Interview to Marcos Amadeo - Design and poetics

The design dynamic is always surprising, unexpected, unique. And it is much more, still, when the designers are five architects. Five architects - young people, too - whose interaction establishes a necessarily mysterious equilibrium. A dynamic that obeys an unpredictable game of forces. And sometimes -as it is a law in all creative processes- the irruption of chance.

Professional that moves with fluidity between the strict values ​​of the classic and the free field of experimentation, Marcos Amadeo introduces us here, in this interview, to his method of design, in which rationality is articulated equally intuition, safe strategies of good sense and certain moments of intuitive search, which he is not afraid to describe as delirious.

Many times, Amadeo proposes, when the results are not satisfactory, it is necessary to break the rational logic, break the halo of security, of good sense, to give rise to the appearance of something new, of the unexpected; to achieve a different result, another type, another order.

And those delirious moments tend to lead to crucial discoveries, to virtuous discoveries capable of giving new life -and also an unexpected sense- to projects that, until that moment, were reluctant to find a way capable of justifying their existence as architecture.

One does not know well where that comes from, where it comes from, but then, from that result, everything that was thought and worked previously, takes a sense and a general coherence.

And he cites as an example the case of the design of the MAR Museum (from Mar del Plata, Argentina), where a small spontaneous drawing -a sort of large curtain or curtain- became the vertical and elongated windows of the Museum. That is to say, that intuition of a drawing, that spontaneous inquiry that began with a sketch, gave rise, metamorphosed by the alchemy of the creative process, to one of the fundamental features of design, to one of the essential characteristics that define the Museum.

With passion, with amazement even, Amadeo finds in this anecdote an example of how the Poetics of Architecture usually arise.