This is the essence of its nobility and power. Urban chaos generates anxiety. That is why I try to create spaces that provide peace, spaces for contemplation. With my houses, I am trying to isolate the inhabitants of a city, protect, them, get them away from the noise, and give them an inner stability, which is one way of defining tranquility.

The accompaniment to a city is the ability to hear sounds, to experience silence. Functionalism did not contemplate emotional states or certain psychological features, despite having emerged during a boom in Freudian theory; it did not take into account that spaces can also gestate sensations such as happiness, nostalgia, sadness, vertigo, claustrophobia, or even panic. Nor did it consider that beauty also serves a function, and that we need it as an incentive. Beauty forges bonds between us. During the boom of functionalism, it was almost taboo to speak of esprit in architectural works. And yet, today more than ever, it is vital that the architect touch our emotional side.

Resolving spaces in a solely material sense is tantamount to scorning beauty, and when someone scorns beauty, he is disconnected from the emotional side of life; he becomes or inhabits yet another object. There are entire cities, great metropolises lacking in harmonic structures that have failed to take this into account. These surroundings turn aggressive and generate violence due to their abolition of vital spaces. Humans are, in the most elevated sense, spiritual beings capable of sustaining aesthetic experiences. These are merely a sensitive, worthy way of getting to know the world. The most successful spaces are those that are capable of transmitting both beauty and ideas.

Architectural works must be hybrids in the end. The architect needs to compose for our physical and spiritual sides. Those who work only physically become constructors, accumulators of materials devoid of meaning.
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