Pablo Alvarez de Lara - Architect
The DNA of our brand Pablo Alvarez from Estudio Maceda is the Architect who has built our stores from scratch and has shaped the DNA of our La Portegna brand....
The DNA of our brand
Pablo Alvarez from Estudio Maceda is the Architect who has built our stores from scratch and has shaped the DNA of our La Portegna brand.
Marylebone High street store (London)
«I also like to use artisans in the construction processes because they bring warmth and humanize the spaces.»
"The brand wanted to be associated with natural, noble and simple materials."
«I firmly believe that "thought" resides in the gesture and the hand stroke.»
«The hand must be trained logically, but it is the only way I have to connect thought, emotion and project.»
Pablo Álvarez de Lara.
1. What influenced you to become an Architect?
I think I've always had it inside me, I used to build sand vaults on the beach... and at home I used to play with sand pieces. But what pushed me to choose this profession is that for me, relating to spaces is a game and a necessity.
On the other hand, there were perfect circumstances at home: my father is a frustrated industrial engineer and architect who always gave me many technical explanations about cities and buildings and on the other hand I had my mother who is a painter and sculptor.
2. How would you describe your personal architectural style and how has it evolved throughout your career?
I can't say that I have a personal style that can be identified by the solutions proposed or by something that can be identified at first sight, because my essence is to adapt as much as possible to the needs of the client. I suppose that this in itself defines a character and a style! .... Although, thinking about it, I do have personal preferences:
I like the texture and essence of the materials to be perceived in my works.
I also like to use artisans in the construction processes, because they give warmth and humanize the spaces.
As for the evolution of my style, it is closely linked to travel, to chance encounters… to continuing with my eyes open, touching and drawing wherever I go. I always travel with a notebook. And of course it also has a lot to do with the projects I have carried out and with learning through trial and error. Until you build something, it is not yours. There are things that you do not repeat because they are carried out, that stage is completed and then new options appear along the way.
3. Has the La Portegna project highlighted any of your own identities?
After carrying out an analysis of the Portegna brand and products, I was able to distill two main lines of work.
The first one was very easy for me because I quickly identified the Portegna product with the materials I usually work with. The brand was crying out to be associated with natural, noble and simple materials. The framework in which we would present the products had to be handcrafted, without industrial processes. And so came baked clay, lime and plaster or untreated natural wood. All these are the materials I usually use to communicate in my works.
The second identity feature that I brought to La Portegna was the way the space was used to highlight the product. No more continuous displays… and no more wooden shelves… we would have to break away from the predictable aesthetics of a leather goods store. From now on we would compose the space with little “chapels”!
We had to create complete and independent still lifes. The product would be valued by creating constellations or families of objects.
4. Why is it important to draw houses by hand?
In the times we live in, computer-generated technical drawing is an indispensable requirement for being productive and efficient, but I think we should not skip drawing by hand. I firmly believe that “thinking” resides in gestures and hand-drawn lines. The hand must be educated, logically, but that is the only way for me to connect thought, emotion and project.
In addition, in the studio, once the concept and volume of the house have been designed, we like to present the projects through hand-drawn watercolor and graphite drawings because we believe that these suggest enough, but leaving space for the client to complete the image. The hyper-realistic rendering is too closed for the design phase, the rendering must come later. We also use it, but at a later stage.
5. In your opinion, how can architecture influence people's daily lives and society in general?
For me, good architecture is HEALTH at all levels… both on a personal level and for society.
6. If you had to make an architectural reference trip, where would it be? (work/house/architect/style)
It's difficult to answer this question. There are so many places that have influenced my career, that have shaped me. However, if I had to choose a destination that I know, it would be Rome.
Although I still have to go to Japan, I know that there will be a before and after!