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The Journal
of Architecture
Volume 4
Autumn 1999
The Royal Gold Medal 1999: the
City of Barcelona
The Royal Institute of British Architects since 1848 has advised the Monarch on the award
of the Royal Gold Medal to individuals for distinguished services to architecture. In 1999
precedent was broken to award the Royal Gold Medal to the City of Barcelona. The
Journal of Architecture is celebrating this award by publishing the ‘Jury Citation’ and
‘Notes accompanying the Jury’s Citation’, followed by the texts of three of the speeches
which preceded and followed the presentation: ‘Award of the Royal Gold Medal to
Barcelona’ by Robert Maxwell; ‘Architecture and City in an Open World’ by Pasqual
Maragall i Mira (Mayor in 1982, 1983, 1987, 1991, 1995 and 1997); and ‘Ten points on an
Urbanistic Methodology’ by Oriol Bohigas (who, as architect, served Barcelona City Council
as Delegate for Urban Affairs 1979–1983, Co-ordinator for Urban Affairs 1983–4, Urbanism
Special Advisor 1984–1991 and elected Councillor for Culture 1991–4). The example of
Barcelona as revealed through these texts provides insights, and evidence of a collective
inspiration, to be emulated wherever urban regeneration forms part of a political and
social agenda shared by city authorities, business interests, designers and citizens.
Jury Citation
In 1999, precedent has been broken to award the
Royal Gold Medal to a city: to Barcelona (Fig. 1),
its government, its citizens and design professionals
of all sorts. Inspired city leadership, pursuing an
ambitious yet pragmatic urban strategy and the
highest design standards, has transformed the city’s
public realm, immensely expanded its amenities
and regenerated its economy, providing pride in its
inhabitants and delight in its visitors. All cities,
especially London, for too long without directing
inuences, can learn much from this example,
which many already follow.
Both the process and results of Barcelona’s
rebirth are exemplary. Though always with citywide goals in mind, initial interventions were local
and low budget, yet big in impact – not least
© 1999 The Journal of Architecture
because their design air drew international
plaudits. From creating parks and plazas wherever opportunities arose, this strategy snowballed, gathering enthusiasm and nance – adding
schools, health-care and cultural facilities and
attracting all sorts of public/private partnerships – all the way up to realising very major
infrastructural projects. Hosting the Olympics was
only a part of this larger, still continuing strategy
of up-grading the whole city.
Barcelona is now more whole in every way, its fabric healed yet threaded through with new open
spaces, its historic buildings refurbished yet its facilities expanded and brought up-to-the-minute. Past
and present, work and play are happily inter-meshed
in a new totality that is more than its often splendid
parts, and is better connected even to sea and
1360± 2365
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1999
Figure 1. View of
Barcelona looking
east (Agència
Metropolitana de
Desenvolupament
Urbanistic i
d’Infrastructures
S.A.).
mountains. And yet the character of Barcelona,
though changed, is more distinct than ever and ready
for the global age in which cities as much as nations
are in direct competition for jobs and investment.
Many people at all levels of administration, in
the city’s business and cultural communities as well
as its architects and designers, played large parts
in this resurgence. The process was set in motion
by Narcis Serra, the rst democratic mayor, and
Oriol Bohigas, the Co-ordinator for Urbanism from
1980–4. But most of the transformation was
achieved by Pasqual Maragall, mayor from 1982–
1997 and Josep Acebillo, Director of Urban Projects
from 1980–8 and Director for the Municipal
Institute for Urbanistic Promotions from 1988–
1993. It continues today under Joan Clos,
Maragall’s deputy and now successor as Mayor
with Acebillo in charge of infrastructural projects
as Director of Barcelona Regional. Under the guidance of these men, architects, urban designers,
landscape architects and road engineers have fused
their disciplines to create the new Barcelona.
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Autumn 1999
The Award is intended to celebrate the achievements of Barcelona and Catalonia, yet also of
Spain, the many excellent architects who remained
relatively unknown during the Franco era, as well
as the current resurgence of architecture and
design. The quality of so many contemporary
Spanish buildings and urban spaces, of products
and architectural design publishing is outstanding.
Probably nowhere else in the world are there so
many recent examples, in cities and small towns,
of a benign and appropriate attitude towards
creating a civic setting for the next century.
Notes accompanying the Jury’s Citation
Hemmed between mountains and sea, Barcelona
is a compact city, its 1.7 million inhabitants
crowded into less than 100 square kilometres. Still
displaying parts of its Roman walls, it is a city
famous for architecture: Gothic ecclesiastical buildings, palaces and shipyards; the grid of its nineteenth-century extension planned by the engineer
Idelfons Cerdà; exuberant Modernista architecture
of Gaudí, Domenech y Muntaner and Puig y
Catafalque; and the Modern architecture of José
Luis Sert and José Antonio Coderch, as well as the
(now reconstructed) German Pavilion of Mies van
der Rohe. Now, since democracy came to Spain in
1975, the city has owered further, both architecturally and in every other way, so as to be unrivalled as a destination for pilgrimages and all
other enthusiasts for civilised city life.
Decades of Franco dictatorship left Barcelona
with its historic fabric largely intact. But, besides
being edged by dismal new housing, it was desperately run down and short of civic amenities. It was
also in economic doldrums. Urgent action was
required – and initiated immediately by Narcis
Serra, who became Mayor following the rst democratic municipal elections in 1979 and Oriol
Bohigas, his delegate for Urban Affairs. They recognised that many proposals of an already existing,
city-wide plan for Barcelona – such as construction
of a motorway ring around it – were sound, but
impossible to implement. So they inverted the
normal planning process and, instead of working
from the large scale downwards, they started at
the local level with the immediate needs of the ten
neighbourhoods into which they had divided the
city. But, though the initial focus was on small and
easily-implemented projects, the ultimate goal was
always to transform the whole city. Although this
strategy had already been set in motion, those who
oversaw most of its implementation were Pascal
Maragall, Serra’s deputy who took over as Mayor
in 1982 (when Serra was promoted to Minister of
Defence in the Spanish government), and Josep
Acebillo, the Director of Urban Projects.
The rst projects were parks and squares, which
were relatively cheap yet highly visible. Built wherever sites were available, these provided muchneeded open space in the old city, and foci and
denition in the amorphous new suburbs. Where
possible, these now form chains of linked spaces
that help tie the city together in a more varied yet
intact entity. Early projects that brought immediate
attention and acclaim include: the astringently
avant garde Plaça del Països Catalans by Helio
Piñón & Albert Viaplana with Enric Miralles outside
Barcelona’s main railway station (Fig. 2); nearby the
playful Parc de l’Espanya Industrial by Luis Peña
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Figure 2. Plaça del
Països Catalans –
Helio Piñón & Albert
Viaplana with Enric
Miralles (photo
Cunningham).
Ganchegui and Francesc Ruis; and the Plaça de la
Palmera, a collaboration between Pedro Barragán
and Bernardo de Sola and the sculptor Richard
Serra. Each of these realises very different yet
complementary civic visions, as, for example do two
slightly later parks in old quarries; the sombre
monument of the Fossar de la Pedreera by Beth
Galí and the family-oriented Parc de la Cructa del
Coll by MBM.
Many of these plazas and parks, and the other
local projects that followed, are designed in an
uncompromisingly contemporary idiom; and the
controversy this provoked was welcomed for
bringing, along with lively debate, a sense of local
involvement as well as international acclaim and
investment. Soon the local projects included
building such other much-needed facilities as
schools, health facilities and libraries, and refurbishing many of Barcelona’s most famous historic
monuments. Exemplary schemes of the latter sort
include the restoration of Gaudí’s Parc Güell by José
Antonia Martinez-Lapeña & Elias Torres, the conversion of a print works by Domenech y Muntaner
into the Fundacio Tapies by Amado & Domenech,
the extension of Domenech y Muntaner’s Palau
Musica by Oscar Tusquets and the conversion of
the Casa Caritat into a museum by Piñón &
Viaplana. Such undertakings encouraged the
sprucing up of the whole city.
To accelerate the snow-balling momentum of the
regenerative process, Barcelona seized the 1992
Olympic Games. Crucially, the funds drawn in were
invested in projects that served not just the
Olympics but were key parts of the City’s long-term
transformation. Besides leading to many ne buildings – including Velodrome and Badolona Sports
Pavilion, both by Esteve Bonell and Francesc
Ruis, the Archery Facilities by Enric Miralles and
Carme Pinós and Collserola Telecommunications
Tower by Foster and Partners – major urban design
and infrastructural projects were realised. The most
exemplary of these are the Nova Icaria Olympic
Village, master planned by MBMP (Josep Martorell,
Oriol Bohigas, Peter Mackay with Albert
Puigdomènech) and the Cinturon motorway that
now rings Barcelona.
Nova Icaria fuses the best of traditional and
modern urban forms into a new hybrid that reconnects the city to the sea, and ve kilometres of
new beaches that are part of the many new leisure
facilities that enhance the city’s capacity for hedonism. The Cinturon is remarkable for the way skilful
design has ensured that it brings together, rather
than is a barrier between, the city and the
surrounding mountains and sea. This is the result
of an extraordinarily close collaboration between
road engineers, landscape architects and urban
designers brought about by Maragall and Acebillo.
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Such intense collaboration is one of their greatest
achievements, along with ensuring that private
sector investment has been to the same high
design standards as found in the public sector. In
this last they have been aided by the fact that
perhaps no other city has a comparable pool of
architectural talent to draw from.
The Olympics was a climax to, but not the end
of, Barcelona’s transformation. As well as the
construction of the controversial but very popular
Port Vell leisure complex in the old harbour, new
open spaces and public facilities are still being
built. Several major infrastructural developments
are planned or underway, most of which will
serve not only Barcelona but also lead to the better
balanced development of its metropolitan region.
Such public/private joint ventures are drawing in
yet more private investment and jobs that will
help ensure that Barcelona should be a major player
in the global future as well as one of the most
civilised and enjoyable of all cities to live in and
visit.
Award of the Royal Gold Medal
to Barcelona
Robert Maxwell
I am honoured to have been asked to introduce
to you the gifted individuals who have so notably
contributed to the development of city planning
in our time, so successfully indeed, that the city
of Barcelona has been personied so that it
can receive the Royal Gold Medal, through their
joint efforts and dedication to an ideal city development.
City planning is a modern subject, about as old
as modern architecture, about as old as Le
Corbusier’s concept of urbanism. But does this
subject really exist? In spite of the success of Milton
Keynes, it is the existing cities that remain the
toughest problem. City planning was meant to be
a science, but standards change as fast as the practical measures taken, so that evaluation becomes
difcult. Analytical concepts may not last for very
long, statistics have little effect on appearances.
There seems to be some unfortunate relation
between the logistics of city growth, the economics
of business, and the short life of political initiatives,
that has made it difcult to pursue an evolutionary
policy over a long enough time for results to show.
Attempts to reshape existing cities like our own
Birmingham, using analytical concepts like motorway box, neighbourhood unit, tower block have
not been very successful. Appearances have been
against them.
At the same time the growth of the tourist
industry has provided an entirely different measure
of what an urban environment can be. People on
vacation ock not only to beaches, but to cities
that are full of attractive buildings and spaces, that
derive their distinctive character from patterns of
use rather than from patterns of analysis. Tourists
visit Clough Williams Ellis’s Port Mereion and
François Spoerry’s Port Grimaud, both elegant
ctions deriving from Camillo Sitte’s largely ctional
work ‘City Planning According to Artistic Principles’.
Could it be that architecture has a role to play
in lling the gap between abstract planning and
lived experience, between what works logistically
and what works socially, between necessity and
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The Royal
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1999
appearance? Could it be that city planners need to
be more sensitive to what buildings can do to
shape the city and give it meaning? Because this
seems to have been the crucial idea that has
resulted in the conspicuous success of Barcelona.
Barcelona is, perhaps, a fortunate place, being
at one and the same time a city, a port and a
beach. It is in the south, so it has sun. But it is
also in the north, so it has energy. It has Antonio
Gaudí, more familiar to ordinary families than Pablo
Picasso. And it has Cerda, whose gridded plan of
1859 provided structure, but also freedom,
providing sites for buildings and buildings for sites.
But this formula is still too ideal for our situation today. We have to deal with the city largely
as it is, and look for growth more from economic
management than from an ideal layout. In order
to deal with the city more as an organism, we have
had to re-conceptualise it in terms of its social
value. And this, it seems to me, has been accomplished largely through the insights provided by
the Italian architect Aldo Rossi, whose book
‘L’Architettura della Città’ appeared in 1996. Rossi
was a visionary who saw the city as a repository
of meaning, and who also saw the individual buildings as the catalyst which allowed social energy to
ow into the city.
The reason why city planning is so difcult has
nothing to do with the ideology of modern architecture. Radical interventions like Danny Libeskind’s
Victoria and Albert spiral or Richard Rogers’s Lloyds
take their meaning from the situation in which they
are placed in the city, as much as from their unusual
forms. Lord Rogers has been unequivocal in his
defence of the inner city.
The order of the city exceeds the order of any
one building and acts as a shared framework which
provides meaning, at the same as it accepts
each intervention as foreshadowing a change of
meaning. To build in Barcelona, then, is analogous
to writing in Catalan; the existing both accepts the
new and is changed by it.
A single gifted individual can provide a crucial
stimulus to cultural change, yet at the scale of the
city their effort can be lost. To change the evolution of a whole city in a period of twenty years –
Catalonia gained its political autonomy only in
1977 – is an outstanding achievement, and it
needed more than one man. I give you then ve
men – three mayors in succession: Narcis Serra,
Pasqual Maragall and Joan Clos; then Josep
Acebillo, Director of Urban Projects from 1980–8,
and Oriol Bohigas, the Co-ordinator for Urbanism
from 1980–4.
In hailing this achievement in the names of the
ve wise men we salute not only individual efforts
but their collective wisdom – their perception of
the process by which the city grows, their patience
in seeing growth as a way of giving shape, and
their moral sagacity in co-operating with the spirit
of the times.
Architecture and City in an Open World
Pasqual Maragall i Mira
If we look down upon Europe from a satellite we
will see a constellation of points or specks of light.
What we will not see are borders between states
or regions. The constellations we see are our constructions, our physically existing cultures.
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Simply by taking in this image we learn something useful about the world, something that the
concept of global village doesn’t tell us. The
organisation of these specks of light, which are
the reection of our cities, traces certain paths,
pointing out concentrations and revealing empty
spaces. These are dense concentrations such as the
Randstadt, the English South East, the Ruhr-Rhine
valley, the Genoa-Turin-Milan triangle, or the high
point of some coastal lines that look like a linear
city, just as in Naples or in Barcelona and the
northern Mediterranean coast of Spain up into the
Gulf of León.
The only road that leads from the present world
of states to the global world, to the open world,
to the world without borders, is precisely this: it is
a route that traverses the world of cities and the
Europe of regions. The global world, this ‘global
city’, this notion that my city no longer exists
because my real city is the world, is not a very
useful idea. It is a paralysing concept.
Global thought makes considerable mistakes. In
1974, it announced that oil reserves would last only
twenty more years, and here we are in year twentyve! Another mistake: we were told that the world
population would stop growing in the year 2050,
at some 15,000 million inhabitants. Now it seems
it will reach its peak long before, in 2015/2020,
and with many fewer inhabitants.
Fortunately, a good catchphrase emerged from
the Rio de Janeiro Earth Summit where global
thinking was established. It said: ‘Do locally everything that can be done locally’, by way of saying:
‘avoid the transportation of energy – whether pure
or compact – whenever possible’.
Also the European Union establishes an ‘evercloser bond between people where everything will
be done as close as possible to the citizenry’; in
truth, this is a revolutionary proclamation that
changes the constant tendency of ideas, since
1789, to adopt a naïve universalit y.
At this point, we must ask ourselves what the
devil architecture has to do with all this?
What architecture has to do with it, is that architecture is the art of constructing cities, and the city
is once again taking its place at the centre of the
world’s attention.
Today’s globalisation is neither right nor denitive. It is just the latest of the waves of universalisation that have followed one another cyclicall y
throughout history. At the end of the nineteenth
century, both nanciers and proletarians were internationalists as well as aristocrats like the Baron of
Coubertin.
In this century, the lesson in humility that we
ought to have derived from the audacity and
stupidity of our collective pretensions is overwhelming.
We must therefore admit that, for the moment,
the global world can only be constructed piece by
piece, by regionalising its organisation, and we
must understand that such regionalisation will be
established at the level marked as the minimum
economic size by the largest economy. The creation
of the United States in 1776 sanctioned the necessary unication of Europe two centuries ago. How
could we not have realised it?
The world is only a global world for a few, and
within limits. It is above all a world of cities, of
places where business and workers on the one
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hand and public representatives on the other try
to meet the demands and problems of the human
species. The cities that make up this partially globalised world are the true scene of architecture. On
this point, Narcís Serra, Joan Clos and I are only
following the masters. The Renaissance masters,
the Modernist masters, and the Masters of today,
Oriol Bohigas, Richard Rogers and Renzo Piano, and
we are obeying our own experience in doing so.
In Barcelona, to construct houses in the crumbling
Old City in the early 1980s was useless if not
accompanied by health, safety and elementary
urbanistic measures.
Just look. We came into government in 1979
with the mistaken notion that the low housing
prices in the Old City were a blessing, and we
began to make urban plans that increased the
zoning for public structures to the maximum. This
was a mistake. We thought we had to behave in
such a way that the Old City dwellers would stay
there thanks to the maintenance of low prices and
the new offer of services. This was another mistake.
We didn’t realise that prices were low because
people were leaving.
The population in the Old City decreased by 30
or 40 per cent. Those familiar places, freighted with
meaning, were being deserted. The empty spaces
began to be occupied, in part, and only in part,
precisely by people lacking the means to maintain
a minimum of commercial and public vitality in
these neighbourhoods, people who tended to
create defensive and ghetto codes of behaviour.
The theory of the skier was the solution: not just
for urban planning, or public safety, but for both.
Urbanism plus public safety, rst one and – imme-
diately after – the other. Social services plus
cleaning services. Commercial policy plus housing.
Prevention before correction but, in every case,
prevention plus correction. No dogmatics, no magic
formula. Public investment plus private investment.
Public action plus charity. Total war on poverty. This
is what Narcís Serra had shown us, and what Joan
Clos carried out as councilman.
At rst, we lost. Only much later did we tie. And
nally we began to win. And even as we were
winning, the buried mines of old scandals or the
hypocrisy of bean counters scandalised by the
buying and selling of housing at different prices
began to blow up around us. Just as, much earlier,
charitable associations had been scandalised when
the lines for food or shelter began to grow as we
closed down the unhealthy pensions where elderly
persons – unseen by and unknown to these associations – were dying on the cheap.
Governing the city, to be sure, often requires a
certain glossing over or dissimulation of lacerating
problems, so as to resolve them without offending
public sensibility – how can we deny it? But in most
cases, it requires revealing to the public hidden realities. The governor sets the mirror of its miseries
before the city, miseries not unknown, but
forgotten, covered up, hidden.
A new house in a dangerous neighbourhood is
not a new house. That is the lesson we learned.
That new house quickly grows old, like the faces
of boys and girls who go to work too young.
The lesson to be learned is that both wealth and
poverty colonise territory. Wealth by means of high
prices (uptown) and minimum lot sizes (out of
town), and when necessary by means of private
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security forces, as in Caracas; poverty by means of
an equally efcient weapon: the middle class fear
of unsafe streets and unbridled diversity.
The truth is that in tolerant and liberal Barcelona,
crime rates have dropped from 25 per cent to 15
per cent in ten years, that is, by almost half, while
in ten years of law-and-order London it rose one
and a half times. Tony Blair who made it one of
his central campaign issues knows it well. Notice
that the London School of Economics had shown
that the radical puritanism of Mrs Thatcher’s
government condemned the destitute to remain
entrenched in their destitution. This brings us to
an interesting methodological observation. When
a city has gone through years of non-doing and
passivity, ideas about its future mature and can be
transformed into a fruitful, forceful, and purposeful
attitude when the necessary political conditions to
take action come into play.
This, I believe, is the origin of the demanding
optimism of Bohigas, Acebillo, Solà-Morales,
Busquets, Llop, and de Lecea that began to overow in 1980 onto the streets and squares of
Barcelona. And this, I am convinced, is the moment
London, and its politicians, architects, and social
workers in general, is entering.
If there were such a thing as historical justice, it
would consist of a kind of Solomonic distribution
of grand projects throughout decades and territories, possibly with a slight preference for territories
distant from the centre of the system of cities, to
compensate for the fact that proximity to the
centre brings with it a density of contacts that
makes the external or instantaneous shock of
grand initiatives unnecessary. (I say slight prefer-
ence in order not to relinquish methodological
modesty with regard to public action which I
imagine bold and energetic yet not substituting for
the very same citizens you are supposed to serve.)
It is clear, however, that there is no such thing
as distributive justice in history and, nevertheless,
or for that very reason, we must lie in wait for the
passing of the train of fortune and, if necessary,
build fortune a shortcut. That is the purpose of
grand events. At times they are nothing more than
the announcement of a long-awaited era, excuses
that history seizes to make a sudden, splendid
appearance with a gift of dreams carried out.
Let us call architecture back to its date with
history. The best news for the victims of terror in
the Basque country, was the inauguration of the
Guggenheim Museum in Bilbao. The Gehry
Museum and Foster’s underground have broken the
spell cast over a Basque city (and the Basque
country) that had only been seen in the light of
tragedy and death, and which can begin once
again to be imagined as a site of life and construction, thus averting the obsession with fear that is
the goal of the politics of terror.
The Lisbon Expo, the Barcelona Olympics, the
high-speed train installed in Seville for the ‘92 Expo,
all mark another series of moments in which the
spark of the event seems to have put in motion
the motor of evolution.
No one can survive merely by conservation. If
there is no new construction, the city cannot stand;
not even the old will endure. Each city must nd
its own formula for combining existing symbols
with new ones. Without the latter, antiquity
becomes mere repetition. And I assure you that the
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future of nations will be played out in the efcacy
of their systems of cities.
Our experience as mayors cannot be entirely
explained without at least one confession. It is the
emotion of seeing new symbols destined to last
rise up in the city through the art of architecture
and construction.
I am not referring so much to the function as to
the value of those constructed artifacts. Squares or
houses, trees planted in a certain place or a certain
order, new monuments, or restored or displaced
ones, more or less stable and resistant urban furnishings, schools, sidewalks and boulevards, communications towers, containing walls, dikes,
theatres: all of these are the theatre of life, messages
thrown more or less consciously like bottles into the
sea of history’s course, occasionally excessive references to our passage through the city, but in any
case visible, corporeal, criticisable – action become
object, which thousands of eyes will gaze on with
respect or will pass over, which thousands of hands
and feet will touch, trample, or alter, and which
make of the city one of the few lasting concepts of
our present and our future – one of the most universal concepts, for the experience we have of them
is universal and common.
And so, if there is any profession that holds the
key to their modication, it is architecture, which
makes architects and the profession of architecture,
one of the broadest dreams of youth, on a level
with those makers of the immaterial, but magical,
construction which is stage design. It was not by
chance that the 1997 Congress of the UIA in
Barcelona turned into a two-tiered ritual of masses
and vedettes, all from the same profession.
I must say here that I am very grateful to Norman
Foster and Kenneth Frampton for recognising at
once what was happening, and for agreeing to
convert the Plaza of the Angels, also known as the
Plaza of Nations, against the white backdrop of the
MACBA – the Museum of Contemporary Art of
Barcelona – into the scenario of the best architectural debate. Perhaps no architectural congress
from now on will be able to do without a debate
staged on the hard stone of the city, in which the
forum and the agora once again fulll their old
function.
The rst President of the reinstated Generalitat,
Josep Tarradellas, would often say half-ironically,
half-sincerely, with his peasant’s smile, so inscrutable and yet so seductive, that he would have liked
to be mayor. ‘Because you, Mr Mayor’, he would
say, ‘can see your works, and can touch them, and
the people come up to you on the street. But me,
do you know what I do? All I do is sign decrees!’
In this way he expressed the bitterness – not
lacking in majesty – of the representative of an
abstract power, such as a nation, which is incorporeal, which exists – and often with what
strength! – but only in people’s heads, and in the
false or unreal lines that separate one country from
another on a map. An immense strength that has
allowed for the greatest progress and caused the
greatest catastrophes, but an ideal strength, not a
tangible reality.
In Barcelona, after 40 years of dictatorship, we
reached a moment, and not a eeting or short one,
of an ongoing euphoria of constructive explosion.
Like a long-awaited spring, surprising in its intensity and beauty when it nally arrives, like those
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gardenias that take so long to blossom, that never
quite ower, but surpass the imagination in the
number, fragrance, and purity of their petals when
they nally do.
This occurred in Barcelona and it continues to
occur. The feeling this produces is difcult to
describe. In the last 20 years in Barcelona, we have
come to equate ‘city’ with ‘betterment’. The eye
has become accustomed, not to certain forms, but
to certain rhythms in the evolution of forms.
Rhythms subjected to certain principles of quality
occasionally violated, as with the fall of Chillida’s
cement hook, or with the rubble of stone from
Montjuic in the Ensanche/Extension, or when the
‘small’ communications tower, that of the
Telephone Company in Montjuic, was placed two
hundred metres within an enclosure which it
should, in any case, only have intersected from
without, as a useful and respectful point of reference.
The other communications tower, Foster’s tower,
the result rst of a careful process of social and
professional acceptance, and then of the task of
selection, carried out by Juli Esteban and Joan
Busquets, is more in scale than it might appear
(Fig. 3). A philosopher friend of mine commented
that if you covered it over with your hand you
restored the scale of the mountain and the equilibrium of the skyline, which otherwise is reduced
to a miniature, shrunk by the overwhelming presence of the tower. And this is true: you can try it
yourselves the next time you go to Barcelona.
However, in addition to its elegance and originality, the tower supersedes the excessive functionalism of the usual cement tower. It is made to
Figure 3. The
Collserola
Telecommunications
Tower – Norman
Foster and Partners
(RIBA Press Ofce).
the scale of a different city, greater and more
distant than the one you can see from this side of
the mountain: it corresponds to the scale of the
metropolitan city, the city of three to four million
people that surrounds the mountain on both sides.
Now, when we are on our way home from the
mountains or the coast, the tower quickly orientates us, from afar. And, once we are home, it
reminds us that the real city we inhabit is not
exactly the same as the one we see.
I say this in spite of myself, because I am among
those who believe that a city you cannot see is
more difcult to govern. This is so true that I
proposed to move the plenary council of the City
Government to the last oor of the Novísimo
Building, once three of its twelve stories had been
eliminated and the skyline of the old city from the
sea had been restored. I always felt that the danger
of the towers, both the communications towers
and the skyscrapers of the Olympic Village would
be to initiate a contest of multiplication of those
artifacts, of which every generation should
construct only a few, a precious few, cum grano
�240
The Royal
Gold Medal
1999
salis. Manhattan and San Giminiano are not easily
reproduced phenomena.
Unique architectural phenomena, when they
occur in an environment characterised by mobility,
are less dramatic; to put it another way, they are
acts in a drama that doesn’t stop there, a drama
that is ongoing, whose irreversibility is not cause
for concern.
The city’s condence in itself is immense in these
cases. The credence in public action is almost innite.
The accumulation of many positive emotions, like
the gardens of Elias Torres in Villa Sicilia; or Beverly
Pepper’s park; the many new balconies over the
city, like the portentous podium of Gae Aulenti
over the western part of the city, or the Parc del
Migdia a bit higher up, or even the lateral edges
of Acebillo’s beltway on the Ronda de Dalt, with
unimagined views of the Barcelona plain and the
mountain slopes that begin their ascent there; or
the campaign to make sense of areas of the city
that had no textual language, like General
Moragues Square, next to the Calatrava bridge
where people exploded with joy when Ellsworth
Kelly the sculptor climbed up to greet them, leading
him to exclaim: ‘This is the rst time a sculptor has
received a musician’s ovation!’
All these things have turned the city into a kaleidoscopic reality in less time than it usually takes to
perform simple changes.
It has been and is an intoxicating time, in which
the gods, the state, and the architects have
bestowed on the city what we had sought tirelessly for decades, decades of silence, of frustration, of beginnings and quests that, still and all,
served to crystallise the most precious jewel of
social engineering: a consensus on projects, on
grand projects.
I only want you to know that this city, seen by
so many as a model, this city of which Andrea
Rinaldi has said with evident excess: ‘a Barcellona
il processo si inverte e le transformazioni si originano prima al livello dello spazio pubblico e poi
della forma architettonica’ (‘in Barcelona the
process is inverted and the transformations originate at the level of public space and then go on
to architectural form’) . . . in this city nothing is
guaranteed. And this is what makes it the same
as any other, and a sister city to all.
I would add sister, little sister, of London above
all. London has acted as a brilliant mirror in which
Barcelona has encountered the way of telling its
tale to the world.
I foresee a hard road for a world that will not
be better if its cities do not improve, and I believe
it is possible for them to improve. And I take a
stand with Jaime Lerner, ex-mayor of Curitiba,
Brazil, in asking universities and nations to stop
telling a tale of urban tragedy and begin to write
a new ending, which will be a positive one, mark
my words.
Ten points on an Urbanistic Methodology
Oriol Bohigas
1.
The city as a political phenomenon
The city is a political phenomenon, and as such it
is loaded with ideology and with political praxis. It
is the continuity of a common ideology and
programmes by the three Socialist mayors – Serra,
�241
The Journal
of Architecture
Volume 4
Autumn 1999
Maragall and Clos – and their collaborators
that have made the coherent transformation of
Barcelona possible.
2.
The city as domain of the commonalty
These political and urban ideas are based on a radical statement: the city is the indispensable physical
domain for the modern development of a coherent
commonalty. It is not the place of the individual, but
the place of the individuals who together make up a
community. Very different from what a famous
British politician said, that there was no such thing as
‘community’, only individuals and the State. It is the
relation between individuals that constantly weaves
the threads of ideas and expanding information. The
city offers the fullest guarantees for this information,
for access to the product of that information and for
the putting into effect of any socio-political programme based on that information. There can be no
civilisation without these three factors.
The new voices of technology have recently
tended to say that the traditional city is going to
nd itself replaced by a series of telematic networks
which will constitute a city without a site. This is
an anthropological and ecological nonsense. It is a
vision put forward by certain political ideas which
are opposed to giving priority to the collective
and in favour of the privatisation of the public
domain.
3.
Tensions and chance as instruments of
information
When I said that the city provides us with certain
irreplaceable instruments of information I mean the
enriching presence of tensions and of chance. It is
only with the potentially conictive superimposition
of singularities and differences and the unforeseen
gifts of chance that progress can be made in the
process of civilisation, with the move from the
structure of the tribe to the civilising cohesion of
the city.
The city is a centre of enriching conicts which
are only resolved in their afrmation as such or in
the coexistence of other conicts with different
origins. It does seem to me that the great error
made by the urbanism of the Athens Charter was
the attempt to cancel out these conicts. To eliminate them instead of resolving them with the
recognition of other conicts. Urban expressways,
the 7V of Le Corbusier, functional zoning, directional centres, the great shopping areas: these have
not served to resolve problems, but have instead
destroyed the character and the function of many
European cities.
4.
The public space is the city
If we start out from the idea that the city is the
physical domain for the modern development of
the commonalty, we have to accept that in physical terms the city is the conjunction of its public
spaces. The public space is the city: here we have
one of the basic principles of the urban theory of
Barcelona’s three Socialist mayors.
In order for the urban space to full its allotted
role it has to resolve two questions: identity and
legibility.
5.
Identity
The identity of a public space is tied up with the
physical and social identity of its wider setting.
�242
The Royal
Gold Medal
1999
However, this identication is bound by limits of
scale that are normally smaller than those of the
city as a whole. This being so, if authentic collective identities are to be maintained and created it
is necessary to understand the city not as a global,
unitary system but as a number of relativel y
autonomous small systems. In the case of the
reconstruction of the existing city, these
autonomous systems may coincide with the traditional neighbourhood make-up. I believe that this
understanding of the city as the sum of its neighbourhoods or identiable fragments has also been
one of the basic criteria in the reconstruction of
Barcelona, with all its political signicance and with
the creation of the corresponding decentralised
administrative instruments.
However, we are dealing here not simply with
the identity of the neighbourhood, but with the
particular representative identity of each fragment
of the urban space; in other words, with the coherence of its form, its function, its image. The space
of collective life must be not a residual space but
a planned and meaningful space, designed in
detail, to which the various public and private
constructions must be subordinated. If this hierarchy is not established the city ceases to exist, as
can be seen in so many suburbs and peripheral
zones of European cities which have turned away
from their urban values to become parodies of
certain American or Asian cities.
6.
Legibility
The designed form of the public space – that is,
of the city – has to meet one other indispensable
condition: to be easily readable, to be compre-
hensible. If this is not so, if the citizens do not have
the sense of being carried along by spaces which
communicate their identity and enable them to
predict itineraries and convergences, the city loses
a considerable part of its capacity in terms of
information and accessibilit y. In other words, it
ceases to be a stimulus to collective life.
In order to establish a comprehensible language
it is necessary to reuse the semantics and the syntax that the citizen has already assimilated by means
of the accumulation and superimposition of the
terms of a traditional grammar. It is not a matter of
simply reproducing the historical morphologies but
of reinterpreting what is legible and anthropologically embodied in the street, the square, the garden, the monument, the city block, etc. No doubt
with these ideas I will be accused by many supposedly innovative urbanists of being conservative,
reactionary, antiquated. But I want to insist on the
fact that the city has a language of its own which
it is very difcult to escape. It is not a matter of
reproducing Haussmann’s boulevards, or the street
grids of the nineteenth century, or baroque squares
or the gardens of Le Nôtre. It is a matter of
analysing, for example, what constitutes the centripetal values of these squares, what is the plurifunctional power of a street lined with shops, what
are the dimensions that have permitted the establishment of the most frequent typologies. And it is
a matter of being aware of how the abandoning of
these canons results in the death of the city: the
residual spaces of the periphery and the suburb, the
vast shopping centres on the outskirts of the city,
the urban expressways, the university campus at a
considerable distance from the urban core, etc.
�243
The Journal
of Architecture
Volume 4
Autumn 1999
7.
Architectural projects versus General Plans
All of the above considerations bring us to another
very important conclusion which Barcelona has
managed to apply: the urbanistic instruments for
the reconstruction and the extension of a city
cannot be limited to normative and quantitative
General Plans. It is necessary to go further in terms
of what is required of the design. It is necessary
to give concrete denition to the urban forms. In
other words, instead of utilising the General Plans
as the sufcient document, a series of one-off
Urban Projects have to be imposed. It is a matter
of replacing Urbanism with Architecture. It is necessary to design the public space – that is, the city
– point by point, area by area, in architectural
terms. The General Plan may serve very well as a
scheme of intentions but it will not be effective
until it is the sum of these projects, plus the study
of the large-scale general systems of the wider
territory, plus the political denition of objectives
and methods. During these last thirty years General
Plans have justied all over Europe the dissolution
of the city, its lack of physical and social continuity,
its fragmentation into ghettos, and have paved the
way for criminal speculation in non-development
land. And they have, in addition, counterfeited a
spirit of popular participation, whose criteria
cannot logically be extended beyond the local
neighbourhood dimension and beyond a comprehensible time span.
8.
The continuity of the centralities
The controlling of the city on the basis of a series
of urban projects rather than unformalised General
Plans makes it possible to give a continuity to the
urban character, the continuity of relative centralities. This is one way of overcoming the acute social
differences between historic centre and periphery.
I am aware that in these last few years many
voices have spoken out in defence of the diffuse,
informalised city of the peripheries as the desirable
and foreseeable future of the modern city. The ville
eclatée, the terrain vague. This position seems to
me to be extremely mistaken.
The peripheries have not been built to satisfy the
wishes of the users. They have appeared for two
reasons, which correspond to the interests of the
capital invested in public or private development
and to conservative policy: to exploit through speculation the value of plots that were outside of the
area scheduled for development, and to segregate
from the main body of the community those social
groups and activities regarded as problematic by
the dominant classes. The urbanists who uphold
the model of the periphery seem not to realise that
all they are doing is putting themselves on the side
of the market speculators, without adding any kind
of ethical consideration. As certain neo-liberal
politicians say, the market takes over from policy,
without considering the economic and social
damage suffered by the periphery and even by the
suburb. In other words, without culture, without
politics.
9.
Architectural quality: between service and
revolutionary prophecy
No urbanistic proposal will make any kind of sense
if it does not rest on architectural quality. This is a
difcult issue. If the city and architecture are to be
at the service of society, they need to be accepted
�244
The Royal
Gold Medal
1999
and understood by society. But if architecture is an
art, a cultural effort, it must be an act of innovation towards the future, in opposition to established customs. Good architecture cannot avoid
being a prophecy, in conict with actuality. On the
one hand actual service in the here and now and
on the other hand anti-establishment prophecy:
this is the difcult dilemma which good architecture has to resolve.
10.
Architecture as a project for the city
I do not want to conclude without referring to
another architectural problem. It is evident that
these days there is a great split in the diversity of
architectural output. On the one hand there is the
tightly rationed production of the great architects
which is published in the magazines and shown in
the exhibitions. On the other hand there is the
superabundance of real architecture, that which is
constructed in our horrible suburbs, along our
holiday coasts, on the edges of our motorways, in
our shopping centres. A very bad architecture, the
worst in history, which destroys cities and landscapes.
There are many reasons which serve to explain
this phenomenon, but the most evident ones are
the typological peculiarity of the great projects and
the commercialisation of vulgar architecture. The
great Ivory Tower projects are no longer capable of
putting forward methodological and stylistic
models, and as a result the majority of vulgar architecture cannot even resort to the mannered copy.
Clearly we are not in any condition today to call
for the creation of academic models, as has
occurred in the history of all styles. Perhaps the
only possibility open to us is that of establishing a
rule that is more methodological than stylistic: that
architecture should be primordially a consequence
of the form of the city and of the landscape and
should participate in the new conguration of
these. This would be a good instrument for a new
order, in opposition to the self-satised lucubrations of good architecture and the lack of culture
of vulgar architecture.
I began by saying that the city must be an architectural project and I have ended by saying that
the solution to the present problems of architecture may be to design it as part of the city.
Conclusion
My intention was to give a simple informal speech
of thanks for the medal. But I see that it has come
out too academic and, as a result, boring and
pedantic. And perhaps futile, too: I am afraid I have
spoken of principles that are too simple and too
familiar for such an important audience from the
Olympus of the British architectural profession.
Please forgive me. I could not resist the temptation of underlining these ten successive and interlinked programmatic points, as a consequence of
the initial fact of Barcelona’s political approach to
urbanism. If our mayors had been Thatcherites, the
city today would be very different. These points
and their methodological coherence would not
have been possible without the political lines
marked out by our three Socialist mayors, Serra,
Maragall and Clos. The credit is theirs, and it is
they who deserve our thanks.
�
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04.02. Activitat política
Description
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Recull la documentació generada en relació a Pasqual Maragall en la seva activitat als partits i associacions d'àmbit polític: Front Obrer de Catalunya (FOC), Convergència Socialista de Catalunya (CSC), Partit dels Socialistes de Catalunya (PSC), Partido Socialista Obrero Español (PSOE), Ciutadans pel Canvi (CpC).
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Dublin Core
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Architecture and City in an Open World
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Article
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Maragall, Pasqual, 1941-
Bohigas, Oriol, 1925-
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Textual
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The Journal of Architecture
Language
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Anglès
Subject
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Barcelona
Arquitectura
Urbanisme
Premis i reconeixements
Abstract
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Transcripció del discurs pronunciat a l'acte de concessió de The Royal Gold Medal de 1999 a la ciutat de Barcelona, atorgada per la The Royal Institute of British Architects, publicada amb la ‘Jury Citation’ i les ‘Notes accompanying the Jury’s Citation’, seguides dels discursos pronunciats a la presentació: ‘Award of the Royal Gold Medal to Barcelona’ de Robert Maxwell ‘Architecture and City in an Open World’ by Pasqual Maragall i Mira i ‘Ten points on an Urbanistic Methodology’ d'Oriol Bohigas.
Description
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v4, n3 (autumn), p. 229-244
Date
A point or period of time associated with an event in the lifecycle of the resource
1999-11-15
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2003-2006
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21/10/2006
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Bedmar,Jordi
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Arriba i saludes al l’IES Eugeni Xammar de l'Ametlla del Vallès
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Aniversaris
Història local
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Escoles
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Maragall Mira, Pasqual, 1941-
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Aquest document és còpia digital de l'original custodiat a l'Arxiu Nacional de Catalunya.
EAD Archive
The Encoded Archival Description is a common standard used to describe collections of small pieces and to create hierarchical and structured finding aids.
Level
The hierarchical level of the materials being described by the element (may be other level too).
Document
Fotografies
-
http://78.47.125.110/files/original/27/5402/FMHP_02557.JPG
d5470cf9e417916c2532bf5d20bca252
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
12.01. Activitat de representació (com a President)
Date
A point or period of time associated with an event in the lifecycle of the resource
2003-2006
Description
An account of the resource
Aplega els expedients i documents emanats de l'activitat protocol·lària i de projecció pública com a President de la Generalitat.
Imatge fixa
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Format original
The type of object, such as painting, sculpture, paper, photo, and additional data
Digital
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Date
A point or period of time associated with an event in the lifecycle of the resource
11/10/2006
Creator
An entity primarily responsible for making the resource
Moreno, Rubén
Bedmar,Jordi
Spatial Coverage
Spatial characteristics of the resource.
París
Title
A name given to the resource
Arribada a l'aeroport de Le Bourget
Subject
The topic of the resource
Relacions internacionals
Viatges oficials
Institucions polítiques
Avions
Maragall Mira, Pasqual, 1941-
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Aquest document és còpia digital de l'original custodiat a l'Arxiu Nacional de Catalunya.
EAD Archive
The Encoded Archival Description is a common standard used to describe collections of small pieces and to create hierarchical and structured finding aids.
Level
The hierarchical level of the materials being described by the element (may be other level too).
Document
Fotografies
-
http://78.47.125.110/files/original/27/5403/FMHP_02558.JPG
d31f034cabf9570de7ad27124f940876
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
12.01. Activitat de representació (com a President)
Date
A point or period of time associated with an event in the lifecycle of the resource
2003-2006
Description
An account of the resource
Aplega els expedients i documents emanats de l'activitat protocol·lària i de projecció pública com a President de la Generalitat.
Imatge fixa
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Format original
The type of object, such as painting, sculpture, paper, photo, and additional data
Digital
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Date
A point or period of time associated with an event in the lifecycle of the resource
11/10/2006
Creator
An entity primarily responsible for making the resource
Moreno, Rubén
Bedmar,Jordi
Spatial Coverage
Spatial characteristics of the resource.
París
Title
A name given to the resource
Arribada a l'aeroport de Le Bourget
Subject
The topic of the resource
Relacions internacionals
Viatges oficials
Institucions polítiques
Avions
Maragall Mira, Pasqual, 1941-
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Aquest document és còpia digital de l'original custodiat a l'Arxiu Nacional de Catalunya.
EAD Archive
The Encoded Archival Description is a common standard used to describe collections of small pieces and to create hierarchical and structured finding aids.
Level
The hierarchical level of the materials being described by the element (may be other level too).
Document
Fotografies
-
http://78.47.125.110/files/original/27/6025/FMHP_03181.JPG
211dcce8d34f20607a576ee53f99050b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
12.01. Activitat de representació (com a President)
Date
A point or period of time associated with an event in the lifecycle of the resource
2003-2006
Description
An account of the resource
Aplega els expedients i documents emanats de l'activitat protocol·lària i de projecció pública com a President de la Generalitat.
Imatge fixa
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Format original
The type of object, such as painting, sculpture, paper, photo, and additional data
Digital
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Date
A point or period of time associated with an event in the lifecycle of the resource
25/10/2006
Creator
An entity primarily responsible for making the resource
Moreno, Rubén
Bedmar,Jordi
Spatial Coverage
Spatial characteristics of the resource.
Maials (Lleida)
Title
A name given to the resource
Arribada A l'Ajuntament de Maials
Subject
The topic of the resource
Administració local
Desenvolupament rural
Maragall Mira, Pasqual, 1941-
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Aquest document és còpia digital de l'original custodiat a l'Arxiu Nacional de Catalunya.
EAD Archive
The Encoded Archival Description is a common standard used to describe collections of small pieces and to create hierarchical and structured finding aids.
Level
The hierarchical level of the materials being described by the element (may be other level too).
Document
Fotografies
-
http://78.47.125.110/files/original/27/6026/FMHP_03182.JPG
b25812fb295df8dac9b596dc5eac6c6a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
12.01. Activitat de representació (com a President)
Date
A point or period of time associated with an event in the lifecycle of the resource
2003-2006
Description
An account of the resource
Aplega els expedients i documents emanats de l'activitat protocol·lària i de projecció pública com a President de la Generalitat.
Imatge fixa
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Format original
The type of object, such as painting, sculpture, paper, photo, and additional data
Digital
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Date
A point or period of time associated with an event in the lifecycle of the resource
25/10/2006
Creator
An entity primarily responsible for making the resource
Moreno, Rubén
Bedmar,Jordi
Spatial Coverage
Spatial characteristics of the resource.
Maials (Lleida)
Title
A name given to the resource
Arribada A l'Ajuntament de Maials
Subject
The topic of the resource
Administració local
Desenvolupament rural
Maragall Mira, Pasqual, 1941-
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Aquest document és còpia digital de l'original custodiat a l'Arxiu Nacional de Catalunya.
EAD Archive
The Encoded Archival Description is a common standard used to describe collections of small pieces and to create hierarchical and structured finding aids.
Level
The hierarchical level of the materials being described by the element (may be other level too).
Document
Fotografies