Interviews with David Guerra

I graduated from UFMG (Federal University of Minas Gerais) in Brazil in 1991 and have since worked as an Architect and partner with names such as Fernando Graça and Freuza Zechmeister. Since I graduated I have always worked with high profile clients and with incredibly detailed projects. Today, my office works in the areas of architecture and interior design for residential, commercial and institutional means.

When I was about to take my SATs I realized that the only field that united my passion for exact science such as math and my love for art was architecture and so I eloped and haven’t looked back since.

A project starts with a good briefing with full comprehension of the client’s ideas and intentions put as priorities. Later we go through and extensive process of researching and observing every single aspect that could interfere by any means with each particular project. Then we search for inspiration in many different fields and select what works for the project. I thrive to not attach myself to any particular style or technique, my intention is to make a project that is humane and makes man happier and able to express himself fully. Also I thrive to make architecture as a center part of this process. I always try to search references in every area, I believe everything is possible and allowed, just have to think of how.

When I start a new Project it is a process f renovation of all the knowledge I have, there is Always a new place, new things to learn and research. This creates a quite interesting and exiting mental expansion, however I keep in mind that a good design has in its creation process lots of references, researches, diagnosis and observation that are contractions of the knowledge. I like both.

I always imagine new possibilities for the ordinary thing I see. I try always to bring a new line of thought or use what people usually do. If I weren’t an architect I would work in other design related fields, But the impact of having a design that may last many generations and have great impact on society is all too seductive.

I always strived during my whole carreer to create something that was creative, audacious and yet timeless. I try always in my projects to align the best I can get from technology, with the beauty of nature and human emotion. My work is focused on being timelessly connected to the human being which is in essence the same since the beginning of time, a being craving for affection, brought by his environment

If I could give an advice to young aspiring architects it would be to observe in other fields, in nature, in the human value that permeates the world without being carried by the trends. Be observant of every human reaction and interference to each object, study it. Observe what is related to creativity and ingenuity such as art, music and even engineering. Take all of that and put it together in new and exciting ways.

For my colleagues I would advise them to make architecture that is seductive to the people who will use it and make them crave for more architecture and design in their lives. I would say to avoid sensational buildings that segregate the public and make them feel incapable of making it their own. I would like architecture to make people feel like it belongs to them, make them want it more.

I always arrive early at my office and always leave late however I’m always out and about talking to partners, clients, suppliers, making sure everything is up to our standards, keeping a close eye on all of it. Observation is always a great companion both in the real and virtual worlds.

Currently I keep myself up with trends form all around the world. On the other hand the man trend I follow is the trend of mankind, which doesn’t change very often. All that changes are the new systems that I will always work to adapt to what man needs.

A good design is that which is not only valued for the professionals from its field but is also able to seduce an outsider, it doesn’t need a synopsis to be enjoyed. Besides that it should also be economical, because part of creating is to bring art and beauty for a fair cost. A good design is therefore: beautiful, seductive to all and is also timeless, enjoyed by generation after generation.

We always work with deadlines so every single design must inevitably come to an end with the deadline. The craving for searching something new is sometimes so great that the design will be done in the first moments of conception and the rest is only the branching paths of detailing it. Other times we take a long time to arrive to a previously thought solution . There is no rule when it comes to timing, there is only the deadline. We should strive to create everyday, the process cant wait for inspiration to come. Inspiration might come but we cannot halt the creation process for it.

The largest Project I would have to say it was a university campus I designed with classrooms, shopping center, hotel, church, stadium, nurses offices and others. The best project is the one that can satisfy the client fully and gives people the opportunity to enjoy it. The satisfaction of being recognized by people is what makes a design my best.

I go from Mies Van Der Rohe to Gaudi, from Tadao Ando to Luis Barragan. I take inspiration from Kengo Kuma, Shigeru Ban, Oscar Niemeyer, Lina Bo Bardi. My favorite designers would have to be Christian Iaigre and Andre Putman.

I love art in general, I love philosophy and good conversation, travel, reading, eating. I love life itself, getting inspired by all it has to offer.

I always try to bring relevant and important information which could bring use and not display of power or financial status. I like to make people inspired with different ideas.

I am Always willing to share my knowledge and experience with new creators, I’m an open book, I have nothing to hide.

The awards and competitions are Always a new window that connects you to new media, new clients and suppliers. The awards are important to evaluate your choices and your path and helps you to always strive for the best you can be.Inspiration and satisfaction, it brings you knowledge. Every project is a new battle and besides how many awards you win you should always believe that you are not good enough. When you think you are good your arrogance gets in your path and you can’t rise above.

I graduated in Architecture from UFMG (Federal University of Minas Gerais) in 1991. Early in my career, I worked with architect Freusa Zechmeister, who became my mentor, and later partnered with Fernando Graça on interior design projects. In 2002, I founded my own studio, David Guerra Arquitetura e Interiores, in Belo Horizonte, Brazil.

I became a designer out of affection, not ambition. As a child, I discovered that beauty could comfort my mother, who had lost a son shortly before I was born. That experience taught me about the healing power of design and continues to motivate every project I develop. I believe beauty should be something to be experienced rather than displayed as ostentation, and that it has the power to improve people’s lives.

I chose this path because of my affinity for both the logic of mathematics and the creative universe of art.

I design residential, commercial, and institutional architecture, as well as interiors and furniture. I would like to design a museum.

I advise them to cultivate sensitivity and observation, listen to people, and research professionals who create original and distinctive work. Do not simply follow trends; find your own voice by creating timeless, elegant designs that continue to captivate over time.

Courage—the willingness to make mistakes and face criticism. That is how you differentiate yourself, together with a great deal of study and knowledge.

A truly excellent design continues to captivate even as decades or centuries pass, allowing people across generations to keep identifying with it.

Its value lies in making the world better by bringing well-being to people through space.

I would like to design buildings for public use.

A museum.

To pursue a more human-centered architecture and find emotion in materiality. To listen deeply to the client and the place, and to believe that beauty should heal rather than merely impress.

I am inspired by Antoni Gaudí, Mies van der Rohe, Oscar Niemeyer, Lina Bo Bardi, Andrée Putman, Christian Liaigre, and others.

Gaudí’s Sagrada Família and Mies van der Rohe’s Farnsworth House.

The interior design of Botânico Shopping in Nova Lima, Minas Gerais, where we created an atmosphere of well-being for visitors and fostered a bond of admiration, respect, and gratitude between the local community and the space.

Stay curious, observe nature and people carefully, and seek knowledge by studying human and social behavior in order to create experiences of well-being. I owe a significant part of my development to the years I spent learning directly from Freusa Zechmeister.

Probably something connected to creativity, such as becoming an artist.

Design is the art of transforming feelings and intentions into something tangible.

My mother, who first taught me about the healing power of beauty; my mentor, Freusa Zechmeister, who taught me to unite art, design, and architecture; and all the people I have known, know today, and will meet in the future.

The desire to do things differently.

The greatest difficulty is dealing with problems beyond your control—particularly execution issues rather than problems of ideas or conception.

With authenticity.

Many things are still to come.

To create architecture that improves people’s lives.

Space gives tangible form to feeling, and feeling can heal.

There are several projects that I cannot share yet.

The projects that create emotional connections through the architecture itself and are able to translate feelings into space.

I would like the industry to rely less on standardization and to reintroduce a handcrafted element into the finishing process—such as product customization—to create greater diversity.

Toward architecture and design that are more human, emotionally aware, and environmentally conscious.

From four months to one year, depending on its scale and complexity.

I begin by listening—to the client’s story and to the place itself, including its landscape, light, and natural characteristics.

Beauty as healing, never as ostentation.

I believe there is a continuous exchange between the two. However, it is important to distinguish consumer and industry trends from broader shifts in society and human behavior.

Technology is a tool for refining and detailing a concept, but it never replaces sensitivity. Every project still begins with a hand sketch and a genuine conversation.

Hand sketches are the starting point, complemented by CAD and 3D modeling software used by my team to develop and detail each project.

They are essential to creating emotion. Natural materials such as wood, stone, and glass, combined with the right light and atmosphere, connect a space with nature and memory.

A project does not need to be questioned; it needs to be felt.

I become curious about the story and emotion behind it.

I fully believe in collaboration. My own journey was shaped by partnerships, first with Freusa Zechmeister and later with Fernando Graça. Today, I work closely with my studio team on every project.

My mother, my wife, and my mentor, architect Freusa Zechmeister.

The architecture and art books I have collected throughout my career continue to shape the way I think about space, although conversations with my mentors have been my greatest influence.

Through mentorship, research, decades of practice, and constant observation of nature, art, and people.

The architects mentioned above who have influenced my career.

I feel grateful, but fame is not what drives the work. It is important to preserve the vital energy and desire for transformation, because fame can neutralize that drive and ultimately have a negative effect on one’s design.

Color: earth tones; place: Paris; food: traditional cuisine from Minas Gerais; season: spring; object: my artworks; brand: there are many.

Once I met someone who told me that I had designed his house, without realizing that I was David Guerra. The funny part was that I had not designed his house at all.

Experiencing human generosity.

Creating and inventing were always a kind of refuge for me, and over the course of my life I came to understand that this would become my profession.

I hope that creative objects will continue to stimulate human energy and help people preserve their humanity in an increasingly technological world.

Everything I would like to say has already been said.

My journey began long before architecture school. As a child, I realized that beauty could bring comfort and joy to my mother, who had lost a son shortly before I was born. I would bring her leaves, textures, and colors, trying to shift her sadness toward something beautiful. That was how I first understood the emotional power of aesthetics. I graduated in Architecture from UFMG in 1991 and was mentored by architect Freusa Zechmeister, from whom I learned to bring art, design, and architecture together. It was never a detached professional choice, but rather a calling born from affection.

David Guerra Arquitetura e Interiores was founded in 2002 in Belo Horizonte, Brazil. We work on residential, commercial, and institutional architecture, as well as interior and furniture design. Over more than 24 years, we have received around 20 national and international awards, participated in the 14th Venice Architecture Biennale (2014), and took part in the Vertentes exhibition at the Itamaraty Palace. Our work is guided by the idea of affective architecture.

Design is the art of transforming affection into space. It means creating something that carries soul, memory, and identity, rather than merely aesthetics or trends. For me, design is above all a tool for improving life and connecting people with what surrounds them.

I do not have a preference. Every new project presents a challenge that stimulates the creative process.

Casa da Montanha (Mountain House), a steel-framed house clad in reclaimed wood, sits at the top of a mountain in Nova Lima, Minas Gerais. The project received four national and four international awards and was published in more than 50 countries. Completed in 2009, it embodies the timeless quality that our studio continually seeks in its work.

One of my first professional projects, in 1999, before I founded my studio, was a Spanish restaurant. One of the reasons I was selected was the requirement to preserve the floors, doors, and windows of the original 1930s house.

I am particularly drawn to natural materials—wood, stone, and glass—which create a sensory connection with nature. I also have a special affection for family objects, which bring memory and identity into a project. I use a wide range of relevant information platforms as references and potential sources of inspiration.

When I am in contact with nature, in silence, observing textures, colors, and landscapes. Creativity also emerges in everyday moments, when daily observations allow me to reinterpret reality and see new possibilities. New experiences are another powerful source of creative energy for me.

I focus on the relationship with the client and the briefing—listening to their story, affections, and memories—along with researching references and new ideas that respond to that briefing.

I feel a profound connection with my ability to create, which is very powerful: the sense that I can create something capable of transforming the world for the better. For me, creating will always be something positive.

It brings a deep sense of recognition of my own creative ability. Seeing an idea become real reinforces confidence in my decisions and ideas and gives me energy to move on to the next project.

First, it is essential to understand the client’s briefing correctly. Second, you must always have the courage to introduce new ideas that have the potential to transform.

A good design endures for decades, continuing to captivate people and connect with different generations and audiences rather than belonging to a single niche.

To help make our world better and more sustainable.

I see a growing appreciation for connection with nature, the emotional personalization of spaces, and sustainability. The future of design is moving toward projects that are increasingly human, sensitive, and focused on well-being.

Recently, I participated in the “Reflection of the Future” exhibition in New York and in the “MOOD, Museum of Design” exhibition in Italy.

My inspiration comes from everything in the world around me.

I call my style affective architecture: spaces that combine elegance, memory, and a connection with nature without being tied to trends. My approach always begins with deep listening, with the aim of transforming people’s lives.

I live in Belo Horizonte, Minas Gerais, Brazil. The culture and art of Minas Gerais—with their hospitality, simplicity, and heritage—directly influence my work. In Brazil, cultural diversity and the blending of different traditions have generated remarkable creative intelligence, which I see as a great strength. The challenge is to reinforce the importance of architecture within a developing society.

I work closely and collaboratively with companies, actively listening to their needs and seeking to combine functionality, brand identity, and the affective language that defines my work.

I recommend carefully reviewing the professional’s portfolio of completed projects and considering whether their philosophy aligns with the company’s values. It is also important to allow sufficient time for the creative process and to maintain open, trust-based communication throughout the project.

I always begin by listening to the client’s story and ideas and by getting to know the site or space. From there, I conduct research and assemble references before developing conceptual sketches and the central project idea. The design is then refined with my team until we reach the final solution.

A work of art I made from broken toys; a dining table in peroba-do-campo wood that I designed myself; another artwork of mine that appeared on a magazine cover during my first exhibition and that I never sold; an Asian-designed armchair in the living room; and a gold-leaf totem by Porfírio Valadares.

My days combine work at the studio, meetings, and site visits with clients, along with time dedicated to sketching and creating.

I advise them to cultivate sensitivity and observation, listen to people, and research professionals who create original and distinctive work. Do not simply follow trends; find your own voice by creating timeless, elegant designs that continue to captivate over time.

The positive side is having the opportunity to transform people’s lives. The challenge is that it is a profession that demands a great deal of time and energy, emotional involvement, and patience with schedules and processes that are not always under our control.

Create something beautiful and durable—a timeless design that continues to captivate every generation.

Sensitivity, listening, knowledge, communication, patience, and optimism.

I use hand sketches developed from references, research, and the client briefing. The studio team then uses digital design tools, including CAD and 3D modeling software, to develop and detail the project.

I have an established team at the studio, which allows me to dedicate quality time to direct contact with clients and to site visits without compromising the attention given to any stage of the process.

Every project has its own timeline. Depending on its complexity, a project can take anywhere from two to four years.

“Where does your inspiration come from?”

The period when I worked with and was mentored by architect Freusa Zechmeister at the beginning of my career was decisive. It was through her that I learned to bring art, design, and architecture together and discovered the path I truly wanted to follow.

I work primarily with clients on residential, commercial, and institutional projects in Minas Gerais and other states in Brazil. Examples include Casa da Montanha, Kûara Hotel, Botânico Shopping, and Condomínio Águas.

Projects that challenge and stimulate me—perhaps a new typology that I have never worked with before.

To improve the quality of what I create every day and to have the opportunity to work on projects with a broader public impact.

I work with a team at the studio, but every project carries my personal signature, shaped by direct listening and dialogue with the client.

There are always new projects underway at the studio, but they generally remain confidential until they are completed.

By email at arquiteturadavidguerra@gmail.com, by phone at +55 31 3296-9810 / +55 31 99985-5881, through the website davidguerra.com.br, or on Instagram at @davidguerra_arquiteto.

The integration of architecture with nature is one of architecture’s greatest benefits. Nature is sovereign and, perhaps today more than ever, it is the most fundamental element in the creation of architectural space. Having access to the natural landscape and maintaining a connection with it is essential to the well-being of those who live in a place. For me, designing a house integrated with the golf course was always a fundamental premise. Once we had the opportunity to position the house along the edge of the course, it became clear that it should be fully connected and open to this setting.

In the world we live in today, where technology has made us increasingly anxious and overstimulated, nature is fundamental in bringing us back to our origins. It is a search for where we belong. For that reason, nature will become increasingly important in architecture, and in a genuine way, not only through planters or gardens that may later be changed, but through a real natural landscape. That is a great value. From the beginning of the design process, the premise was that the entire house should be connected to this natural heritage.

The brise-soleils create a balance between the moments when I want to be exposed to the landscape and the moments when I want privacy. The entire private area is connected to these screens in such a way that, from the inside, I can perceive the entire natural landscape, while from the outside nothing can be seen. At night, this condition is reversed. However, there is no one on the golf course at night, since it closes after 6:00 p.m. So even with the lights on, people do not have that connection with the house. I think it is always a balance between protecting intimacy and, at the same time, remaining connected and open to the landscape, including from the bedrooms.

Casa Golf is a house with a sophisticated, simple, and quiet architecture. It is completely connected to nature, combining natural materials with technology. It also offers great ease of use, being a single-level house on a flat site with an incredible landscape. I see this as one of the futures architecture can offer us, not through excessive invention, but through precision in aesthetics, detailing, craftsmanship, material choices, connections, and spatial perceptions. The goal is for every point in the house to become an ode to well-being, through both the landscape and the details found within it.

The decision to elevate the house, which resulted in raising it by 1.5 meters, came from the desire to provide better views of the golf course, including the lake within it. We carried out simulations to determine the ideal level that would both improve the privacy of the house in relation to the golf course and enhance the views from the living room and veranda toward the lake and the course. By raising the house 1.5 meters, the lake became visible, which greatly enriched the experience of the landscape.

The homeowner is passionate about wood, and one of the resources I often use is bringing the diversity found in nature into the house itself. Different types of wood were used in different ways, from smaller and larger brise-soleils to frames and natural veneers, creating a richness that never becomes tiring while still conveying warmth. The result is a house that is completely open to nature and, at the same time, deeply welcoming.

The homeowners are people who value relationships. They have close friends, strong family ties, and meaningful personal and professional connections. To me, the home is a place where I find inspiration, rest, relaxation, and connection. It is a place I can return to. The idea was for this house to become an environment that restores energy. In a world where people are increasingly disconnected from one another and absorbed by their phones, having a house that encourages face-to-face encounters becomes a source of well-being.

Initially, the house was designed with a steel structure, but the owner later decided to build it in concrete. The original structural calculations resulted in slab edges of approximately 38 centimeters. The client felt this was too thick and wanted to reduce it to 20 centimeters. As a result, we had to redesign the structure and introduce an inverted beam positioned about two meters from the slab edge. I believe this entire process of adjustment and refinement, aimed at meeting the client's expectations, ultimately brings great benefits to a project. The slimmer 20-centimeter slab edge contributed greatly to the visual lightness of the house and added significantly to its aesthetic quality. Like any handcrafted and sophisticated process, architecture must be developed detail by detail, always seeking the best outcome for the project.

The four-meter cantilevered veranda creates a sense of lightness, unity, and spaciousness while also providing protection from both sun and rain. It creates a connection between shelter and openness, allowing people to enjoy the space without any visual barriers or columns interrupting the view. As a result, it strengthened the relationship between the house and the surrounding landscape.

Our practice places great importance on carefully evaluating the materials used in every project and ensuring that every detail is executed with quality and a sense of timelessness. For me, natural materials represent the future of architecture. We will continue to use technology to our advantage, but remaining connected to what is natural may be one of the greatest benefits available to humanity in the future. It reconnects people with their essence and, in many ways, becomes a process of healing. Materials such as stone and wood play a fundamental role in the well-being of those who inhabit a space. I believe architecture has the responsibility to use materials in a way that makes both the environment and the lives of its occupants better. Glass, especially in a place with a remarkable landscape, creates transparency and a sense of openness. It is generous to what surrounds it, allowing people to experience the landscape through it in a fluid way. In residential architecture, large expanses of glass are one of the most powerful ways to frame and celebrate the landscape, transforming it into an integral part of everyday life.

The Tupi-Guarani culture inspired the concept of Kûara from its very name, which means “sun.” This heritage guided the creation of a Brazilian, natural, and sensorial architecture that celebrates our origins and the bond between nature and spirituality.

The greatest challenge was balancing luxury and environmental preservation. We maintained the soul of the place, part of the existing structure, and all the native vegetation. The project doesn’t impose itself — it listens to the land, returning respect for the landscape in built form.

The woodwork, executed by artisans connected to Zanine Caldas, was essential to expressing the idea of contemporary Brazilian identity. This collaboration brought texture, authenticity, and a dialogue between the handcrafted and the modern, defining the hotel’s character as sophisticated, authentic, and distinctly Brazilian.

The relationship with nature was always the starting point. We sought an architecture that rested on the topography and allowed itself to be guided by the site’s natural elements. The Atlantic Forest, the mangrove, and the sea shaped the design, turning the hotel into an organic extension of the landscape.

I sought to reinterpret Brazilian building techniques with sophistication and lightness. The intention was to merge vernacular methods with contemporary solutions while respecting the essence of Brazilian architecture. This balance between the simple and the refined is what makes the project both authentic and timeless.

The sound experience was also considered from the very beginning. We wanted the sound of the sea and the birds to be part of the atmosphere, creating a sensorial environment that enhances the feeling of immersion in the landscape.

The Mucugê River and the mangrove defined the layout and positioning of the complex. They were natural references that guided the design and ensured genuine integration between architecture and environment, shaping visual axes, flows, and the site plan itself.

The seven years of development allowed the project to mature alongside the place. There was time to understand the climate, the light, and local dynamics — factors that were progressively incorporated into the architectural decisions.

The combination of local woods with Italian stone reflects the pursuit of balance between the natural and the technological. This mix creates a tactile and visual experience that reinforces the hotel’s identity and the dialogue between the artisanal and the contemporary.

I believe Kûara represents a new perspective on sustainable luxury: comfort aligned with nature and simplicity. It’s a project that values human experience and connection with the environment more than ostentation. I hope it inspires other projects to find beauty in what is essential and authentic.