The exhibition takes place in four rooms. The first collects, in chronological order, both the work built and some ideas not made, along with the diverse material that accompanied the study of work of Oiza, as well as the objects of his family and affection of his home. Three unique works are separated from this atmosphere and constitute other spaces collected here today.
“Sáenz de Oíza 1918 – 2018”
Septemeber 28 – December 3, 2018
COAM – Colegio Oficial de Arquitectos de Madrid
Calle de Hortaleza, 63, Madrid
In this first room: Madrid’s social housing of the 50s, the architecture of tourism in Mallorca in the early 60’s, the pop optimism of the first 70 and single-family houses of the same period, are presented together with the final work, with institutional buildings such as the Las Palmas Museum, the Torre Triana building (Seville) and the Festival Palace (Santander) among others. Social housing, the clear backbone of Oiza’s work, is finished off with the well-known building of 346 homes on the M-30 in Madrid.
A second room includes the proposal for the Torres Blancas building (Madrid 1961- 1971), example of the construction of the utopia of the garden city on the Barcelona highway, when Madrid opened from here to the Barajas airport and its international connection.
The third room, in this same level, is dedicated to the office building of the Bank of Bilbao (Madrid 1971-1981), currently Castellana 81, on the axis of the Castellana. This road axis includes the banking headquarters of the financial Spain of the 70s, among which the BBV is inserted as a technological milestone that will anticipate both the ecological and formal concerns in force in our days.
On the ground floor, the proposal for the Basilica of Aránzazu (Oñate – Guipúzcoa 1950) is collected, sunken and in greater darkness. The result of a first prize in the contest of ideas, with his partner Luis Laorga, exemplifies the bias of modernity, in 1950, and the collaboration between artists (Oteiza, Chillida, Lucio Muñoz, Basterretxea …) that will accompany the career of Sáenz de OÍza.
We hope that this first action, with which we inaugurate the commemoration of the centenary of the birth of Francisco Javier Sáenz de OÍza, whose works are still today the indisputable reference of contemporary architecture, provide a broad view of their way of doing and their concerns, and it is also a reason to reflect on the valuable recent heritage that the masters of twentieth-century architecture have contributed to and contribute to cities.
SÁENZ DE OÍZA
Fco. Javier Sáenz de Oíza (Cáseda 1918-Madrid 2000), whose work we present in this exhibition, is one of the most significant representatives of the generation of architects of the second half of the 20th century in Spain. His trip (1948) with a scholarship to the United States, shortly after finishing his degree, opens his eyes to the technological fascination that will never leave him. On his return to a Spain impoverished by the civil war, he dedicated his first decade of professional practice to social housing. At the same time participates in contests of ideas, another of his passions, and build with Luis Laorga the Basilica of Aránzazu in Oñate (1950-1955), a meeting place for young Oíza, Oteiza, Chillida and Lucio Muñoz.
Together with the Navarra Huarte family and his group of companies he builds interesting works in the 60s, such as the White City of Alcudia in Mallorca, Torres Blancas in Madrid, and the house for his friend Juan Huarte. Access to much of his work from competitions, as is the case of Castellana 81 (former Bank of Bilbao), Theater of Festivals of Santander, Housing in the M30 and Museum of Las Palmas among other works. Dedicated to the teaching of architecture as a professor and professor of projects at the School of Architecture of Madrid since his return from the United States until his retirement, he has trained many generations of architects. This leaves, together with a work committed to Architecture, Man and the City, a vibrant legacy in the form of oral transmission.