Interviewing a renowned architect like Antonio Imbert Pellerano is an honor for any young person who wants to venture into the world of arts, design and creating sublime spaces that transport to another dimension. In my case, the honor is even greater, because beyond appreciating his professional career I can speak of his integrity as a family member, as a friend, as a person.
In this interview we share with the architect about his work, his history and his passion for art. If I had to highlight something of the interview, it was to share the same thought that I wanted to highlight in other writings: that art is not about name, it does not need to be a work of Picasso to be majestic and transform, captivate, transport.
Here are a few lines about what we talked about with the architect…
Tell us about Antonio Imbert, his tastes, his passions, his main sources of inspiration
The simple, the practical, the plain and simple that makes you happy. My passion, speed. Source of inspiration? Everyday life.
How would you define your style?
No, what a problem everyone wants to put that in the interviews. The best definition for an architecture is adequate.
When designing, do you have a preference for particular materials?
Not necessarily, I always prefer the local material, native for its proven performance. But each design considers different challenges. What in some circumstances is to protect oneself from light, in others may be to take advantage of it, so we do not have a palette of pre-established materials in our designs.
How would you define the relationship between art and architecture?
It is extremely important. As a best example, in my house we immediately designed, the artwork arrived before the design was executed. Art and architecture are like garments in a woman dressed at night.
Do you see art as a good investment? Why?
I don’t see art as an investment, I see art as a joy, and the issue of investment for me is in the background. The work of art that you acquire, first of all, must produce pleasure, the enjoyment of your having it. Whether or not the work in economic terms is a “good investment” is secondary. That’s why it wouldn’t be acquire for its economic value. In the world we live in, there are excellent artists who by diffusion or ranking do not have the value that others have and the great collector does not buy for the value or for a bucket list to meet a list of specific works.
Nowadays there is a lot of talk about creating an experience for the viewer or consumer. How do you think you do it with your designs?
You’d have to ask the viewer. Not all architecture has to be sensory at all times, but eventually, depending on the type of design you do, we fall into the same category. The end result should be a positive, flattering experience, whatever it is.
View House, one of your recent projects, why would you say it stands out from other real estate projects?one of your recent projects, why would you say it stands out from other real estate projects?
It has an excellent location, it has a low density, despite being a gated community project, but each unit has an adequate scale and has a practical and timeless design.
Do you have any favorites among the projects you’ve done?
Not necessarily, those are like children who are loved differently and each one has their specific virtues.
What would be the recommendations of someone with your background for young people who aspire to excel in the creative field?
Preparation is basic, that creativity is not necessarily a gift, that being an artist is not about looking like an artist and that the best critic should be yourself.