{"id":57539,"date":"2018-06-04T10:18:45","date_gmt":"2018-06-04T08:18:45","guid":{"rendered":"https:\/\/www.area-arch.it\/en\/?p=57539"},"modified":"2018-06-04T11:50:58","modified_gmt":"2018-06-04T09:50:58","slug":"a-dialogue-with-ricardo-flores-and-eva-prats","status":"publish","type":"post","link":"https:\/\/www.area-arch.it\/en\/a-dialogue-with-ricardo-flores-and-eva-prats\/","title":{"rendered":"A dialogue with Ricardo Flores and Eva Prats"},"content":{"rendered":"

Flores i Prats<\/strong><\/a>,\u00a0the architectural practice based in Barcelona founded in\u00a01998\u00a0by\u00a0Ricardo Flores<\/strong>\u00a0and\u00a0Eva Prats<\/strong>,\u00a0after many collaborations with\u00a0Enric Miralles,\u00a0is among the ten architects selected for the Vatican Chapel Pavilion<\/strong>, which represents the Vatican State’s first participation in the 16th International Architecture Exhibition – La Biennale di Venezia<\/strong>. The Pavilion, curated by Francesco Dal Co, collects ten architects belonging to different generations and coming from different Countries.
\nR.C. Please describe your partecipation in the Holy See Pavilion. When did the design process begin?
\nE.P. <\/strong>In August 2017, Francesco Dal Co reunited all the architects\u00a0on site in order to choose the location. The\u00a0park is made of different paths that flow one into another and we\u00a0decided to place our chapel exactly\u00a0beside the\u00a0longest one, that goes from Palladio’s cloister to the lagoon. We wanted to\u00a0create the impression\u00a0of leaving behind the city and connecting with nature. The place was strongly influent in\u00a0designing\u00a0the chapel,\u00a0being like a\u00a0long wall that runs next to the main path. It is\u00a0also similar to\u00a0a gate that, once crossed, opens up to nature and Venice canals.
\nR.C. What did you find interesting of Vatican State’s project?
\nR.F. <\/strong>The project is considerable because it offers a public space to people,\u00a0empowering\u00a0a park that\u00a0previously was abandoned and of Vatican’s property. I really\u00a0believe that this place is going to be\u00a0a nice\u00a0area for people from Venice or visitors\u00a0that might want to rest.
\nR.C. How does your chapel\u00a0link with religion?
\nR.F.\u00a0<\/strong>Our chapel is not\u00a0related to a specific ritual but it represents a place of spirituality itself, meant like a connection between men and nature. We wish that people could come here to take a break from city life and find themselves into nature.
\nR.C. What are the\u00a0analogies with the Wooden Chapel by Erik Gunnar Asplund,
\nfrom which the project should take\u00a0its clue?
\nE.P. <\/strong>As Francesco Dal Co\u00a0<\/strong>suggested, the Wooden Chapel is a place of orientation, meeting and mediation and greeting. This is the main analogy with our project, whose goal is to reflect peacefulness, safety and communion.
\nRegarding the shape, our work differs strongly with the Scandinavian one. First of all the two pavilions are located in different natural and geographical contexts. Ours is made of an open linear element surrounded by nature,\u00a0that benefits\u00a0of the mild temperatures of the site allowing the visitors\u00a0to spend time outside. Asplund’s chapel is differently an indoor enclosed rounded space with nordic vegetation around, meant to protect people from the cold weather. Moreover, the program is also different, while the last one is set into a\u00a0graveyard and reflects loneliness and sadness, our project aims to spread joy, sense of community and union with the universe.
\nR.C. Which directions given by Francesco Dal Co have been useful to shape the design?
\nR.F.\u00a0<\/strong>There have been not so many directions. Basically, we were asked to place a pulpit, an altar and to follow some dimensional\u00a0guidelines. The design was therefore quite\u00a0unrestrained and every designer felt free to test different solutions.
\nR.C. Like in other projects of yours, such as in Sala Beckett, here the color plays a significant role. What do these colours\u00a0come from?
\nR.F. <\/strong>The choice of the colours is related to the place. We were inspired by the\u00a0colour\u00a0appearance\u00a0of cocciopesto, a typical material from Venezia, used also by Palladio and emblematic of the local and vernacular architectures. In addition, we think that the red fits very well with the green of the trees around.
\nR.C. What was the main inspiration for the design?
\nE.P.\u00a0<\/strong>The location was our main source of inspiration, but also the sight of many places hit by earthquakes along Italy. By\u00a0observing so many ruins, we noticed that many distroyed churches still mantained untouched parts, such as presbytery, altar or dome, and right\u00a0there it could be possible to find a sense of spirituality.
\nOur project is\u00a0also similar to a ruin, a piece of wall of an old church that ends up with a dome.
\nThis final part has been then pierced in two strategic spots towards east, so that light can pass through and create a play of shadows along the altar. The chapel is also open and expose to the climate changes, in the same way that ruins are.
\nR.C. Were there significant references for the concept?
\nR.F.\u00a0<\/strong>The model of open religious chapel, very common in Central America, was a reference for\u00a0shaping\u00a0the project because we wanted to create a communion with the outdoor and the natural environment. We would like that our chapel communicates with nature and so we inspired especially\u00a0to those religious places that are well connected with outside, in which\u00a0the landscape is complementary to the project.
\nR.C. How was the construction phase carried out? What methods were used?
\nE.P.\u00a0<\/strong>The working methods were also influenced from the history of the place. Regarding the foundations, we looked at the typical Venetian method of\u00a0wooden piles.
\nLikewise, we\u00a0chose red bricks for the bench and\u00a0cocciopesto for the main building.
\nThe construction phase was curated in particular by Francesco Dal Co, who had also the role of coordinator between the designers and the local building companies, and then, beginning from February 2018, we\u00a0came\u00a0to Venice more and more in order to follow the construction.
\nR.C. What do you believe of the final result?
\nE.P.<\/strong>\u00a0I believe that it\u00a0has been\u00a0a successful work. The coordination by Dal Co of designers coming from different Countries\u00a0was praiseworthy. Moreover, it\u00a0was surprising how the\u00a0park\u00a0hosted so many different solutions, making the place a more interesting site to visit. It resulted a\u00a0place that allows visitors to live a memorable sensorial experience\u00a0involving all senses.<\/p>\n

\"\"
photo by Adri\u00e0 Goula<\/figcaption><\/figure>\n
\"\"
photo by Adr\u00eca Goula<\/figcaption><\/figure>\n


\n<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Flores i Prats,\u00a0the architectural practice based in Barcelona founded in\u00a01998\u00a0by\u00a0Ricardo Flores\u00a0and\u00a0Eva Prats,\u00a0after many collaborations with\u00a0Enric Miralles,\u00a0is among the ten architects selected for the Vatican Chapel Pavilion, which represents the Vatican State’s first participation in the 16th International Architecture Exhibition – La Biennale di Venezia. The Pavilion, curated by Francesco Dal Co, collects ten architects belonging<\/p>\n","protected":false},"author":32184,"featured_media":57860,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[52,66],"tags":[11166,11018,2114,11167,11164,11165,11168,11162,11169,11163,11170],"class_list":["post-57539","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-architecture","category-essays","tag-16-biennale-di-architettura-en","tag-16-biennale-di-architettura","tag-critic","tag-dialogue-en","tag-dialogue","tag-feedback","tag-feedback-en","tag-floresiprats","tag-floresiprats-en","tag-interview","tag-interview-en"],"yoast_head":"\nA dialogue with Ricardo Flores and Eva Prats | Area<\/title>\n<meta name=\"description\" content=\"Flores i Prats,\u00a0the architectural practice based in Barcelona founded in\u00a01998\u00a0by\u00a0Ricardo Flores\u00a0and\u00a0Eva Prats,\u00a0after many collaborations with\u00a0Enric\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.area-arch.it\/en\/a-dialogue-with-ricardo-flores-and-eva-prats\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A dialogue with Ricardo Flores and Eva Prats | Area\" \/>\n<meta property=\"og:description\" content=\"Flores i Prats,\u00a0the architectural practice based in Barcelona founded in\u00a01998\u00a0by\u00a0Ricardo Flores\u00a0and\u00a0Eva Prats,\u00a0after many collaborations with\u00a0Enric\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.area-arch.it\/en\/a-dialogue-with-ricardo-flores-and-eva-prats\/\" \/>\n<meta property=\"og:site_name\" content=\"Area\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/Area.Arch\" \/>\n<meta property=\"article:published_time\" content=\"2018-06-04T08:18:45+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-06-04T09:50:58+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/static.tecnichenuove.it\/areaarch\/2018\/06\/corta.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"871\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Rebecca Carrai\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Rebecca Carrai\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.area-arch.it\\\/en\\\/a-dialogue-with-ricardo-flores-and-eva-prats\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.area-arch.it\\\/en\\\/a-dialogue-with-ricardo-flores-and-eva-prats\\\/\"},\"author\":{\"name\":\"Rebecca Carrai\",\"@id\":\"https:\\\/\\\/www.area-arch.it\\\/en\\\/#\\\/schema\\\/person\\\/dfbdff113fda87d6dd04cdf38b3d1c98\"},\"headline\":\"A dialogue with Ricardo Flores and Eva Prats\",\"datePublished\":\"2018-06-04T08:18:45+00:00\",\"dateModified\":\"2018-06-04T09:50:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.area-arch.it\\\/en\\\/a-dialogue-with-ricardo-flores-and-eva-prats\\\/\"},\"wordCount\":1020,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/www.area-arch.it\\\/en\\\/a-dialogue-with-ricardo-flores-and-eva-prats\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/static.tecnichenuove.it\\\/areaarch\\\/2018\\\/06\\\/corta.jpg\",\"keywords\":[\"16. 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