The story of Estudio Lamela begins in 1954, when Antonio Lamela founded the studio now run by his son, Carlos Lamela. Seventy years later, this prestigious firm develops projects worldwide, constantly striving for architectural excellence that combines a global perspective with a deep respect for the local context. The architect's social and urban responsibility, aesthetics and functionality, the tangible and the intangible, public and private spaces, and efficiency and sustainability are some of the topics Carlos Lamela discusses in this interview.
Your father founded the studio in 1954. What were the beginnings like in the world of architecture? How has it evolved to the present day?
My father founded his studio 15 years after the war ended, during a time of great hardship and difficulty in our country. It was a different world, coinciding with the beginning of industrialization and the first steps of contemporary Spanish architecture, and since then the entire industry associated with architecture has evolved tremendously.
How did the studio's internationalization process begin? What challenges did you face?
The true pioneer of internationalization was my father, who, back in the 1970s, following an oil crisis that severely impacted Spain, decided to expand abroad to maintain the firm. Years later, in 2004, the Madrid Terminal 4 project opened us up to the international airport market, and 20 years later we have offices in nine countries and projects in 32.
How would you define your architectural style? Having developed more than 2,000 projects, do you think there is a common thread running through them all?
Rather than discussing my architectural style, I prefer to talk about the guiding principle that has guided the studio's work throughout its 70-year history. During this time, although Spain, the world, architecture, and society have changed considerably, we have faced challenges with the same vision: the constant pursuit of architectural excellence.
A rational, efficient, logical architecture integrated into the environment, committed to quality, both technical and human, and focused on the development of society.
When it comes to bringing a project to life, where do you find your inspiration?
In the studio we always work as a team and it's difficult to define how each project begins, since they all start differently, from a single architect, a meeting, an interview with the client… As for inspiration, it's a very complex artistic process that arises from the relationship of the mind with a blank sheet of paper, the computer screen, a conversation, or the references that each person has in their head.
What is the true goal of an architect, apart from making a living designing buildings?
Architecture is one of the most complex, creative, and responsible professions in today's society, as it has to do something as fundamental as providing shelter for human beings. It is essential that architects maintain a close relationship with society and a deep understanding of anthropology and human nature, which complements their technical, artistic, and functional knowledge.
Functionality or aesthetics?
Both terms are complementary and absolutely inseparable, since a building cannot be functional without being beautiful, nor a beautiful building without being functional. Aesthetics are fundamental in architecture, given its status as an artistic discipline that encompasses other arts, such as painting, sculpture, industrial design, and even film.
How do you experience the distribution of spaces?
The layout of spaces in a building is one of the key elements of any project, because if it's not good, the architecture won't be either. This is because architecture is not just the sum of solid, material elements like walls, roofs, floors, or slabs; it's also the space between them and the intangible.
What is it like to design a skyscraper? Is it as imposing as its height?
Although our studio has designed buildings over 100 meters tall, which until recently were considered skyscrapers, the limit has now been raised to 200 meters, a height we haven't yet reached and which has become one of our ongoing challenges. The technology has evolved considerably, and designing a skyscraper today is simpler than it seems, always keeping in mind that its main challenge is maintaining a slender profile and the proportion between its footprint and height.
Lighting is another element that enhances spaces. How important has it been in your airport projects and skyscrapers?
Lighting is a vital element, not only in architecture, where it helps define spaces, but also as a tool that makes human life possible and better. With an ever-expanding range of possibilities, it is of vital importance in large projects such as airports, where hundreds and thousands of people gather every day.
You have carried out projects in numerous parts of the world. Do you make distinctions when designing a national project versus an international one? Does the location influence your choice of materials and other production elements?
Of course. An architectural project is so closely tied to its site, position, orientation, and climatic and sociocultural conditions that it's impossible to replicate it in two different places. While working in a city is not the same as working in a rural area, in China as in Africa, or in the United States as in Venezuela, it's always essential to recover the sustainable character that architecture originally possessed, through the use of local materials and elements that reduce transportation and prioritize local resources.
Are there differences between undertaking a public or private project? Which do you prefer?
Sometimes differences do exist, especially those related to budget, which is usually larger in public projects. Public projects have always been associated with better architecture because they allow for greater design and artistic work, which in turn enables more research and innovation.
How do you understand sustainability in architecture?
Although architecture had always been sustainable until the 20th century, it diverged from this ideal following the Modern Movement and its Athens Charter, which envisioned a more international architecture, detached from the values and constraints of each territory. This proved to be a mistake, as Spain already boasted diverse architectural styles based on different regions, climates, and materials, giving rise to typologies such as the Galician hórreo, the Catalan masía, the Andalusian cortijo, and the barraca of Valencia and Alicante. Today, sustainability is an essential objective, and architecture must be admissible, adaptable, and incorporate all the new parameters that emerge daily.
Where should public works architecture look in the future? How do you envision it?
Public architecture must strive for excellence, and public administrations must make an effort to provide architects with the appropriate technical and financial resources. The goal is to achieve high-quality public architecture like that found in the Nordic countries, Switzerland, France, or the United Kingdom.
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We admire your work and you are an inspiration to us. Do you think Gunni & Trentino offers you any advantages when it comes to carrying out your projects?
Gunni & Trentino has always enjoyed a strong relationship with architects, thanks to its unwavering commitment to quality, design, professionalism, and excellence. At our studio, we understand that suppliers, manufacturers, and builders are fundamental to the construction industry and inextricably linked to the architect's work.
What's important when it comes to execution and achieving an excellent final result? How does Gunni & Trentino help you elevate your projects?
Ultimately, it all comes down to a collaborative effort between the manufacturer, in this case Gunni & Trentino, and the architects. It is this interaction, this dialogue, and this sharing of the problems that arise daily on the construction site that makes it possible to create the best designs and choose the best materials.
What challenges arise when designing a project like the Canalejas Gallery? What has your experience been like working with us?
The Canalejas Gallery is part of the Canalejas project, which also includes a 200-room hotel, 21 residences, and a 400-space parking garage. The Gallery project had very high interior design requirements, which at one point the owners wanted to address through a project independent of the architect, which was us. When the desired results weren't achieved, they entrusted the studio with the final interior design of what I consider a success story, both in terms of design and functionality and materials, and where the relationship with Gunni & Trentino has been excellent throughout.
Throughout your career, which project would you highlight for its design and execution?
Looking at our more recent history, and setting aside some of the most important projects undertaken by my father before I joined the firm, I would perhaps highlight the renovation we carried out on the Santiago Bernabéu Stadium 30 years ago, which at the time was a groundbreaking project of immense technical difficulty. And, of course, Terminal 4, which marked a turning point as the first major airport terminal for 30 million passengers, ushering us into the world of large airports. Or the Canalejas Complex, perhaps the most technically complex project we have undertaken, both in terms of its social and urban responsibility and its connection to heritage preservation.
In conclusion, if it hadn't been architecture, what would you have done?
I've always said I would have needed three lives to be happy. One as an architect, which is the one I've had and which has given me everything; another as a diplomat, because of my passion for travel and social interaction; and a third as a pilot. I've been able to pursue this last one thanks to my private pilot's license and my work as an architect specializing in airport terminals. I've also dabbled in film production, which I consider an artistic discipline closely linked to and complementary with architecture.
What challenge do you think you still have to overcome?
Perhaps the construction of a large skyscraper, a building over 200 meters tall. I would love for the studio to be able to do it in the coming years and for me to be able to see it, as I believe it's the only significant building type we have yet to complete.
