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Save my name, email, and website in this browser for the next time I comment. In , after two years of an exact sciences degree, he entered the Barcelona School of Architecture. While still a student, he worked in the studio of J. Gili, one of the founders of the R group, and M. Bassó, professor of reinforced concrete at the time. He also worked in the studio of Francesc Mitjans, who was to have a great influence on his work. There he was to came into contact with such prestigious architects as A.

Garrigues Díaz Cañabate or A. Bonet Castellana and even with R. Neutra in connection with contracts for the US bases in Spain.

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At the end of Prades finally moved to Castellón, embarking on a solo professional career without losing touch with the Madrid studio and his former classmates. His open-mindedness and daring, occasionally polemical character have led Prades to design in a modern manner, over and above any vestige of local historicism. He loves building, knows it well and is a perfectionist who is almost obsessive about exactness, hence his use of the most sophisticated architectural tools and his insistence on the module: while the dimensions naturally vary with each project he commonly employs 70x70 or 90x90, although he is prepared to waive it if need be.

He states categorically that the module is a simple tool for designing anything and if he says that it is because he has used it to design everything from town plans to a building to the embroidery on a jacket. When Miguel talks about modules he uses the word cañamazo, embroidery canvas. Mitjans can be seen in the treatment of the façade, specifically in the details of the parapets. Prades himself recognised that when he was designing it, the teachings of Mitjans guided his hand. Monfort and J. Prior have already pointed out in one of their illuminating writings.

A preliminary proposal of for this same site was based on the axialities and symmetries of a deep-rooted classicism. However, in the end it was Prades who carried out the project, which shows the significance of his new approaches at the time. All these criteria are an example of the purest modernism and of contact with the architecture of R.

Here, the most interesting aspect is the position of the rooms in relation to each other, the tension between the different parts of the brief, what is not seen. Behind an appearance that some have called brutalist lies an enormously neo-plastic way of conceiving modern form. Where some critics see textures that do not belong to modernism and interpret it as the end of the capacities of modernist resources, other more analytical critics see the exact opposite, the power of modernist form over and above any appearance that might distract the more unwary.

Garcia Berlanga House Despite being disguised by a round-tiled roof in the purest traditional style, this work is undeniably modernist in conception. Here, the response to the brief is natural, with a knowledge of exactly where each part should be placed, and as the floor plan shows, its distribution is fitted into a strictly modular system.

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The relationship with its surroundings is solved by scaling different areas around a courtyard, the heart of the house. Peña House Unfortunately, this villa in Benicassim was demolished to make way for high-rise apartment blocks. It was an ensemble of vaulted spaces connected by courtyards, covered or otherwise, arranged in such a way that the dining room became the heart of the building.

Le Corbusier's Maison Jaoul was a considerable direct influence on this work, not so much in the arrangement of the volumes which corresponds to a study of funcionality, use of orientations and relations with exterior spaces that Prades made in his Barcelona student days for the Architecture School lecturer Bassegoda as in the details of the vaulting, with the ring beam that crowned and surrounded it and the visual effect on the elevation of its resting on the brick walls that supported it. Sheiler and M. Breuer, and the Roberto Ordoñez house , which not only again shows admiration for M. Breuer in the distribution and structuring of the spaces but also the influence of Brazilian architecture in the use of a double roof.

As he moved on from this first period of a more refined and neo-plastic modernism, what might be termed an impetus of organic expressiveness, more in keeping with a post-modernist period, can be observed in Prades' works.

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His entire career has been marked by great formal experiments, as is shown by these projects. For instance, the Los Naranjos apartments ph. The same idea of interwoven hexagons also appeared in the A.

Diago house in Grao de Castellón , another of his buildings which no longer exists. From this moment onwards, a series of evidently post-modern works show very diverse influences. The Petit house in Grao de Castellón ph. He also follows certain guidelines of Japanese architecture, evident in works such as the C.

Badenes house beside Torreón Bernad in Benicassim. We must not forget his own home and study, known as the Bunker house ph. Later, at the end of the 80s, he designed a series of works that fit into a particular tendency of his, heavily influenced by P. Rudolph and particularly by his Crawford Manor housing for the elderly in New Haven, Conneticut Like Rudolph, Prades used curved façades, wooden suspended ceilings and floor coverings, claddings in travertine and other stones and bronze- or wood-coloured aluminium joinery in a style that he was to refine over a number of works.

This group of works includes the block of flats for the Pascual family ph. Pio XII and Pl. Escultor Ortells which, while abandoning the curved shapes, continue to use similar materials. Over and above any particular tendency, throughout his career we find a series of works where a display of expressiveness and play on volumes are the overriding note.

Legoni ph. The latter demonstrates both the possibilities and the limitations of aluminium sections, as all the interior joinery, exterior joinery, furniture, stairs etc.

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