: mysql_connect(): The mysql extension is deprecated and will be removed in the future: use mysqli or PDO instead in /homepages/6/d354845400/htdocs/bbdd.php
on line 1
: preg_replace(): The /e modifier is deprecated, use preg_replace_callback instead in /homepages/6/d354845400/htdocs/miguel/biografia/ver.php
on line 5
An epilogue of synthesis (1985-2006)
In 1982 Fisac published ‘A Letter to my Nephews’, in which he collected together many of his ideas, he also published ‘My aesthetics is my ethics’ which opened up a period of reflection on his work, both in his own writings and in the reflections of other architects or historians. Maria Cruz Morales Saro had published her thesis on the ‘Architecture of Miguel Fisac’ in 1979, but other texts gathered together the efforts that until that time had been scattered. In 1985 he published his work on ‘Popular architecture of La Mancha, and in 1989 his works were collected together in a monograph that was part of the collection titled ‘Documentos de Arquitectura’, and from that time on his bibliography continued to expand with monographs like the one edited in 1996 by the Consejo Superior de Arquitectos, or that done by Francisco Arques for the Pronaos publishing company, as well as complete issues of magazines such as ‘AV’ or ‘Formas’, and many other studies dedicated to a specific work or to Fisac the artist. In 1996 an exhibition of his paintings was held at the Biosca gallery, and in 1997 there was a large retrospective display at the gallery belonging to the Ministerio de Fomento at Nuevos Ministerios.
All of this publishing and didactic activity did not keep him away from practising architecture, his work continued with buildings such as the one for the Hermanas Hospitalarias del Sagrado Corazon de Jesus in Ciempozuleos (1985), and the Offices for the Caja de Ahorros del Mediterraneo in San Juan, from 1988, which is another formalist exception in his professional trajectory, this time motivated by the surroundings of high buildings on an overwhelming scale, which led to an unusual mixture of concave and convex floors superimposed in a seemingly random way, or the church on the urban development of Torre Güil, built in Murcia in 1991 using a perfected system of flexible formwork assembled ‘in situ’. After this he practically abandoned construction until a group of young architects unselfishly volunteered to collaborate in his studio, and from this came two more interesting works; the cultural centre in Castilblanco de los Arroyos, in Sevilla (2000), and a Sports Hall in Getafe, constructed in 2003 using a system of large beams with a 51-meter span which appear to be floating, and leave wide lines of light between them, and are testimony to the inquiring and adventurous nature which never left him right up to his last work. The recognition which had been scant during so many years, eventually arrived in the form of three important awards; The Gold Medal for Architecture awarded by the Consejo Superior de los Colegios de Arquitectos de España in 1994, the Antonio Camuñas Prize for Architecture in 1997, and finally the National Architecture Prize, of which he was informed on 29th September 2003, his ninetieth birthday. Almost three years later, on 12th May 2006, Fisac died at his home in the Cerro del Aire, north of Madrid.
© Vicente Patón-Alberto Tellería
© Fundación Fisac