by Saint Teresa's literary work, "The Interior Castle." Constructed from stone and brick, the building culminates in stylized crenelations and is distinguished by corner towers adorned with his signature four-pointed crosses, lending it an air of solemn grandeur.

Casa Botines, León, 1892

In 1892, Gaudí unveiled Casa Botines in León, a seven-story marvel conceived for two prosperous merchants. This structure eloquently echoes León's rich medieval architectural heritage. While its exterior, with imposing corner towers and a partial moat, evokes the spirit of a bygone era, the interior reveals Gaudí's forward-thinking approach. Built upon a sturdy concrete foundation, the building ingeniously incorporates cast-iron columns and strategically placed light wells, ensuring abundant natural illumination for the apartments within. Today, Casa Botines serves as a captivating museum, inviting visitors to explore its historical and architectural significance.

Episcopal Palace, Astorga, 1893

The Episcopal Palace in Astorga, completed in 1893, stands as a formidable testament to medieval and castellated influences, entirely constructed from grey granite and encircled by a protective moat. This palace, one of only three Gaudí-designed buildings located outside Catalonia, was commissioned by Bishop Juan Bautista Grau y Vallespinos after a previous structure was destroyed by fire. Despite its deviation from his more renowned aesthetic, the palace subtly integrates elements that would later become synonymous with Gaudí's signature style, including innovative buttresses and distinctively crafted decorative chimneys.

Bodegas Güell, Sitges, 1897

Bodegas Güell, a winery nestled along the coast near Barcelona and completed in 1897, bears the name of Gaudí's primary patron, Eusebi Güell. Initiated in 1882 on Güell's estate, the winery's design features triangular forms and robust limestone blockwork, harmoniously blending with its rugged coastal surroundings. Originally envisioned as the initial phase of a broader development that included a hunting lodge, the winery's produce was once exported to Cuba via transatlantic shipping lines. After Güell's passing, the building transitioned into a restaurant, though it is currently closed to the public.

Bellesguard (Casa Figueras), Barcelona, 1909

Known also as Casa Figueras, Bellesguard, finalized in 1909, was constructed on the remnants of a medieval castle, a historical context that profoundly shaped Gaudí's architectural vision for the residence. Designed in 1900, a period when Gaudí was still refining his distinctive style, he was granted complete creative liberty. This monochromatic building, largely devoid of vibrant colors, was meticulously crafted from stone slate. Paradoxically, the extensive mosaics within the house led to significant time and cost overruns, ultimately preventing the clients from ever inhabiting it. Consequently, María Sagues Molíns was compelled to sell the property to avert bankruptcy.

These early works of Antoni Gaudí reveal an architect in evolution, grappling with historical forms while simultaneously pushing the boundaries of design. They underscore the profound impact of context and patronage on an artist's trajectory and remind us that even the most celebrated creators often begin with explorations that diverge significantly from their eventual signature styles. By examining these neo-Gothic structures, we gain a richer, more nuanced understanding of Gaudí's architectural journey, appreciating the foundations upon which his later, more flamboyant masterpieces were built. It encourages us to look beyond the obvious and discover the hidden layers of genius in every artist's work.

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