We need to exalt and value ancestral and local trades, which, as in nature, there are many in danger of extinction. It is about adopting a stance from the artisanal point of view as opposed to the industrial.

We want to encourage working with an artisan aesthetic, recovering the trades that have been transmitted from generation to generation, and that are increasingly on the way to disappearing.

The idea is that most of the elements that are made, such as windows, doors, furniture, fireplaces, among others, are made by the hand of man, and thus the beauty of these objects reflects the elaboration time dedicated to them.

Although technology is at our entire disposal, we cannot subordinate ourselves to it, but rather use it as a tool for the development of construction processes. In this way, the local workforce is directly involved and involved.

We develop a kind of "Guerrilla Design", where, as the works progress, they attack to make adjustments and changes, and then withdraw, reflect, and look again from the outside at its evolution.

It seeks to work in a space, in a range between architecture and art, in the manner of a jazz ensemble, where each note succeeds the other in a space of time that is impossible to predetermine, and that appears in the moment. This requires frequent presence at construction sites.


When we have a set of constructions in the same place, we want each one to be different from the other, with its particular shape, but without losing the common thread in terms of design. Something like what happens with a hand, which has five fingers, each one different from the other, but together they make up a harmonious whole.

There are no minor details, it is the details that will determine whether a work is beautiful or special. Every little thing must have its own characteristic, a reason for being, and a particular way that identifies it. Good designs are played on these details.

The houses must be conceived as a whole. Each element that composes it must be in perfect harmony with the other, and these in turn with the space that contains them.


There is a certain tendency to believe that the used is worthless, or that it carries an implicit inferior quality with respect to the new product, which has produced in recent years a fever for disposable products. This has had innumerable consequences for our environment.

The "old" has no place in modern architecture and the new technologies that prevail today.

We must never stop thinking about the impact that buildings will have on our environment, since construction is one of the most polluting and energy-demanding of human activities.

We think of recycling as the fundamental element for the construction of our works, the re-use of discarded materials, prolonging their useful life by incorporating them into our buildings.


Every work must establish a harmonious dialogue with its environment, so that the constructions participate in a subtle way with the natural settings, integrating as a “complement” and not as a distortion of it. From here comes the making of simple, austere forms of skin, where the colors, textures, and exterior volumes are submitted to the place as an integral part of it.

When you have to intervene in a forest, a pampa, or places where there are no urban laws, you must begin to observe and understand the place, discover its own laws, and then incorporate them when developing the project.

We constantly see that the predominant architecture these days comes from abstract concepts, invented and based on the theory of words, it is form for form, a whimsical and pretentious architecture.

We need to "project with nature" and not against it. The idea is that the people who inhabit the place through time, feel identified with the type of architecture that we propose.

Good architecture must be conceived taking into account the culture of the place, its people, its history, geography, the climate, all these elements are what somehow determine the identity of the works. They are tools that nature offers us to cultivate our own architecture, which has its foundations firmly laid on the earth.


Mainly, buildings should be thought about in their entire process, from their gestation (in the mind and notebook of the architect), until their disappearance, once their useful life is completed, taking into account the optimization of the natural resources that are available in the place where this one will be built.

The idea is to make the most of the renewable resources that a certain place can offer us, mainly through the sun, wind, and water. As a reference, in the consumption of a home, 57% corresponds to heating, 25% to the production of sanitary hot water, 11% to lighting and electrical appliances, and the remaining 7% to other factors.

The idea is to take advantage of these natural resources preferably, in a "passive" way, taking into account the location and orientation of the buildings in order to capture more lighting (heat), and natural ventilation, use of slopes and vegetation as barriers. natural protection against wind and rain, use of recycled materials, among other factors, which will be decisive to reduce the energy demand necessary, both for the construction process of this and for its subsequent use.

The general idea is that most of the materials used, once their useful life is fulfilled, can be reused again, or simply return to the earth from where they came, which is why we must try to avoid materials that are not biodegradable.

Undoubtedly, in relation to the above, a primary factor is the thermal envelope of the buildings. Implementing a building with good insulation can mean an increase in the initial investment, however, it will be recovered in a short time. It is essential to minimize the exchange of temperature between the interior and exterior of a building, either through materials or air infiltrations, placing special emphasis on insulating floors, walls and ceilings very well, since by minimizing losses of heat, it is possible to maintain a pleasant environment inside, considerably reducing fuel consumption.

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