Diego Carballada

Diego Carballada

A Coruña, ES




Architecture of the imagination as against dream or fantasy architecture. In general, imagination and dreams are opposed, it might permit the distinction between apparently linked or close works.

He who has a trade has no fantasies. Adolf Loos recalls the anecdote of the master saddler, embarrassed about his lack of the inventive ability of architects, artists and professors from the Sezession. When, in a paternalistic attempt to help him, they provided him with dozens of good designs of modern saddles, the master's vision cleared, he breathed more easily and understood: if he knew so little about leather, horses and riding as they did, he would also have fantasies, and what fantasies. 

The image is repeated throughout Loos' texts. One of them describes the stonemason in an article from the 1898 series Der Mobel aus dem Jahre 1898. The specific nature of all art according to the materials used, the procedures of material layout and composition, and the perceptive sensoriality of each type of art, and thus defends the independence of the work of art from any prior content beyond the material of the work itself. 

The mind of the master stonemason is petrified, says Loos. He sees and feels the world through eyes and senses that are filtered through stone, he is incapable of fantasizing beyond what exists in stone, and what stone is capable of. So much so, that the master painter is able to scorn him for being unable to reproduce animals and plants as they are, as the painter sees them. The stonemason, observing them from stone, formalizes them to the limits of the stone's capability. A gazelle's legs are thick— in stone, of course. Naturally; if not, they would break. 


High Technical School of Architecture of La Coruña (ETSAC). (2009 - 2015), BArch, architect

Sep 2008 - Sep 2016

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