Surreal and experimental: explore Ricardo Bofill’s colourful legacy
Nine of his seminal projects
Spanish maverick Ricardo Bofill has passed away at the age of 82, leaving an indelible mark on the world thanks to more than 1,000 projects. His buildings, including iconic landmarks such as Walden 7, have become photographic pilgrimage spots that live as large on camera as they do in real life.
Fans of the architect, and his practice Taller de Arquitectura (RBTA), was at the forefront of urban design for more than 50 years, with his thumbprint scattered across 40 countries worldwide.
In a statement from his firm, released on 14 January 2022, colleagues praised Bofill’s ability to ‘question the mainstream thinking in architecture. [His works] ranges a style expression, connected to the context, featuring a strong dose of innovation and risk.’
Here are 9 of his most celebrated buildings that capture his spirit and unique expression.
The most important religious temple in Andorra was destroyed by fire in 1972, leaving only the blackened ruins of the apse, vaulting over the altar, and a latter-day bell tower. Rather than replace like-for-like, Bofill went back to the principles of Romanqesue architecture – common to the region – and its sacred geometries, reinterpreting them via modern building techniques. The roman arch is integral to his design, with the viaduct bridge and sanctuary both composed of arches. A concave, sunken amphitheatre at the heart of the complex is a gathering place, while other elements include oversized steps, a bridge over the nearby road, climbing towers and an esplanade. Photography: Ricardo BofillMeritxell Sanctuary (1978)
The most important religious temple in Andorra was destroyed by fire in 1972, leaving only the blackened ruins of the apse, vaulting over the altar, and a latter-day bell tower. Rather than replace like-for-like, Bofill went back to the principles of Romanqesue architecture – common to the region – and its sacred geometries, reinterpreting them via modern building techniques. The roman arch is integral to his design, with the viaduct bridge and sanctuary both composed of arches. A concave, sunken amphitheatre at the heart of the complex is a gathering place, while other elements include oversized steps, a bridge over the nearby road, climbing towers and an esplanade. Photography: Ricardo BofillMeritxell Sanctuary (1978)
The most important religious temple in Andorra was destroyed by fire in 1972, leaving only the blackened ruins of the apse, vaulting over the altar, and a latter-day bell tower. Rather than replace like-for-like, Bofill went back to the principles of Romanqesue architecture – common to the region – and its sacred geometries, reinterpreting them via modern building techniques. The roman arch is integral to his design, with the viaduct bridge and sanctuary both composed of arches. A concave, sunken amphitheatre at the heart of the complex is a gathering place, while other elements include oversized steps, a bridge over the nearby road, climbing towers and an esplanade. Photography: Ricardo BofillLa Muralla Roja (1968) Inspired by the Moorish architecture of North Africa, La Muralla Roja or the Red Wall was completed in La Manzanera in 1973 in a postmodern, constructivist style and is among the most photographed buildings in the world. Its angular geometric forms take inspiration from adobe towers along the coast of Morocco and Tunisia and the complex is Bofill’s spin on the traditional kasbahs or citadels of history. Along with his customary consideration of the square and public gathering space, the apartments in the complex are connected via walkways, rooftop patios and a pool, and have a labyrinth-like feel similar to his other apartment buildings from the 1960s-70s. La Muralla Roja’s silhouette mirrors the ragged edges of the cliffs in the distance, and it has a similarly imposing fortress appearance that is playfully inverted by Bofill’s use of bright colours. Photography: Ricardo BofillLa Muralla Roja (1968) Inspired by the Moorish architecture of North Africa, La Muralla Roja or the Red Wall was completed in La Manzanera in 1973 in a postmodern, constructivist style and is among the most photographed buildings in the world. Its angular geometric forms take inspiration from adobe towers along the coast of Morocco and Tunisia and the complex is Bofill’s spin on the traditional kasbahs or citadels of history. Along with his customary consideration of the square and public gathering space, the apartments in the complex are connected via walkways, rooftop patios and a pool, and have a labyrinth-like feel similar to his other apartment buildings from the 1960s-70s. La Muralla Roja’s silhouette mirrors the ragged edges of the cliffs in the distance, and it has a similarly imposing fortress appearance that is playfully inverted by Bofill’s use of bright colours. Photography: Ricardo BofillLa Muralla Roja (1968) Inspired by the Moorish architecture of North Africa, La Muralla Roja or the Red Wall was completed in La Manzanera in 1973 in a postmodern, constructivist style and is among the most photographed buildings in the world. Its angular geometric forms take inspiration from adobe towers along the coast of Morocco and Tunisia and the complex is Bofill’s spin on the traditional kasbahs or citadels of history. Along with his customary consideration of the square and public gathering space, the apartments in the complex are connected via walkways, rooftop patios and a pool, and have a labyrinth-like feel similar to his other apartment buildings from the 1960s-70s. La Muralla Roja’s silhouette mirrors the ragged edges of the cliffs in the distance, and it has a similarly imposing fortress appearance that is playfully inverted by Bofill’s use of bright colours. Photography: Ricardo BofillEmporda family house, Girona (1973) In 1973, Bofill completed the Emporda Bofill family home in Girona for his parents, building on the ruins of an old country home. Distilling some of the principles of his apartment complex designs, the home is organised around a bright red courtyard with a pool and geometric arches that frame views of the landscape. Photography: Ricardo BofillEmporda family house, Girona (1973) In 1973, Bofill completed the Emporda Bofill family home in Girona for his parents, building on the ruins of an old country home. Distilling some of the principles of his apartment complex designs, the home is organised around a bright red courtyard with a pool and geometric arches that frame views of the landscape. Photography: Ricardo BofillEmporda family house, Girona (1973) In 1973, Bofill completed the Emporda Bofill family home in Girona for his parents, building on the ruins of an old country home. Distilling some of the principles of his apartment complex designs, the home is organised around a bright red courtyard with a pool and geometric arches that frame views of the landscape. Photography: Ricardo BofillPlexus La Manzanera (1966) In 1966, Bofill’s Plexus Condominiums were among the first projects to be built in the Spanish tourist development La Manzanera, adjacent to the town of Calpe in Alicante. While new, the miniature village had to feel as though it belonged to the Spanish region, and Bofill took his cues from the hilly natural setting, implementing stone building techniques and terraces that are familiar to the Mediterranean coast. The use of vernacular motifs such as shuttered windows, terracotta tiled roofs and arcades adds to the sense of local geography, with the development’s context (among the first developments of its kind) setting a high benchmark for projects to follow across the easter seaboard. Photography: Ricardo BofillPlexus La Manzanera (1966) In 1966, Bofill’s Plexus Condominiums were among the first projects to be built in the Spanish tourist development La Manzanera, adjacent to the town of Calpe in Alicante. While new, the miniature village had to feel as though it belonged to the Spanish region, and Bofill took his cues from the hilly natural setting, implementing stone building techniques and terraces that are familiar to the Mediterranean coast. The use of vernacular motifs such as shuttered windows, terracotta tiled roofs and arcades adds to the sense of local geography, with the development’s context (among the first developments of its kind) setting a high benchmark for projects to follow across the easter seaboard. Photography: Ricardo BofillUniversité Mohammed VI Polytechnique, Benguerir (2011) Narrow streets, public squares and a central axis underpin Bofill’s master plan for the 55 hectares Campus for Mohammed VI Polytechnic University in Benguerir, 50 miles north of Marrakech. Bofill’s ideas around ‘clusters’, geometries and North African architectural typography come into play too while the height limit of 21 metres on buildings maintains the sense of intimacy and connectivity across the complex. Photography: Gregori Civera, Lluis CarbonellUniversité Mohammed VI Polytechnique, Benguerir (2011) Narrow streets, public squares and a central axis underpin Bofill’s master plan for the 55 hectares Campus for Mohammed VI Polytechnic University in Benguerir, 50 miles north of Marrakech. Bofill’s ideas around ‘clusters’, geometries and North African architectural typography come into play too while the height limit of 21 metres on buildings maintains the sense of intimacy and connectivity across the complex. Photography: Gregori Civera, Lluis CarbonellUniversité Mohammed VI Polytechnique, Benguerir (2011) Narrow streets, public squares and a central axis underpin Bofill’s master plan for the 55 hectares Campus for Mohammed VI Polytechnic University in Benguerir, 50 miles north of Marrakech. Bofill’s ideas around ‘clusters’, geometries and North African architectural typography come into play too while the height limit of 21 metres on buildings maintains the sense of intimacy and connectivity across the complex. Photography: Gregori Civera, Lluis CarbonellA portrait of Ricardo Bofill.
Photography: Gregori Civera / Pati Nuñez Agency1 of 27
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