At the ending of 1999, my boy friend Ignacio Cerezo Laporta
-a Valencian- and me -Carolina Rojo, founded a recycling and
restoration enterprise. We were stimulated to this because of
the decayed state of many of the most beautiful buildings of
Buenos Aires. So that, with the aim of setting an example, we
chose as our headquarters the crowning of a centenary building,
some 100 metres from the National Congress (Las Cortes). It
is composed of a 4th. floor and an attic with a dome. With a
small initial contribution and the profits generated by the
enterprise, we restored the dome and recycled the terrace, being
both in a total state of decay, for more than sixty years. For
this purpose we counted on with the collaboration of two members
of the Gaudí Club, the professor Felipe Romeo and the
architect Fernando Lorenzi, both charged with the project and
the managing of the works. The initial project consisted in
to turn into offices the 4th. floor, a home-office in three
levels connecting the main office in the 4th floor with the
two levels of the dome and a show-room in the terrace.
The choice of the style
The façades (1.600 m2 approximately) did not bring any
mystery, it consisted in replacing the missing ornaments, to
seal the craks and the finishings employing paris stone, using
its original tone. The hardest decision to undertake was ¿what
to do with the 250 m2 of the terrace?
From the very beginning it attracted our attention the quantity
and quality of the ornaments, made out in all the materials
contaied in the house, masonry, iron, wood, marble and all of
them with a single Leitmotif; the coat of arms of Catalonia.
Thinking in Gaudi was automatic, especialy if we remember its
date of construction, 1905/7; in its forerunner structural solutions
(the reinforced concrete was not yet known in our country by
then); the crowning of the dome with "trencadis" of
glazed tiles, never seen before in Argentina. All this together
with the fact that the entrepreneur was an Argentinian the son
of Catalans, the Architect-Engineer Rodríguez Ortega,
a contemporary of Gaudi and graduated in Charlottenburg, Germany.
This makes us think that if the designs are not by Gaudi, (as
we believe) he had been greatly inspired our compatriot by the
genius of Reus -we even consulted professor Bassegoda Nonell
by mail to this respect and he promised us to make a thorough
research on the matter-.
And there came an unanimous decision; to make a gaudinian show-room
reproducing, with all the limitations that separate us, his
unequalable style. And we did it. Had we been self-criticists
facing the inevitable errors, we could assert that what lacked
us of ability was counterbalanced by an excess of good will.
This is our homage to the man that still makes us dream through
beholding his works.
I also seize the occasion to put our gaudianian space in Buenos
Aires at the disposal of the Gaudi Club.