Brava, Ricardo Bofill's Mediterranean legacy

Architecture deeply linked to the Mediterranean

Everything in Brava's design refers to the Mediterranean landscape and the nature surrounding Platja d'Aro. It is a synthesis of the great projects of Bofill and the Taller de Arquitectura. The relationship with the environment is not merely decorative, but structural. Brava does not impose itself on the landscape, but interprets it and integrates it into its own geometry.

Colour as an architectural material

The use of colour in Brava is enhanced by a material that acts as a mirror of its surroundings. Its white front façade mimics the sand in full sunlight when viewed from the sea, while the green of its rear façade reflects the colour of the pine trees and accompanies them on their way to the shore. The building thus becomes a chromatic extension of the Mediterranean light and the landscape of the Costa Brava.

The Red Wall and the epilogue of Brava

Bofill was one of the first architects to study vernacular architecture in each of his projects. To this end, he researched traditional construction techniques, local materials and climatic conditions, always with the intention of incorporating them into a multidisciplinary creative process. From his architecture studio, the synergies between architects, philosophers, poets, engineers, writers and sociologists gave rise to projects that are now global symbols of architecture.

Among them, La Muralla Roja stands out for its avant-garde composition, close to metabolic architecture, and its undeniable visual power. Two qualities that, 50 years later, find a memorable epilogue in Brava. Its cubic forms refer to a minimalist postmodernism, devoid of ornamentation, where classical references are expressed through rhythm and proportion, resulting in an unmistakable strength.

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Brava, an unforgettable project

With Brava, we bid farewell to one of the most brilliant architects of contemporary architecture, a figure of international renown, who journeyed through organicism, brutalism and postmodernism from a very personal perspective, deeply rooted in society and culture.

In a way, we cannot help but think that Brava is an end point. We have completed our last project with Ricardo Bofill; there will be no other. But in reality, it is a semicolon. Now is when the project comes to life.