Spain, a country that has become a hotbed for creativity and style, is now more than ever in the international spotlight. Since the end of Franco's reign in 1975, Spanish architects have succeeded in rebuilding the public and cultural realms in what Peter Buchanan, in his introduction, has described as "an extraordinary act of self-transformation."
The New Spanish Architecture features both world-renowned figures, such as Rafael Moneo and Santiago Calatrava, and a fresh selection of up-and-coming stars, among them Enric Miralles and Alberto Campo Baeza. Anatxu Zabalbeascoa's comprehensive essay traces the history of architecture in Spain since the end of World War II and analyzes the new, innovative work featured here, placing it in the context of local trends and larger movements. The thirteen architects and firms whose work is documented in this book are presented individually in generously illustrated chapters.
The New Spanish Architecture continues the successful series that began with The New French Architecture , The New Japanese Architecture , and, most recently, The New Finnish Architecture . Up-coming volumes will cover Germany, Austria, and Mexico.
A better collection than the name may suggest, particularly given that this book is now 20 odd years old. At the time the big sell must have been getting a few Calatrava projects in and some info on the beautifully minimalist work of Alberto Campo Baeza (yes; both the pictures on the front cover). Back in 1992 Spain was an amazingly exciting place architecturally - the Barcelona Olympics, the Seville Expo and some really strong work coming from a country emerging from political and economic turmoil with renewed vigour (and sensible government spending). The book captures this spirit though it's surprising how much of the work has not stood the test of time, though relatively brief. However, for me (who picked up the book for AU$0.50 at a school fete and just wanted some nice pictures) the standout was the lead essay putting this architectural collection in context. The lead essay in books like this, even from Rizzoli, is typically the usual architectural drivel that seems so popular with wide eyed students and architecture groupies. But in this case the lead not only gives a brief overview of the chosen architects work and careers but also puts the whole thing into the context of Spanish political and cultural history and the influence (or non-influence) of the rest of Europe and the world on this 'wave' of Spanish architecture. The essay also admirably stayed away from drawing any far reaching conclusions and instead gave some insights into how this wave of new work had been partly enabled by careful lobbying and work with government administrations.