Even as a child, the Venetian architect Carlo Scarpa was very aware of the fundamental element that would describe and underpin his work many years later: water. When he played and ran around the maze of streets and canals, Scarpa listened to everything around him, especially the richness of stimuli that his hometown offered him. A sensitive reader of places, he found his great text in Venice. This culture, subtle and almost academic, except for that devotion to scenography and the esoteric, is built over time; art, space, history, all compiled in his readings, trips to knowledge, and in his contact with artists and writers.

Scarpa would base his evolution as an architect on his extraordinary visual culture and his respect for tradition and the way of doing things in past eras; taking up the baton of that time and converting his reality into architectural space where all the pieces are independent units, dialoguing with each other or, as he liked to say, singing. He positions himself before what exists, whether it be an artistic piece or architectural space, from knowledge and sensitivity. He will apprehend the history and place in which it occurs and accentuate the existing beauty in things, showing the prominence of the new as a precious element.

With José Antonio Corrales and Ramón Vázquez Molezún, a situation quite common in Spanish architecture post-1950 is repeated: the lack of international projection of talented architects, largely due to the absence of theory. Apart from that, an intrinsically mysterious and enigmatic character pervades their work, deeply reinforced by the attitude of these architects towards it. They never stopped to explain it. They were never interested in providing it with a theoretical foundation. All this makes it extraordinarily difficult to understand their architecture, leaving many questions unanswered, open only to the interpretation of those who pause to reflect on them.

Corrales and Molezún have collaborated together on numerous projects sine 1952. They were very different people. José Antonio used to define himself as a "more rigorous person", while Ramón was closer to the "gaie", with a lighter, almost romantic touch. Their duo could be incarnated, respectively, as the two lobes of the brain: the left hemisphere, visual, verbal, linear, controlled, dominant, quantitative, etc. in Corrales; while the right, spatial, acoustic, holistic, contemplative, emotional, intuitive ... perhaps more accurately represents Molezún. One more couple to the long history of creation: Don Quixote and Sancho Panza, Sherlock Holmes and Dr. Watson, ...