CARLOS BENITO BILBAO

The President of the American Institute of Architects, the highest authority of that profession in the United States, keeps his sense of wonder intact. On a tour of Euskadi with forty colleagues from his country that have participated in the half-yearly meeting of the European section of that entity, John Anderson states that he is fascinated by the Guggenheim: «Nobody can be prepared for the surprise of this building», he says.

Did you already know Bilbao?
Not really. Only through articles on architecture.
The same as millions of other people.
Exactly the same.
So what do you think?
Look, I thought I was prepared for the Guggenheim, but, having arrived, its presence has overwhelmed me. And I'm not special: anyone who comes will be impressed.
Is it that impressive?
Yes, because it is new, revolutionary, but it fits with the old parts of the city

What does a building have to have to become a symbol?
It has to be different, unique, ahead of its time, but at the same time, fit in. The Guggenheim has immediately become part of Bilbao, as if the city had been waiting for it.
Of course, it's been beneficial.
Certainly, it invites people to come, people who hadn't even known of Bilbao.
Especially architects. Do you architects ever disconnect from your work?
Never. We live our profession. We cannot leave it and have a 'normal' existence at night or while on vacation. That is why the Guggenheim has become a destination for pilgrimage for many of us, because in photographs or images one cannot feel its threedimensionality, its movement.

They say that Bilbao has a hard aesthetics. Is that the impression you've received?
Somewhat. It is a city of marked angles, that in the past did not integrate properly into its landscape and its topography. It has been superimposed on its environs, instead of being conceived specially for it.
Ah, so you'd prefer to live in San Sebastián.
Oh no, I would not say that. I'd prefer to live in Denver, Colorado, [laugh] and come to visit these marvelous places.
How diplomatic!
If forced to choose, I'd prefer to live in Bilbao, because it is the same twelve months out of the year. San Sebastián gives the impression that a lot of people only live there during the tourist season: they come when it's nice and they leave when it isn't. In contrast, Bilbao has a solid population that lives, works, plays, and breathes here.

Back home

Gehry, Foster, lsozaki, Calatrava . . . Don't you see a Basque name missing there?
I think that the work of those architects will stimulate the excellent Basque professionals to overcome their timidity and try out new things. Surely they can come up with things that Gehry could not even conceive, because he isn't from here.
But it seems that the big projects all go to the big names.
Now that you have this nucleus of works of foreign architects, you can send them all home. You should consider restricting bids to only local professionals.
Is the fame of these architect 'stars' good for the profession?
It has its purpose, but it may have been taken too far, more than what's reasonable. I have great respect for architects that do good work without being stars, that many times are erroneously considered as being of second rank. In truth, some have obtained star status without meriting it, and dedicate themselves to doing their little tricks instead of doing a good job.
Would John Anderson like to design something for the Basque country?
A school for young children, as that is the most important building that can exist. And, as I'd be afraid of imposing my will over a culture that I do not know, I would do it in collaboration with a Basque architect. Would you be needing a school?

Copyright 2001 The American Institute of Architects. All rights reserved.