are distinguished by their powerful stride that overarches others. He was always in the latter camp. We are not going to comment here on a career that is so well-documented in books and magazines. Enric had an enormous capacity for transforming reality. A transformation, not in a literary sense, that would allow him to translate Park Güell and embellish it with the work of Richard Long in the cemetery of Igualada, in which he now lies; that would allow him to integrate the giants of Catalan mythology with his newest formal approach; the fragmentary vision of Hockney, maintaining absolute unity and consistency, or the reinterpretation of Picasso’s unfinished Harlequin with so many of his drawings that insinuate when insinuation is required and affirm when they need to. For an architect, the way he draws implies the way he sees, the way he assimilates reality; and Enric invented a way of drawing, and dominated an entire formal field of a way of doing things beyond which there was nothing. If it turns out bearded, it’s Saint Anthony and if not, it’s the Immaculate Conception. Thus every project was a risk and an adventure, based on the same excitement of a big kid who still feels surprised to be performing a great magic trick through sleight of hand. Does the pillar seek out the girder or the girder the pillar? Do these two elements get on well together or not? Enric showed us a new way of viewing reality; he lent us his wings and taught us how to read between the lines of the complexities presented by this huge atlas spread out before us which is the world. His successive practices, first on Diagonal with Balmes, which is the one I worked in, then Carrer Avinyo; his house on Carrer Mercaders and the new one on Passatge de la Pau, with Bene acting as hostess, set the standard of how some of us like to live, in which kind of space.
2. work and career Everything pales before the work of a genius. Joseph Quetglas speaks about the impossibility of being able to describe his architecture in a precise way for this very reason; because it is pure architecture, personal and untranslatable into any language other than its own, and therefore intrinsically his. Enric was very clear on how far his authorship went for every one of his projects. Architecture is personal and non-transferable. Without wishing to lecture you, he wrote to a renowned critic after reading an article in which the writer omitted to mention his involvement in a fantastic square that would open up a whole new way of designing public spaces in our city. There are those who progress by elbowing their way through and others who