Manifest | Mariña Jordán Arquitectura

MANIFEST

ARCHITECTURE: HISTORICAL DIALECTICS

I am immense and I contain multitudes
Walt Whitman

Architecture as conversation: a creative dialogue with the past, with the contemporary, both a local and a universal juncture, delving into a “dialogue between cultures,” achieving a civilizing openness, an inevitable concern of our time.

Architecture as an environmental commitment, the earth’s cry, rooted in identity and stripped of artifices, a quest for essence, for the elemental. An architecture that studies historical praxis, born of necessity, a paradigm from which interventions in the territory have emerged and landscapes have been shaped—an ontology understood as Ortega y Gasset suggests it: “the human being has no nature, only history.”

The urgency to create an architecture that links research with intervention. A field that embraces the constructive knowledge of traditional crafts alongside all-encompassing technology. Today’s architecture must weave ties with a past that is alive and a future endangered by the irreversible consequences of what has been created. The challenge of this third millennium lies in influencing complex networks that operate at a macro scale, where known physical boundaries blur within the supranational dimensions of global existence.

ARCHITECTURE: ANTHROPOLOGY, ETHNOGRAPHY AND DIASPORA

Human existence precedes its essence,
Therefore, it is free
Jean-Paul Sartre

To create architecture from a context, Galicia. An ethnographic landscape rooted in the territory through the anthropology of labor. A place of collective consciousness, self-constructed through the transmission of intangible cultural heritage. A society with an immanent sense of relationships, in terms of subject and matter, that establishes its presence and existence in the local sphere.

A population dispersed across a territory, finding in this dispersion its via crucis: the diaspora. An identity shaped by an “eccentric” awareness that requires leaving to truly see itself. A people closely connected to nature—earthly, introspective, and intimate. A nation balanced between symbolism and legend, between mysticism and poetry, a tension between absence and existence: morriña.

ARCHITECTURE: PHENOMENOLOGY AND METAPHYSICAL HABITAT

What else could the painter or the poet express, if not their encounter with the world?
Merleau-Ponty

The pursuit of an art that is both eternal and modern. Architecture as an existential space, a realm of spirituality. The quest for an architecture of freedom, the creation of a void filled with movement. An architecture that awakens consciousness—a window, a door—that reveals the world. It is the user, in their daily life, who transforms architecture into experience and experimentation. In the words of Borges, “the history of the house is no longer anything more than the history of its metaphors.”

To offer beauty, to shape the physical and the material, is to aid humanity in studying and conceptualizing itself. Beauty is knowledge, and architecture is an act of love. A refuge we create, a sensitive receptacle of nature, of its sounds and rhythms—like poetry, it descends from and transcends nature.

To transgress language through the expressiveness of materials and structures, with boldness. There is no progress without the science of imagination, no future without the daring of the avant-garde.

MANIFEST

ARCHITECTURE: HISTORICAL DIALECTICS

I am immense and I contain multitudes
Walt Whitman

Architecture as conversation: a creative dialogue with the past, with the contemporary, both a local and a universal juncture, delving into a “dialogue between cultures,” achieving a civilizing openness, an inevitable concern of our time.

Architecture as an environmental commitment, the earth’s cry, rooted in identity and stripped of artifices, a quest for essence, for the elemental. An architecture that studies historical praxis, born of necessity, a paradigm from which interventions in the territory have emerged and landscapes have been shaped—an ontology understood as Ortega y Gasset suggests it: “the human being has no nature, only history.”

The urgency to create an architecture that links research with intervention. A field that embraces the constructive knowledge of traditional crafts alongside all-encompassing technology. Today’s architecture must weave ties with a past that is alive and a future endangered by the irreversible consequences of what has been created. The challenge of this third millennium lies in influencing complex networks that operate at a macro scale, where known physical boundaries blur within the supranational dimensions of global existence.

ARCHITECTURE: ANTHROPOLOGY, ETHNOGRAPHY AND DIASPORA

Human existence precedes its essence,
Therefore, it is free
Jean-Paul Sartre

To create architecture from a context, Galicia. An ethnographic landscape rooted in the territory through the anthropology of labor. A place of collective consciousness, self-constructed through the transmission of intangible cultural heritage. A society with an immanent sense of relationships, in terms of subject and matter, that establishes its presence and existence in the local sphere.

A population dispersed across a territory, finding in this dispersion its via crucis: the diaspora. An identity shaped by an “eccentric” awareness that requires leaving to truly see itself. A people closely connected to nature—earthly, introspective, and intimate. A nation balanced between symbolism and legend, between mysticism and poetry, a tension between absence and existence: morriña.

ARCHITECTURE: PHENOMENOLOGY AND METAPHYSICAL HABITAT

What else could the painter or the poet express, if not their encounter with the world?
Merleau-Ponty

The pursuit of an art that is both eternal and modern. Architecture as an existential space, a realm of spirituality. The quest for an architecture of freedom, the creation of a void filled with movement. An architecture that awakens consciousness—a window, a door—that reveals the world. It is the user, in their daily life, who transforms architecture into experience and experimentation. In the words of Borges, “the history of the house is no longer anything more than the history of its metaphors.”

To offer beauty, to shape the physical and the material, is to aid humanity in studying and conceptualizing itself. Beauty is knowledge, and architecture is an act of love. A refuge we create, a sensitive receptacle of nature, of its sounds and rhythms—like poetry, it descends from and transcends nature.

To transgress language through the expressiveness of materials and structures, with boldness. There is no progress without the science of imagination, no future without the daring of the avant-garde.

MANIFEST

ARCHITECTURE: HISTORICAL DIALECTICS

I am immense and I contain multitudes
Walt Whitman

Architecture as conversation: a creative dialogue with the past, with the contemporary, both a local and a universal juncture, delving into a “dialogue between cultures,” achieving a civilizing openness, an inevitable concern of our time.

Architecture as an environmental commitment, the earth’s cry, rooted in identity and stripped of artifices, a quest for essence, for the elemental. An architecture that studies historical praxis, born of necessity, a paradigm from which interventions in the territory have emerged and landscapes have been shaped—an ontology understood as Ortega y Gasset suggests it: “the human being has no nature, only history.”

The urgency to create an architecture that links research with intervention. A field that embraces the constructive knowledge of traditional crafts alongside all-encompassing technology. Today’s architecture must weave ties with a past that is alive and a future endangered by the irreversible consequences of what has been created. The challenge of this third millennium lies in influencing complex networks that operate at a macro scale, where known physical boundaries blur within the supranational dimensions of global existence.

ARCHITECTURE: ANTHROPOLOGY, ETHNOGRAPHY AND DIASPORA

Human existence precedes its essence,
Therefore, it is free
Jean-Paul Sartre

To create architecture from a context, Galicia. An ethnographic landscape rooted in the territory through the anthropology of labor. A place of collective consciousness, self-constructed through the transmission of intangible cultural heritage. A society with an immanent sense of relationships, in terms of subject and matter, that establishes its presence and existence in the local sphere.

A population dispersed across a territory, finding in this dispersion its via crucis: the diaspora. An identity shaped by an “eccentric” awareness that requires leaving to truly see itself. A people closely connected to nature—earthly, introspective, and intimate. A nation balanced between symbolism and legend, between mysticism and poetry, a tension between absence and existence: morriña.

ARCHITECTURE: PHENOMENOLOGY AND METAPHYSICAL HABITAT

What else could the painter or the poet express, if not their encounter with the world?
Merleau-Ponty

The pursuit of an art that is both eternal and modern. Architecture as an existential space, a realm of spirituality. The quest for an architecture of freedom, the creation of a void filled with movement. An architecture that awakens consciousness—a window, a door—that reveals the world. It is the user, in their daily life, who transforms architecture into experience and experimentation. In the words of Borges, “the history of the house is no longer anything more than the history of its metaphors.”

To offer beauty, to shape the physical and the material, is to aid humanity in studying and conceptualizing itself. Beauty is knowledge, and architecture is an act of love. A refuge we create, a sensitive receptacle of nature, of its sounds and rhythms—like poetry, it descends from and transcends nature.

To transgress language through the expressiveness of materials and structures, with boldness. There is no progress without the science of imagination, no future without the daring of the avant-garde.