All the poetry of Joan Margarit (1938-2021) is written simultaneously in Catalan and Spanish, and not subsequently translated from one language into the other. This can be clearly seen in the way in which both versions of his works move away from being literal translations, appearing as conscious reinterpretations in which the sense and the metric of the verses adapt to the sounds and nuances of each of the two languages used by the author.
Whoever reads his verses, and is lucky enough to know both languages, can clearly see how Margarit manages, through his art, to show that there is a possible cordiality between two politically opposed languages. The author takes advantage, in each of the versions of his poems, of the own rules of each lexicon and achieves that both tell the same story, without artifices or decorations, adjusting the verses to the exact minimum of necessary words, a way of working that can relate directly to his work as an architect, and perhaps more specifically to his specialisation in the calculation of structures, a branch he taught as a professor at the Higher Technical School of Architecture of Barcelona from 1968 until his retirement.
Margarit’s poetic work is a clear example of how some architects devote themselves to solving problems related to coexistence and the social contract, using tools and ways of working that are inherent to them and taking advantage of these capacities even from apparently remote spaces of creation with respect to their competences, in which the final result is to give an exact shape to a relationship or feeling, to materialise elements that do not have a built volume.