Eva Prats: The Latest Architecture and News

Eva Prats and Ricardo Flores started their Barcelona-based practice, Flores & Prats Arquitectes in 1998 after both worked at the office of Enric Miralles. They overlapped for about one year there, from 1993 to 1994. After her nine-year stint with Miralles, Eva won the EUROPAN III International Housing Competition with a friend. The success that led to a real commission and was going to be built, served as the springboard for starting their independent practice. Shortly thereafter they won another competition. Ricardo joined Eva after working for five years with Miralles. By then they were a couple for three years and decided to start working together. Today they practice out of the same sprawling apartment where Eva’s original studio rented a room along with several other young architects and designers. Even though the office now occupies the entire space—the architects told me they typically employ ten, no more than twelve people—they keep traces and memories of the former “dwellers” alive. Curiously, Eva and Ricardo implement the same strategy in their architectural projects as well.

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When we approached the Flores & Prats firm, we wanted to focus on their precise drawing just as much as their detailed mock-ups. We wanted to see a project that not only "values the time invested and accumulated in it but also sees said time as a virtue and not a defect;" an indication of paying attention to the process as well as the unexpected. (In this sense, it reminds me of reading about how to draw a forest, among other things, in "Las tardes de dibujo en el estudio Miralles & Pinós").

We conducted a long-distance interview with the Eva Prats and Ricardo Flores studio for this reason; to get a better idea of their thoughts on the impact of drawing on architectural representation.Their input makes clear the "why" of their decisions, and explains not only how they operate in a contemporary context but also indicates their relationship with construction among other disciplines.

With the opening of the 16th Venice Architecture Biennale comes a look at the first ever contribution by the Holy See, an exhibition that brings together architects to design chapels that, after the Biennale, can be relocated to sites around the globe.

Located in a wooded area on the Venetian island of San Giorgio Maggiore, 10 chapels by architects including Norman Foster, Eduardo Souto de Moura, and Smiljan Radic, are joined by the Asplund Chapel by MAP Architects. This 11th structure serves as a prelude to the other chapels, while reflecting on Gunnar Asplund's 1920 design for the Woodland Chapel.

In 2018 the Vatican will participate in the Venice Architecture Biennale for the first time. Ten international architects will construct 10 different chapels as part of the representation of the city-state in the Italian architecture event. The news was confirmed by Paraguayan media outlets ABC y Última Hora, who revealed that one of the participants was local architect Javier Corvalán.

The elite group of architects was selected by Francesco Dal Co, an Italian architecture historian and curator. The designers have been instructed that their chapels must be able to be relocated so that they can be deployed around the world, in places that are in need of these spaces of worship.

The architects who will build chapels in the 2018 Venice Architecture Biennale: