Interview with Javier Artadi

Peruvian architect Javier Artadi took a moment after his lecture during Prague Architecture Week 2012 to answer a few questions for archiweb in the premises of NTK.

Good day, thank you in advance for your time for our questions. I would like to start somewhat broadly, what does creating architecture mean to you?
An excellent question. I think architecture is a way to change something. I mean that an architect should believe they can change reality, and if they are going to change it, it should definitely be for the better.

Is contemporary Peruvian architecture characteristic in today's globalized world? Do you observe any trends that repeat among architects?
Not a trend per se, but perhaps Peruvian architecture is characterized by its smaller scale and coastal location, which has brought it international fame. At the same time, it is also very universal, so in my projects, one can find things that anyone can easily understand – squares, lines, circles. However, the geographical location is absolutely unique. I think the blend of these two aspects is characteristic of Peruvian architecture.

Europe and the USA have faced an economic crisis in recent years, closely linked to the construction sector and architecture. Large studios have fewer projects, and smaller ones often completely dissolve. Have you noticed an increase in foreign architects in Peru? Do you think a non-Peruvian architect can establish themselves in your country?
It is true that Spanish architects have been working more in Peru recently. This is certainly due to the common language and Spain's closer ties to South America in general, which is rooted in history. Peru is a country that has not been in crisis for the last 25 years, but that does not mean it is like the Germany of South America. It is a country that still needs to solve many issues, such as poverty – which has decreased from 60% to 30%, but there is still much work ahead. But back to the question. Yes, there are foreign architects working in Lima; many have offered us collaboration on projects, but in Peru, there is practically no public procurement. Due to various bad laws, there is no project in Peru for which an architectural competition would be announced. Thus, honest architects cannot access such contracts, neither Peruvian, nor Spanish, nor others, leading to the construction of the worst buildings Peru has ever seen.

In the Czech Republic, architects often complain about rarely announced architectural competitions; is the situation similar in Peru?
What is happening in Peru has roots back in the 1990s when, among other things, changes to the constitution took place. This had a huge impact on the entire private sector, causing an incredible economic boom, and this sector flourished at a great speed. The result was the birth of a middle social class that previously did not exist. But all of this is thanks to the private sector, not the state. So all the projects we architects have are purely private, which comes with certain limits. Contracts are either for residential buildings, office buildings, or shops. All public buildings, like libraries, schools, etc., are not the result of our work. For example, I participated in one competition last year, but it was international and involved a private investor. I would also add that if a competition is held in Peru in the private sector, it is always a closed competition.

An architectural work is a synthesis of the abilities of the architect, the quality of the builder, and social conditions. What are the current social conditions in Peru for an architect?
If we talk about private investors, there is a very aware society here. Just look at the number of publications on architecture or construction. I would say that in all of South America, but especially in Peru, the idea of something modern is very prominent. Society is evolving, which at least in Peru brings about the need for something contemporary, which I see in contrast with the USA. There, everything is modern except for architecture. Americans do not yearn for something new, modern, clean, and simpler. In any case, the social situation for architects in Peru is favorable.

In previous interviews, you mentioned that you have been fortunate enough to have intelligent clients throughout your practice. What does this term mean to you? What is an ideal client for you as an architect?
I think an ideal client is one who is smart and intelligent enough to trust the other and realizes they cannot know everything. There must be trust between the investor and the architect, and I must say that almost all of the projects I’ve worked on are such that clients told me WHAT and I supplemented it with HOW. That is then an ideal collaboration. If an investor knows BOTH WHAT and HOW, they are treading on thin ice. A client should be educated about what is needed and not the other way around. That’s part of the architect's job.

In your work, you place great emphasis on concept; is your goal for it to be clearly readable in the outcome, or is it more important to you within the design process?
Both; it depends on the specific project. For me, architecture is the result of a concept. Forms, spaces, and all of that would not exist if I hadn’t considered the concept beforehand, which is not yet architecture per se. For example, when designing public space in Lima, where I studied human behavior, it was quite an abstract project. It was pure geometry in public urban space that was meant for people. Projects are like instruments that reveal the given place and say something about it to people. When searching for a concept, I always start from something fundamental and indispensable.

In your works, there is a recognizable fondness for abstract geometric shapes, clean lines, and basic materials. Which architects' works have had the greatest influence on you?
No one specific has influenced me, definitely not. The only things that influence me are local elements like the sea waves, where I constantly surf, and the cold, unique ocean. Also, the things around us that influence all of us, like blue jeans that we all wear or the iPhone that we all use. So my influence consists of two parts: the individual and the global aspects of the contemporary world.

You are also a professor at a university, so I will delve into academic territory. Some architects doubt whether a concept like architectural theory exists and, if so, whether it is needed. Do you think subjects like Architectural Composition, Aesthetics, etc., provide any benefit to students, or can everything be learned from practice?
If you’re asking about my own experience, I think an architect is an architect from childhood. They play with Legos, etc. I think that for creativity to have any meaning, it is necessary to teach the mind to work with ideas. What an architect creates should have certain boundaries, not think they are a talented genius who can do anything – but such cases exist, and I think that is not the right path. In my opinion, architecture is an intellectual field, and a future architect should read a lot, including works from other fields like philosophy, aesthetics, etc., to become a true intellectual. This trains the brain to think, and then they can create, but it has to have some meaning. Theory is very important, but it's more like a personal mission for each individual to know and understand it. However, this does not mean just studying and getting good grades at university. There is a difference between the concepts of studying and knowing. I have always been a very poor student, and I am also a poor professor; I am always late (laughs). I recommend my students read anything they can get their hands on.

This year marks the 90th anniversary of the establishment of diplomatic relations between the Republic of Peru and the Czech/Czechoslovak Republic. Do you see any similarities between architecture in Prague and that of Peru or Lima, or are they two completely different cities?
No, no, the western world is different from the eastern, like Prague and Dubai, where I was last year. That is something completely different. And this is entirely due to a different structure of life and society. Whether it concerns religion, politics, economics, simply everything. In the west, we all have a similar way of thinking, which is why you and I can talk about architecture today, about religion tomorrow, etc. In the eastern world, there is a completely different way of thinking about these subjects. Peru was a Spanish colony, and although the south of Spain was inhabited by Arabs for some time, we are simply a western civilization. In Peru, of course, there are small differences due to history from several hundred years ago, various indigenous peoples, typical local topography, but we are a western civilization and have much in common.

Thank you for the interview.