Edgardo Marveggio is an architect from Argentina. Although there are not many works, each project is shocking. The highlight of his design lies in the bright color matching, both the exterior and the interior will be matched with eye-catching colors, and the design of the house structure will not be ignored. What follows is an interview with the master.

Yinji: What inspired your interest in architecture?
Marveggio:When I decided to study architecture I really dind't know what it was. I interested plastic arts, such as painting and sculpture, and cinema as art, as well as literature. But about architecture I knew nothing. I started to study this career by chance.

Yinji: Which design masters inspired your design? 
Marveggio: My designs are inspired by everything I saw and everything I see. Especially art, literature, and cinema. A wide miscellany of images.There is a story by Jorge Luis Borges called "The House of Asterion" that recounts the myth of the minotaur and his labyrinth house on the island of Crete. I relive this story all the time and I give shape and atmosphere to that house. That works as my mind plot lab.

And many times imagining how they would be seen by Scarpa, Wright, Niemeyer, Zhan Yimou, Peter Grenaway, among many others.The aesthetics vary in this game, in which everything is allowed (as in dreams) and that are not explicit influences but they are found in me as an uncountable variety of favorite symbols. 

Yinji: How do you define Edgardo marvegio's design philosophy?
Marveggio: I wouldn't call it a philosophy. I would consider it a guide to rules on what to do and what not to do which are modified over time and according to circumstances. What for me were certainties before, today they are not.
There is something that is clear and definitive in my way of projecting, such as the use of local materials and classic construction methods.The training of the workforce and empathy for who will inhabit the place are essential as well. 

Yinji: How do you endow space with geometric aesthetics?
Marveggio: Geometry is implicit in the genesis of architecture.Constructive methods lead to a defined spatial geometry proper to the method and the way And also there is the possibility of enhancing it if I want to add intensity to something in particular. in the continuity of space there is, for me, the most obvious expression of geometry.

Yinji: How to break through the design boundary of housing? How to think about the relationship between architecture and interior? 
Marveggio: Assuming they are the same and they serve the same purpose. They are responses to the same premises and that make up a whole. Each situation imposes its "laws". It is our commitment to know how to elucidate them.And if we are lucky find them. 

Yinji:What do you do when you start a new project?
Marveggio: The main objective is responding to the needs raised by the client. And above all I think that the commitment to the immediate environment is of vital importance. "first consult the spirit of the place" someone said.

The interpretation that Carlo Scarpa makes in relation to the case of Banca Popolare de Verona is what I mean.
As well as if the neighborhood is of strong character, as when, on the contrary, it exists in a depressed environment, the important thing is to incorporate the object in the space coherently.Everything we decide is subjective but we must commit to space. we all participate in the environment.

Yinji:How to create a sense of architectural detail? 
Marveggio: It is difficult to put into words what perhaps only literature or philosophy can do.If someone wants what he does to make sense, he must follow his intuition. and try and do with the resources you have. We know nothing about the leitmotif of the creator of the Roman pantheon. I believe that the aesthetic emotion is produced in the one who looks at it. that feeling that cannot be explained if it was of any use to do so.I personally think that of all the sensations that an aesthetic event can generate, the one that suggests tranquility is the most significant.

Yinji:How to combine Argentine traditional culture with modern design? 
Marveggio: Our culture is the tradition of the West. We are a new community and everything is still being done.
Here in South America, pre-Hispanic cultures did not have the strength to impose themselves as if North America did, and all that remained was dismembered and forgotten.Traditions and ways of building have come with European immigration that still persist. Above all, the most recent influence comes from European and American academic Modernism, adopted and adapted. What configures the current imprint of cities. 

Yinji: What do you think of Oriental culture?
Marveggio:About oriental architecture I think it is exotic and beautiful and has a manifest intensity what makes it very attractive to the west. Traditional architecture is singular and unique. I am a great admirer of regionalisms and differences. 
I personally try to understand the world in a cosmopolitan way and to incorporate different cultures in my projects. 
In fact, Frank Lloyd Wright has said that he was able to understand architecture from another point of view since his trip to Japan.