Z architecture asks me to write a text on the occasion of an issue devoted to a repertoire of architects’ works.

Here’s a story about the DO GOOD, argumented in the immediate.

The immediate is a very solvent professional practice with impeccable results reflecting, unambiguously, the contemporary, dominant architectural culture in our country. Clearly, there is a venture for the discipline in all constraints; those relating to the urban scene as the ones dealing of constructive lexicon or space and form keystroke. This stylistic raise reaches notable levels, even at the expense of the contents and constructive processes phenomenological transparency, but done with very moderate resources already sanctioned by the contemporary purism practice.

The space here is obviously the projects decisions main character and we welcome this. Many of us affirm space is where architecture inhabits and that spontaneously built hosts it in the form.

The cultural austerity found in this examples fortunately avoids, metaphors and  melismas that trouble the project’s quality and the rhetorical elements of language itself (which exist) are respectfuly used.

Few dissonances and the few are masterfully measured.

These works shouldn’t be understood within a school or a lineage, but in an implicit and perhaps internally forced collective commitment to not be writing each one a different story but to all deepen in the same story from different ways.

There is no doubt on this architecture’s the beauty, excellent architecture which confirms a cultural place harmoniously quiet and comfortable.

As a scene captured at its best moment to make it eternally enduring.

All of this is in the project’s purposes already. There is no chance and the unexpected occur in a narrow path of a predestined route.

DO GOOD is to produce from ethical codes, codes from which the project deduces its own practice. It is morally and aesthetically projecting from the outside to the inside according to an explicit deductive methodology.

Practically everything is either forseen or known from intuition. From the special to the figurative followed skillfully by construction. There is perfection goal that guarantees the architecture’s timeliness and eternity, somehow offer our chaotic days, in our chaotic cities, objects that will redeem us.

However, looking at more than the immediate and obvious, we will describe other ways to take on the architectural work that overflows the discipline’s own framework, interested in the periphery, venturing in new territories (the so-called "This is not architecture") where the uncertain is the ethics.

Those foolish and inconvenient explorers intend to induce from reality, in its precise and daily terms, the information and material for their projects.

As a condition, the eternal and timeless don’t exist. The existential force and even the own architecture’s expiration, are the project’s energy. The author doesn’t exist before the project, nor there is anything planned. Only the action. We would say that it is an “in situ” way of making; field architects deriving from a budget to another, from one role to another, developing disciplinary and stylistic affairs.

They distill a morbid eroticism and apparent irresponsibility, inventing it all, even the verbal and architectural lexicon.

Summon the contemporaneity for a shared risk. A risk for invention, research, widening the human being perceptive field, opening new territories not only for the architectural project but also for a way to deal with the daily facts that emerge, with priority, over the timeless. It is the gesture language over the of shared work symbol, shareable on the author’s work.

And what was a moral fraternity is now a magical ceremony that invokes the natural order so, to the possible extent, it would be our accomplice.

Perhaps this is the other story; that one which refers to… DO GOOD

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