Interviews med Amor Jimenez Chito

I have almost a decade of experience in the engineering and design sectors, both industrial and graphic. For just over five years, I have specialized in yacht and transportation design, working on a wide range of projects, including superyachts, modular vessels, and more sustainable concepts. I have collaborated with both startups and world-renowned shipyards, and my studio, Loveworks Design, based in Spain, has established itself by combining innovation, aesthetics, and functionality in small-scale vessels. Three years ago, I also launched my own water toy design company, One Water Toys, where I successfully launched a jet ski-powered vessel. I was recently awarded the Gold A' Design Award for this project, "ONE 16," which reflects the culmination of years dedicated to rethinking nautical experiences.

I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew cars, houses, boats without really knowing what they were at an engineering level. I was fascinated by cars, motorcycles, boats, houses—how they moved, how they sounded, how people interacted with them. It wasn't just about drawing; it was about imagining new ways of experiencing the sea. Over time, that curiosity became my profession. I studied engineering in industrial design and product development, and later a master's degree in transportation design, where I specialized in yacht design because I felt it was the most authentic expression of my identity: where creativity, engineering, and nature come together. Designing isn't just a job for me. It's my way of understanding the world.

Function, emotional connection, and form are the fundamental pillars of my design process. I always start by understanding how a product will be used, who will use it and how, and the emotions it should evoke. From there, I balance form and function to create something beautiful and purposeful. I use a combination of hand sketches and digital tools, often starting loosely and intuitively before refining in 3D with CAD and renderings. I also create physical mockups when necessary to check proportions and ergonomics.

Design is a very deep and emotional process for me. The initial ideation phase is exciting: it's a time of pure imagination and research. Then comes the challenge of bringing it to life, which brings moments of doubt, discovery, and problem-solving. There's a quiet joy when the final concept makes sense, when a form or function finally feels "just right." That's one of the best feelings I've ever known.

Living by the Mediterranean Sea and spending time there shaped my spatial perception and sensitivity to marine environments. In addition to my design skills, I value empathy, adaptability, and storytelling. My ability to listen carefully to clients and understand their vision has been key. I also draw a lot of inspiration from travel, the experiences of others, and nature—sources that teach you to observe, connect the dots, and imagine beyond the obvious.

I want to continue evolving as a studio that combines high-end "neo-craftsmanship" with innovation with a clear purpose. I'm also working on growing my company, One Water Toys. My ideal project would be to design a blank canvas—with a blank check, why not—so I can express all my design capabilities on one or more boats, small or large. I also want to be remembered as someone who made design more human, more emotional, and who contributed to good design in the yachting world.

Be curious, patient, and perseverant. Don't become obsessed with your personal style too quickly; focus on solving problems, offering opportunities, and understanding people. Also: design isn't just about the visual; it's about systems, communication, and often diplomacy. Move beyond artistic individuality. Learn to communicate clearly, build strong relationships, and always be willing to learn from others. And don't be afraid of failure. Often, the best lessons come from projects that didn't go as planned.

Always ask yourself why you're designing something, for whom, where, under what conditions, what it offers, what it solves, and for what purpose. Good design is born from intention, not from decoration. Also, collaborate: share ideas, be generous, and stay curious. Avoid getting too comfortable in your niche; explore, take risks, and invest time in understanding other disciplines. Design thrives at the intersection of worlds.

It starts with a coffee and some reading. I follow with a short walk to get my body moving, usually while listening to a podcast related to my industry or my latest interest. Depending on my needs and the time of week, I can continue with technical work, CAD modeling and/or calls or meetings. Until the lunch break, I then continue with some work, creative development, or client contact. In the late afternoon, I unwind to exercise or relax on the beach or at sea.

I follow trends loosely, primarily through design publications, design shows, and conversations with other creatives. It's a fascinating part of the research prior to any project. I always try to stay up-to-date. Trends are useful for understanding the context, but I believe in designing timeless products with lasting value. Inspiration can come from anywhere—an old design, a sculpture, a sample of material—but I always filter it through my own perspective.

Here I would paraphrase Dieter Rams and his 10 principles of good design: innovative, useful, aesthetic, durable, thoughtful, etc. And I would add that good design is also one that stops focusing on itself and becomes an experience. Beyond solving a problem, it generates opportunities and emotions. A well-designed product is about "less is more." If you can make someone smile or get excited about using what you've created, then you've done your job well.

I know a design is ready when subsequent changes no longer add value, but rather begin to dilute its essence. There's a moment of clarity when everything falls into place: structure, proportion, purpose. That said, I always leave the door open for future improvements. The design is never truly "finished"; it simply reaches the point where it's ready to be shared with the world.

Without a doubt, the ONE 16. It's a hybrid vessel powered by a jet ski, which combines the performance and adrenaline of a PWC with the comfort and functionality of a 6-meter boat. It was born from a vision to create a more social, compact, and customizable aquatic platform. A water toy so I could test and express some of my design instincts and ideas. The design process lasted years, including iterative models and prototypes and close collaboration. It's a piece with character, but also a functional and enjoyable product. Winning the Gold A' Design Award was a huge achievement.

It's a very difficult question to answer. There are so many good designers and so many different disciplines. I admire designers like Marc Newson, Dieter Rams, Philippe Stark, Ray and Charles Eames, the Bauhaus School generation, Giorgetto Giugiaro, and Pininfarina. In the marine world, I have great respect for Espen Øino, Tony Castro, Marco Ciampa, and Christian Grande, among others.

I live in a small town on the Costa del Sol, in southern Spain, next to the sea, which profoundly influences my work. Mediterranean culture values ​​beauty, functionality, simplicity, and ancestry, qualities that resonate in my designs. Gastronomy, the unique Andalusian lifestyle, and music are part of my process, as are the sounds and environments that help me focus. Design has taught me to value space, silence, and a life of purpose.

I work in a small, agile setup where flexibility and clarity are key. I collaborate with engineers, naval architects, and manufacturers, often creating a bespoke team for each project. I usually work alone but with good professionals around me and my projects. I value honesty, accountability, and enthusiasm in collaborations. Good design starts with good conversations, and I like to keep the process transparent and human.

Whenever I can, I help young designers or support startups. I've participated in design talks and educational events to share ideas about naval design and entrepreneurship. I believe designers have a role to play in fostering better habits, smarter consumption, and a more conscious relationship with nature.

The A' Design Award has been a fantastic platform for sharing my work with a global audience. It has given me credibility, media exposure, and opened the door to meaningful conversations. The three key benefits: the validation of a respected jury, access to an international network, and the motivation to continue expanding my professional field. Being named Designer of the Day is a tremendous honor and a reminder that good design matters.

The idea was born from a very personal need: to find a balance between performance, aesthetics, and functionality in the nautical environment, based on a desire to create and research water toys. I've always been inspired by objects that not only fulfill their function but also convey emotions. ONE 16 seeks just that: to be an extension of the lifestyle of the person who pilots it, and to bring people together and socialize from this vessel.

My goal was to offer a disruptive solution to the water toy sector, creating a product adaptable to different business models, with a powerful aesthetic and functionality.

The plan is to scale production, expand the dealer network in Europe and the rest of the world, and develop a line of accessories and expanded versions of the ONE concept.

The entire process took about 24 months, including market research, conceptual design, engineering and prototyping, followed by continuous improvements.

It was entirely my own initiative. I saw a gap in the market and launched into something that, as a user, I'd like to own one. It was a design idea with a strategic vision to innovate in recreational boating, detecting a clear opportunity.

I currently produce the design under my own brand/company, One Water Toys. We control the entire process to ensure quality and consistency with our vision. We are open to collaborations and selective licensing.

I detected a need for more versatile, modern nautical experiences aligned with new forms of active tourism and aquatic leisure. I also saw a need for independent exploration without set limits.

I sought out and drew inspiration from timeless lines, from the most recent and trendy minimalist forms, where form follows function with elegance.

Dynamic, curious people who enjoy the sea and value design as part of their lifestyle. The target audience includes boat rental companies, individuals who already own jet skis and want to expand their fleet, and premium tour operators, primarily in coastal areas or on lakes.

It has soul. It's not just a floating platform; it conveys character from the first glance. The modular integration of boat and jet ski, its compact design, its customization capabilities, and its advanced aesthetics completely set it apart from the competition.

ONE represents unity, minimalism, and uniqueness of design. It's direct, like the experience it offers. It symbolizes unity, uniqueness, and the spirit of innovation. It's short, memorable, and reflects our mission to offer a unique nautical experience.

I primarily used Rhino, Keyshot for visualization, Adobe Suite for post-production, and other parametric design programs to validate technical specifications. But the pencil remains my preferred initial tool.

The way the volumes and surfaces interact with the light and the environment. It has its own visual language. The most innovative aspect is the aesthetic-functional fusion between a jet ski and a boat, offering two experiences in a single adaptable product.

Yes, I worked with specialized naval engineers and manufacturers. It was a collaborative learning process. And we're continuing to work on it in the near future.

It was key. From manufacturing processes to computer-aided design, everything relies on technology. Technology enabled prototyping, structural strength validation, navigation simulation, and improved production processes with millimeter precision.

Yes, I did a lot of research into usage habits, trends in nautical tourism, ergonomics, and materials. I translated all of this into shapes. I conducted market research, surveyed potential users, benchmarked similar products, and analyzed CE regulations to influence design decisions.

Finding suppliers who understood my vision and adapting the design to the technical limitations without losing its essence. Also involved was reverse engineering to adapt these jet skis, controlling weights, drafts, and maintaining aesthetics without compromising stability and safety.

I wanted to test the work, gain an outside perspective, and give myself the opportunity to share my vision with the world. This was also a strategy to position it globally and validate its design and innovation.

I learned to be more patient. I learned that ideas need to mature, and details define everything. The process solidified my iterative design methods, validated with real users, and helped me improve the product's visual communication.

I want to underscore our commitment to design as a tool for real transformation in the nautical industry. This isn't just a product; it's a long-term vision.

I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew buildings, cars, houses, boats, without really knowing what or how they could be made. It wasn't just about drawing, but about imagining new forms. Over time, that curiosity became my profession. I studied industrial design engineering and later a master's degree in transportation design, where I specialized in yacht design because I felt it was the most authentic expression of my identity: where creativity, engineering, and nature come together. I've always loved transportation, and as an engineer, I sought fulfillment in this field. As for my creative side, I always sought to imagine and create. I was born and raised in a coastal town and have always been connected to the sea. Designing yachts isn't just a job for me; it's my way of creating and expressing my creative side within an extremely technical context.

I've always felt the need to create: to improve objects and imagine new experiences. Design allows me to merge the rational with the emotional, transforming ideas into something useful, beautiful, and meaningful. I became a designer truly out of vocation and because it's where I feel most capable of making a real contribution.

It was completely my choice and a feeling of calling. It felt like the natural path. Since I was a child, I'd always drawn vehicles, sketched objects, and taken things apart to understand them. No one pressured me; design simply felt like a part of me.

I primarily design yachts, from personal water toys to tenders, yachts, and superyachts. I design both exteriors and interiors. I'd love to design more boats, it's that simple.

Don't strive to be a legend, but rather work and experiment. Be obsessed with learning, stay curious, and commit to understanding problems thoroughly before attempting to solve them and offer more opportunities. Know your tools, but also know yourself.

A good designer solves a brief. A great designer challenges it, reframes it, and often finds a deeper need behind it. Great designers also create emotions and experiences, not just objects.

If it works better than expected, feels natural to use, and looks like something from the future, it's probably a good design. If it also tells a story or evokes emotions, it's a great design. I like to apply Dieter Rams' 10 principles of good design as a way to maintain measurable parameters, where the possibilities of each project are discussed.

Because good design improves lives in subtle and consistent ways. It's often invisible when done well, but it makes everything flow better: from tools to environments to relationships. It can also be so good it amazes and excites people.

I would design a spectacular vessel: possibly multi-hulled, modular, and transformable, with multi-use areas, many facilities such as a gym, leisure areas, a spa, swimming pools, a large, varied and fun garage, and sustainable. Not just for leisure, but also for exploration and adventure.

Perhaps one of my first projects, the Triunfo Superyacht, a 50-meter vessel with a system that transforms from a monohull to a trimaran, using revolutionary and innovative composite materials, 100% sustainable powered and a very distinctive aesthetic, full of personality, elegance, and daring. Perhaps at that time, there were technical difficulties in its manufacturing, in addition to the large budget involved, but perhaps in the future, with a revised design, it could be built.

I don't have any secret recipe or formula. I apply my knowledge, experience, and logic to my work. Perhaps research, creativity, and empathy can be great allies. Design with a purpose, understand the market, the client, the consumer, their needs, their tastes, their desires. Everything else is aesthetics, structure, and performance; it's based on that.

There are so many good designers and so many different disciplines. I admire designers like Marc Newson, Dieter Rams, Philippe Stark, Zaha Hadid, Charles and Ray Eames, the Bauhaus School generation, Giorgetto Giugiaro, and Pininfarina. In the yachting world, I have great respect for Espen Øino, Tony Castro, Marco Ciampa, and Christian Grande, among others.

It's a very difficult question to answer. I may have several designs in mind, such as the Eames lounge chair, the iconic Frank Stephenson's Ferraris, Mini copper or McLaren, for example.

It hasn't arrived yet. But for now, one of the designs I'm most proud of is undoubtedly the One 16. For everything it has meant and continues to mean to me on a personal and business level, for being a design with a purpose, with emotion behind it, designed for functionality and excitement. It's timeless, bold, striking, adaptable, and challenging.

Don't rush. Design comes when you stop imitating or with experience. Listen more than you talk. Be interested and curious about what's around you and what might affect your future. Try to develop your own vision, cultivate discipline, and surround yourself with discerning people. Learn from those who know and those who feel. And above all: design with your feet on the ground, without limits or filters, and your eyes on the horizon.

Probably something related to engineering, architecture or in the recreational nautical sector.

For me, design is a conversation. Between materials and imagination. Between utility and emotion. Between what already exists and what could exist. Good design solves problems, yes, but good design creates experiences. It invites people to participate. It makes them feel something. That's what I strive for with every design: not just performance or aesthetics, but connection. I can think of design as an emotional strategy.

My environment and my family, without a doubt. Without them, I wouldn't have gotten to where I am.

I always ask myself why I design something, for whom, where, under what conditions, what it offers, what it solves, and for what purpose. Good design is born from intention, not decoration. I also collaborate: I share ideas, I am generous, and I remain curious. I avoid settling too narrowly into one niche; I explore, take risks, and invest time in understanding other disciplines. Design thrives at the intersection of worlds.

Self-doubt. Doubts about how the industry actually works, internally. Limited access to industry contacts. Rejection due to lack of age or experience. Having to learn a lot on my own. But those challenges shaped me.

With clarity and humility. Let the idea speak, but guide the audience through its reasoning and emotion. Make it a conversation rather than an announcement.

There are currently several projects in the making. I'm also working on more specific versions of the ONE 16, one for families and another for professional and water sports.

That's too broad a concept. Perhaps it could be having a blank canvas—and a blank check, why not?—and having the client blindly trust my abilities and my design intentions. Being able to translate those emotions into a real concept. And having a multidisciplinary yacht design team like the great ones.

Originality with purpose. Elegance, boldness, logic. And a clear sense of direction.

It makes systems more humane. It reduces waste, creates opportunities, and improves accessibility. It helps people live better lives.

We're preparing for a broader international launch of the ONE 16, adapting it to different climates, user habits, and business models.

The most satisfying ones are the ones that surprise me at the end. When a customer says, "This is better than I imagined," it's magical. The One 16 delivers on that.

Less obsession with vain and materialistic trends, more focus on impact. Also, greater recognition of small-scale innovation, not just flashy launches.

Toward regeneration. Beyond sustainability, toward systems that actively repair or enhance ecosystems and create new opportunities.

It varies a lot. Some may take 3 weeks, others months. But I always try to find a balance between speed and depth.

It starts with observation and research. With questions. Why? For whom? In what context? Then I move on to sketching, and research again alongside it. I move from paper to plans, to 3D, to rendering. And then to production. Then to the sea. I always come back to the user: I imagine what they'll do, how they'll interact, what they'll remember. It's a process of trial, error, intuition, and many iterations until I get it right.

"Less is more," but with purpose and intention. (Yes, I'm borrowing that from Rams; it's timeless.) I would also add that "hard work beats talent when talent doesn't work hard".

Design has the power to set trends. When the opposite happens, it's usually not design.

It's a facilitator and an indispensable tool for my development. It helps me elevate my ideas.

Rhino, KeyShot, SolidWorks, Photoshop, Illustrator, Phoenix FD. And lots of paper and pen.

They define how a product feels, both emotionally and physically. They're not just window dressing; they're part of the story. For me, color, material, and finishing (CMF) are essential to a complete design and how it's perceived.

Where the idea comes from and what is the purpose.

“How did they get there?” I’m fascinated by the process behind elegant solutions.

Absolutely. The best work happens when egos are left at the door and ideas are shared openly. I've been collaborating with other studios like Coase Design for years, and we have a truly positive synergy.

Marine industry experts, boat builders, users, and many professionals from other sectors who help me stay connected.

"Design as Art" by Bruno Munari. "The Design of Everyday Things" by Don Norman. "Thinkertoys" by Michael Michalko. "The New Basics" by Lupton & Phillips. Among others. And, honestly, many specialized catalogs and magazines.

Through practice, self-criticism, continuous work, and repetition. Also, through talking with other designers and discerning people about certain designs and work proposals.

Probably with figures like Leonardo Da Vinci or Espen Oeino, for example. Also charismatic figures like Enzo Ferrari or Ayrton Senna.

Awards are an honor, but what matters most is the work behind it. I focus on improvement, not performance. I wouldn't consider myself famous at this point either.

Color: Living coral. Place: Mediterranean coast. Food: my father's. Season: summer. Thing: notebook. Brand: Porsche.

Probably once a client wanted to have a leather shelf over 6 meters long in one piece. Imagine having to find that cow!

Seeing progress. Even a small improvement in a curve, a sketch, a rendering—that's fuel. That feeling of accomplishment that keeps you going.

I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew buildings, cars, houses, boats, without really knowing what or how they could be made. It wasn't just about drawing, but about imagining new forms. Over time, that curiosity became my profession.

Hopefully we’ve learned to design with the planet, not against it. Or even beyond Earth. Design will be regenerative, intangible and more about essence than objects.

In case, I have them. My designs have a purpose and an intention. They are experiences. I believe in functionality, aesthetics, and emotion. If there's something that makes you smile, get excited, or dream, then I've done a good job.

I've always been fascinated by how things are made and why they evoke emotions in us. As a child, I drew buildings, cars, houses, boats, without really knowing what or how they could be made. It wasn't just about drawing, but about imagining new forms. Over time, that curiosity became my profession. I studied industrial design engineering and later a master's degree in transportation design, where I specialized in yacht design because I felt it was the most authentic expression of my identity: where creativity, engineering, and nature come together. I've always loved transportation, and as an engineer, I sought fulfillment in this field. As for my creative side, I always sought to imagine and create. I was born and raised in a coastal town and have always been connected to the sea. Designing yachts isn't just a job for me; it's my way of creating and expressing my creative side within an extremely technical context.

This company is called One Water Toys. It essentially stemmed from a simple idea: to challenge the concept of a water toy. It also served as an opportunity for me to explore different facets of the nautical industry. I wanted to create something more: something modular, functional, aesthetically pleasing, and meaningful. Over time, One Water Toys is becoming a space for experimentation, pushing the boundaries of what we consider "design" in the nautical world. I'm proud to lead this studio not only as a designer, but as someone who deeply respects those who use these vessels. Our flagship product, the ONE 16, embodies our mission: to create personal watercraft that offer more freedom, adaptability, and beauty than conventional models. We don't just build machines; we create new ways to experience the sea.

For me, design is a conversation. Between materials and imagination. Between utility and emotion. Between what already exists and what could exist. Good design solves problems, yes, but good design creates experiences. It invites people to participate. It makes them feel something. That's what I strive for with every design: not just performance or aesthetics, but connection. I can think of design as an emotional strategy.

Obviously yachts. I'm most inspired when I design objects that move, both literally and emotionally. Yachts, in particular, have soul. They transport people through places, but also through moments. I enjoy designing "artifacts" that not only serve a function but also create an experience. I love finding that balance between elegance, efficiency, and emotion.

It's an extremely complex question to answer. There are many fields in which I have a lot of options to choose from: automotive, architecture, products, furniture, yachts, cinema, and more. From a Ferrari 250 GTO or an Aston Martin DB11, the Bosco Verticale building in Milan, Zaha Hadid's Heydar Aliyev Cultural Center in Baku, Dieter Rams' designs for Braun, and many more that I could exemplify.

The first naval project I completed was a yacht concept for a shipyard in the Mediterranean. It was a vessel designed for passenger transport, sea tours, diving, and more; pure aquatic leisure. I remember thinking and obsessing over every curve, every area of ​​the deck. It wasn't perfect, but it taught me how challenging and rewarding it is to design something that must perform at sea and, at the same time, inspire people to dream and enjoy. That project gave me the confidence to keep building and keep believing.

I'm drawn to composite materials, especially when they allow us to combine form and function without sacrificing anything. We're fortunate to live in a time of constant experimentation and discovery. But honestly, what excites me most is how materials behave, not just how they look. I also love working in 3D modeling environments like Rhino and Keyshot, tools that quickly and intuitively shape ideas and create a realistic image. Technology should feel like an extension of your thinking.

Curiously, my best ideas don't come in front of a screen. They usually come when I'm away from the studio or in front of a blank sheet of paper: driving, sailing, walking, or even silently gazing at the sea. Creativity sometimes appears when I stop looking for it—and then it becomes clear: a line, a proportion, a new way of using space.

I'm obsessed with proportion and balance, and perhaps I'd say symmetry; although sometimes I find asymmetries beautiful and justified. Every line must have a purpose. But beyond aesthetics, I focus on how the design will be experienced: Is it comfortable? Is it intuitive? Does it convey something? Does it need to fulfill all of the above? I want each design to convey and tell a story.

Designing is a mix of vertigo and euphoria. At first, it might seem like everything is uncertain… and then, as the pieces fall into place, you feel something akin to a revelation. It's a tremendously comforting sensation, as if it already exists somewhere and you're simply discovering it.

Seeing a floating yacht born from a sketch in my notebook for the first time is hard to explain. There's pride, yes, but also humility, reward, and joy. The design stops being yours and starts belonging to everyone else. And when you see someone enjoying it... then you know it was worth it.

Here I would paraphrase Dieter Rams and his 10 principles of good design: innovative, useful, aesthetic, durable, thoughtful, etc. And I would add that good design is also one that stops focusing on itself and becomes an experience. Beyond solving a problem, it generates opportunities and emotions. If you can make someone smile or get excited about using what you've created, then you've done your job well.

First, I ask myself: Does it work naturally? Then I look at how it flows visually and whether there's coherence between form and function. In other words, I evaluate it based on its usability, aesthetics, and distinctive value. But above all, I ask myself if it conveys something. Good design not only solves problems, it also communicates.

Designing isn't just about creating; it's about assuming responsibility. Every decision has consequences, from the materials to the emotional impact. I believe designers should act as a bridge between innovation and awareness: we must imagine more sustainable and humane futures. We have a responsibility to minimize the environmental impact of our products. I also seek to foster a more respectful and conscious relationship with the marine environment.

Design is becoming more human. It's no longer just about beauty or functionality, but about ethics, inclusion, sustainability, and emotion. The future of design isn't just about objects, but about the experiences we create with them. And I find that deeply exciting. In yachting, we will see smarter, more efficient, and connected vessels, but also more user-centric. The future of design will be collaborative and increasingly transversal across disciplines.

My most recent "exhibition" wasn't a gallery, but an experience: the unveiling of the ONE 16 on the water with my company, One Water Toys. Seeing people approach it, marvel at it, and talk about it was the best showcase. As for what's next, we'll be participating in a few boat shows.

Inspiration comes from the sea and nature, of course, but also from unexpected places: a conversation, the silhouette of a car, a song that evokes a feeling in me. It's from observing how people use space and objects. My creativity thrives when I unwind: on walks at sunset, traveling, or simply looking at other "old" designs with fresh eyes.

My style seeks a balance between the functional and the emotional. I like clean lines but with intention, with each element serving a purpose. I would perhaps describe it as intentional, unapologetic minimalism, where there's always room to remember my roots or express what the future owner wants to portray. I don't chase trends, but I do rely on them as tools. I design to create moments.

I live in southern Spain, in a small town on the Costa del Sol. This environment imprints a certain character: we value beauty, enjoying the moment, contact with nature, and Mediterranean and ancient culture. It's also where nautical tradition and a passion for the sea are part of our daily lives. This inevitably permeates my designs. I am privileged to have an enviable climate, cuisine, and environment. The challenge is that it's sometimes difficult to find local industry or logistics prepared to innovate at the pace we desire, which forces us to be more creative in the way we produce and distribute.

I work through active listening. I like to understand what they want, what they fear, what they expect. Then I translate that into design. I create long-term relationships, where dialogue is more important than contracts. My goal is for the company to see me not as a supplier, but as a creative partner. I collaborate with companies through a structured yet flexible co-creation process. I bring my design vision, powerful visual tools, and a very end-user-oriented approach. I'm involved from ideation to implementation, with transparency, rigor, and long-term commitment.

A good designer is someone who listens, adapts, and engages. They translate a company's vision into a tangible experience. Intuition and empathy are as valuable as a portfolio. The value lies in finding long-term synergies, not one-off solutions. A good designer must question, contribute, and commit to the outcome and impact of the project.

It starts with observation and research. Then I move on to sketching, and research again alongside it. I move from paper to plans, to 3D, to rendering. And then to production. Then to the sea. I always come back to the user: I imagine what they'll do, how they'll interact, what they'll remember. It's a process of trial, error, intuition, and many iterations until I get it right.

1. An Italian coffee maker, for its shape and memory.

2. An Eames lounge chair, for its iconic simplicity and presence.

3. A wooden lamp.

4. A notebook always at the ready.

5. A vessel model of a project.

It starts with a coffee and some reading. I follow with a brief walk to get my body moving, usually while listening to a podcast related to my industry or my latest interest. Depending on my needs and the time of week, I can continue with technical work and/or calls or meetings. After the lunch break, I then continue with some work, creative development, or client contact. In the late afternoon, I unwind to exercise or relax on the beach or at sea.

Don't rush. Style comes when you stop imitating or with experience. Listen more than you talk. Be interested and curious about what's around you and what might affect your future. Try to develop your own vision, cultivate discipline, and surround yourself with discerning people. Learn from those who know and those who feel. And above all: design with your feet on the ground, without limits or filters, and your eyes on the horizon.

The positive: you can create something that didn't exist before. The negative: you never fully disconnect, and it's not usually recognized at the business level. You analyze everything, you imagine everything improved. You could say it's a blessing... and a creative curse.

Form and function should be inseparable, but experience should always be key.

Curiosity, empathy, visual thinking, communication, observation, strategic thinking, creative problem-solving, handling of technological tools, and aesthetic sensitivity.

Pen, paper, Rhino and SolidWorks, Keyshot, Photoshop, or Illustrator. But also an open mind and silence.

I divide the day into blocks and leave time to unwind. Creativity needs oxygen. I use agile methodologies combined with creative immersion phases. I plan realistic timescales and regular review cycles.

It depends on the type of product or project. Sometimes it can take from days to weeks or even months from the initial concept to the first working prototype.

Can this be done cheaper?

Why is this so expensive?

Is there a way to do it faster?

Designing the ONE 16 has been a turning point. It's a project that encapsulates part of what I believe about design and yachting. Leading the development of my company has meant consolidating a new boat model on the market and a different way of thinking about aquatic mobility. It's also meant navigating all the business layers of a startup.

From private clients to world-renowned firms. I collaborate with several international studios, including Coase Design and Sunseeker, for example.

Design that forces you to look differently, to rethink preconceived ideas. Projects that merge technology, aesthetics, and user experience in real-life environments.

Continue designing boats that excite, and expand into new typologies and collaborations. Expand the ONE product family, internationalize the brand, and continue pushing the boundaries of functional nautical design.

The heart of design often comes from my head and my hands, but without a team, it doesn't come to life. I design in collaboration with experts, engineers, shipyards, and users. Design is an orchestra.

There are currently several projects in the making. I'm also working on more specific versions of the ONE 16, one for families and another for professional and water sports.

Through my website, social media, or by emailing me directly. I always reply back.

Design is not luxury or decoration. It's a tool for change and emotional strategy.

I invite all stakeholders and professionals in the sector to rethink the relationship between technology, sustainability, and pleasure. Because the sea, in addition to being explored, must be cared for.

The concept for the ONE 16 Hybrid emerged from a desire to challenge conventional nautical formats. I wanted to address an unmet need I noticed in the market: people often had to choose between the adrenaline and speed of a jet ski and the convenience of a social, shared nautical experience. I envisioned a product that could satisfy both desires. The idea of ​​"transformation" was key, not only in its form but also in its purpose. I was inspired by modular design trends, also present in other sectors such as automotive and architecture, and wondered how those principles could be applied to the water. From user observations and my own experience as a designer to the design of adaptable geometries, this project became an exploration of how to give people greater freedom in their experience at sea. I also observed the emerging demand for versatile nautical products and toys. From there, I moved on to the feasibility study, and after two years, I was able to begin developing it further. In short, a transformable toy, without sacrificing group fun, aesthetics, or functionality.

The hydrodynamic performance of the ONE 16 was the backbone of the entire development. We began with small-scale model testing, which allowed us to validate early concepts quickly. From there, we moved into advanced CFD simulations, using real-world loading scenarios and speed conditions. I collaborated closely with naval engineers to understand how each line and angle of the hull influenced resistance, lift, and wake formation. One of our key challenges was achieving efficiency both with and without the jet ski attached—essentially, two performance profiles in one hull. Reinforcing structural integrity while keeping weight in check led us to a hybrid framework, especially around the coupling/jetski area. In this project, structure and hydrodynamics couldn’t be developed independently—they had to evolve together. The challenge was to balance agility and stability, especially when detaching or attaching the jet ski.

From day one, I knew the system had to be inclusive and functional for most brands on the market. Limiting users to a single PWC manufacturer or requiring them to switch the coupling system if they swap their PWC would have defeated the purpose of accessibility. The carefully designed coupling system accommodates the most common hull geometries of the major PWC brands, both in shape and propulsion alignment. Internally, we used modular mounting guides and anti-vibration damping systems that self-correct during coupling. Safety was a primary concern, especially at high speeds or during sharp turns, so we integrated multiple locking layers and tested the connection under dynamic loads. This system allows both the hull and PWC to maneuver in unison and with astonishing stability. Another challenge was ensuring the craft behaves predictably regardless of jet ski brand or weight distribution. We introduced trim compensation structures inside the hull to maintain balance and hydrodynamic integrity in all configurations.

Balancing performance with passenger comfort is especially complex when you're working with a hybrid setup. We worked with 3Ds and CFD simulations to ensure stability. When fully loaded with six people, the center of gravity, trim angle, and hull stress points shift significantly. To address this, we developed the deck layout in tandem with the hull structure, ensuring that both passenger placement and internal reinforcement zones were aligned. One critical innovation was the use of variable-density foam cores in key areas, which helped control flex without adding weight. We also ran simulations at different speed regimes with varying passenger distributions to optimize the hull’s deadrise and chine lines for smoother water penetration. Comfort wasn’t only about ride smoothness—we had to design ergonomic seating, walking positions, and even splash deflection zones to ensure that high-speed travel still felt safe and enjoyable for everyone onboard.

Material selection was absolutely key. We chose high-quality vinylester resins for their superior resistance to osmosis and fatigue, paired with closed-cell foam cores that resist water ingress and maintain structural shape over time. What makes this project special is the precision of the vacuum infusion process used during construction. This method not only reduces excess resin and overall weight but ensures a highly consistent laminate quality. To further enhance durability, we included localized reinforcements in the stress zones near the coupling area. We also designed with lifecycle thinking in mind—the modular deck parts are easier to replace or recycle individually, minimizing waste and simplifying maintenance. In the end, it’s a blend of durability, weight optimization, and aesthetic quality that these materials make possible.

Each convertible element of the ONE 16 responds to the user behavior patterns I observed during field research: how people move, sit, eat, and relax aboard a compact boat. The bow, for example, serves multiple functions without cluttering the space. The table system features a folding and locking mechanism that folds under the deck when not in use, freeing up space for sunbathing, and when needed, it can accommodate all six passengers around. I focused on seamless transitions, without the need for complicated mechanisms or external tools. I also studied how users anchor and board, which led us to options like integrated swim platforms and non-slip walkways. Of course, I also studied when the jet ski is not docked and how users would use the swim area. The interior layout was carefully considered to ensure ergonomic flow, even in tight spaces. This boat isn't just about flexibility, but about doing more with less, without ever feeling cramped or constrained.

I believe the ONE 16 can represent the beginning of a new paradigm—what I call “adaptive nautical design”. I hope the ONE 16 challenges the watercraft industry to explore hybridization not just in powertrains but in purpose. It’s about breaking free from rigid categories. I see a future where personal watercraft become modular lifestyle platforms, not just thrill machines. This includes broader compatibility with accessory modules—fishing decks, solar shade systems, entertainment docks. I also think this kind of design invites new users to the industry, people who may have felt excluded by jet ski limitations or "old-style" boats. The ONE 16 is a bridge—not just between vessel types, but for user-oriented industry on versatile experiences.

Málaga is more than a setting: it's part of my DNA and, by extension, of the ONE 16. The light of the Mediterranean, its cultural mix, and the climate conducive to nautical activity practically year-round provided a practical and emotional impetus to the entire project. I wanted the boat's design lines to reflect the fluidity and luminosity of the region and the technological advancement of the area. But beyond aesthetics, developing the project here gave me close access to an ecosystem of suppliers, prototyping facilities, and testing waters, all within a short radius. Andalusia's growing innovation scene also provided opportunities to collaborate with local engineers and manufacturers. I believe in regional production not only for logistical reasons, but because it gives the product a sense of place. This boat was born on a coast where innovation merges with tradition daily. And I'm confident it's a very good ecosystem to continue in the long term.

Sustainability in marine design is a long-term commitment, and I tried to approach it on multiple fronts. First, I prioritized reusable tooling and modular molds, which significantly reduce waste during the prototyping and production phases. Second, we worked with recyclable core materials and low-VOC gelcoats to minimize environmental impact. One of the most forward-thinking aspects of the project, and that's speaks about the future of the One and the market, is the propulsion flexibility—we intentionally designed the hull and coupling system to be compatible with electric jet skis, which are advancing rapidly in range and performance. Additionally, because the boat can be disassembled, it's easier to refurbish, repurpose, or recycle individual parts, reducing its environmental footprint over time. Our supply chain was also curated to favor regional partners, which helps reduce emissions associated with transport and logistics.

Winning the Gold A’ Design Award has been both an honor and a responsibility. It validated years of work, but even more importantly, it raised the bar for what I now expect from myself in future projects. The recognition gave me international visibility, connecting me with new collaborators and markets I hadn't reached before, and which undoubtedly strengthens the vision of this brand. Creatively, it has empowered me to redouble my efforts in bold and unconventional thinking. I no longer design solely to solve problems, but to open up new possibilities. It has also prompted me to explore adjacent areas such as floating architecture, amphibious mobility, and modular marine habitats. And it always gives me more experience on real projects with real problems and complexities to address. The award wasn't a goal; it was a signal to keep going. Innovation and creativity aren't a one-time act; they're a discipline, and this recognition reinforces my commitment to staying at the forefront.