Marià Castelló: Preserving the essence of nature

Rather than replicating what existed centuries ago, Marià believes that modern architecture can be rooted in its past in a way that builds upon and enriches its heritage. “I prefer constructive and conceptual sincerity because I want to avoid the trap of imitative or disloyal architecture,” he says, adding that modern architecture should not only blur boundaries between inside and out but between new and old.

To pioneer this sentiment, Marià says, designers need to embrace a sensitive and attentive approach. The process should begin with a thorough analysis of the site, examining its idiosyncrasies, pre-existing conditions and orientation. Sustainable design should be woven into the plans as much as possible – Marià suggests finding inspiration in the way of life on the island pre-1960s when a circular economy and self-sufficiency were the norm.

Formentera may be considered Ibiza’s “little sister”, but Marià points out that the island has its own singularities that influence the design of its buildings. “One of the main differences between Formentera and Ibiza is the topography. Ibiza is characterised by being mountainous and Formentera is very flat. This, without a doubt, conditions the landscape and the architecture.”

Asked about the qualities of traditional architecture on the island, he highlights the use of local materials and simple low-slung geometries as markers of the more traditional villas in Formentera. “Calcareous stone, lime mortar, pinewood and vegetable fibres were commonly applied, and a continuous indoor-outdoor connection was essential. Water is the most precious asset and vernacular architecture always pays homage to it,” he adds.

Formentera can only be reached by boat but for Marià, its remoteness is a catalyst for out-of-the-box architectural solutions. “Isolation for me represents more of an opportunity than a limitation. It can be challenging to source materials locally because the sandstone quarries have closed and we can’t turn the native wood into construction material, but we find ways to make it work.”

Naturally, Marià refers to his network of artisans as a way around these conditions, choosing to either source furnishings from skilled tradespeople or custom make his own: “I meet and work with skilled carpenters, blacksmiths and masons. I always try to learn as much as I can from them.” His Es Pou project, for example, involved sourcing wood and rattan furnishings from virtuoso makers. Es Pou is certainly a home that proves just how creative residential design on the island can be without disrupting its immediate environment.

This single-storey two-bedroom home is divided into three rectangular volumes that vary in size according to their relationship with the landscape. Earthy, warm interiors echo the surrounding oat and wheat fields. Glass doors let you gaze across the farmland dotted with almond and fig trees.

Similarly, Marià’s D12 Collection of pieces for outdoor furniture and accessories brand Diabla was initially created as a tailor-made solution for his Bosc d’en Pep Ferrer project. There’s a parallel dialogue between old and new, interiors and exteriors, light and shadow in this three-volume home that sits on top of an excavated cavity.

Shifting perspectives from the past to the future, Marià hopes there will be a rejection of urban growth on Formentera at a political level. He believes there should be a collaborative effort to protect the island’s precious history, landscape and ecosystems, to reimagine architecture that is first and foremost kind to the environment. “In this new scenario, all of society and, of course, architects, would have the challenge of transforming and improving everything that has been done quickly and without much thought during the decades of hasty development,” he says. “It would be a real opportunity for change.”