Interviews mit Hector Nava F

My training as an architect began in Venezuela, where I graduated in 2010, and I later complemented my studies with a postgraduate degree in construction in 2015.

Since university, I understood that architectural design is not only a matter of form or function but a tool for critical thinking and transformation. I’ve had the opportunity to work in several countries, which has enriched my perspective and allowed me to face different realities. This has sparked in me an intellectual curiosity towards architecture as a cultural, social, and ethical discipline.

For me, design is a way of thinking about the world. It is an act of critical reading of our surroundings and, at the same time, a way to propose possible futures. I became an architect not only because of an aesthetic interest but because of the potential to influence people's daily lives and enhance their experience of space. What motivates me is not the form, but the meaning.

Designing, for me, is an emotional journey. At the beginning, there’s a sense of curiosity and excitement, like entering a new territory full of potential. As the process unfolds, I often feel challenged, especially when I’m trying to align the needs of the users, the constraints of the site, and the values I want the project to express.

But there’s also joy, real joy, when things start to make sense, when a concept clicks, or when a simple gesture brings coherence to the whole. And at the core, there’s always a sense of responsibility. I’m very aware that what we design can influence how people live, feel, and connect. That awareness adds depth to every line I draw.

For the future, my plans include continuing to develop projects that have a positive and meaningful impact on people’s lives, especially in the areas of sustainability and social design. I want to keep learning and collaborating with professionals from different disciplines to enrich my practice and explore new ways to innovate in design.

Additionally, I am interested in sharing my knowledge through teaching and publishing, contributing to the education of new generations of conscious and committed designers.

I believe the future holds opportunities for me to grow professionally, take on increasingly complex challenges, and, above all, continue contributing with projects that improve our environment and quality of life.

I visit many architecture websites and those focused on architectural reading and critique. I don’t just look at projects, I read many publications, both academic and professional. However, for me, trends can be useful indicators of where society is heading, but they should not dictate a project. I believe in designing with intention, not fashion. A solid and thoughtful concept will always have more value than any passing trend. Sustainability, inclusion, and resilience are not trends; they are long-term principles that guide each of my design decisions.

To me, a good design becomes truly good when it responds to its context in a critical and conscious way, when it not only “works” but also communicates, integrates, and transforms. The kind of design that improves people’s lives, that is inclusive, sustainable, and coherent across all levels: spatial, technical, symbolic, and ethical.

For me, a design is ready when it feels balanced technically, emotionally, and ethically. It’s not just about checking off functional requirements or finishing the drawings. It’s when the project begins to "speak" on its own, when it clearly reflects the original intention and can stand up to questions of context, purpose, and impact.

Of course, no design is ever truly finished there’s always something that could be improved. But there’s a point where the core idea is clear, the structure is coherent, and I can walk away knowing the project is honest and grounded. That’s usually when I know it’s ready to be shared with others.

Attending the A’ Design Award was a very rewarding experience. Beyond the recognition itself, what stood out to me was the opportunity to connect with an international community of designers who are passionate, committed, and diverse in their approaches. It’s inspiring to see how design is being used around the world to address social, environmental, and cultural challenges.

My training as an architect began in Venezuela, where I graduated in 2010, and I later complemented my studies with a postgraduate degree in construction in 2015.

Since university, I understood that architectural design is not only a matter of form or function but a tool for critical thinking and transformation. I’ve had the opportunity to work in several countries, which has enriched my perspective and allowed me to face different realities. This has sparked in me an intellectual curiosity towards architecture as a cultural, social, and ethical discipline.

For me, design is a way of thinking about the world. It is an act of critical reading of our surroundings and, at the same time, a way to propose possible futures. I became an architect not only because of an aesthetic interest but because of the potential to influence people's daily lives and enhance their experience of space. What motivates me is not the form, but the meaning.

It was a deeply conscious choice. I knew that architecture brought together many of my interests: technique, creativity, art, theory, and social sensitivity. Although I was drawn to the artistic side, I discovered in architecture a way to intervene responsibly in the systems we inhabit.

I am attracted to projects that require technical precision but also those that allow space for symbolic, emotional, and political reflection. My greatest aspiration is to design works that don’t scream for attention but profoundly transform the lives of those who inhabit them.

I believe a good designer solves problems; a great designer generates solutions and asks questions that open up new possibilities. The difference lies in the ability to transcend technical or formal solutions and touch on the human, ethical, cultural, and social dimensions. A great designer not only masters the craft but also constantly questions it.

To me, a good design becomes truly good when it responds to its context in a critical and conscious way, when it not only “works” but also communicates, integrates, and transforms. The kind of design that improves people’s lives, that is inclusive, sustainable, and coherent across all levels: spatial, technical, symbolic, and ethical.

Good design is an investment in dignity, health, equity, and culture. I believe it’s not about luxury or superficial aesthetics, but about quality of life. A well-designed space has the power to reduce social tensions, improve human relationships, and promote more responsible use of resources. Investing in design is investing in our collective future, I believe architecture carries that social responsib

These types of questions are tough for me, because it’s hard to choose just one or two figures. I believe many contribute to one's growth as a professional from Koolhaas to Álvaro Siza, Zumthor, Eisenman, and beyond architecture as well, artists like Jesús Soto or Carlos Cruz-Diez. They’ve all influenced my development and continue to inspire me at different moments.

As with the previous question, it’s hard for me to choose favorites. But I can mention, for example, Siza’s Portugal Pavilion or Bo Bardi’s Glass House, because of their structural delicacy and how they engage with the landscape. Libeskind’s Jewish Museum in Berlin or Miralles’ Igualada Cemetery stand out for the emotional intensity they achieve through space. These are works that don’t just look good, they think well.

Almost a mantra for me, it’s about cultivating doubt, studying beyond architecture, and listening without prejudice. Personally, I’ve tried to stay in touch with theory, teaching, and writing. All of that nourishes design thinking. A good designer is not just someone who draws well they must think, read, teach, and above all, observe.

I probably would’ve become a musician, a painter, or something connected to the city. I’ve always been drawn to urban analysis, human behavior, and material culture. Architecture became the way I could combine many of those passions into a single practice.

Design is a way of thinking and acting upon the world, it is language, strategy, and ethics. It is not just a response to a need, it is an act of responsibility and radical imagination, a critical interpretation. It also involves observing the world attentively, questioning it, and proposing alternatives that make it more just, livable, and meaningful. For me, it is a social, cultural, and political practice, as poetic as it is technical, that translates complex ideas into future everyday experiences of the collective imagination

With absolute clarity and honesty, with context, we design for others and we must make ourselves understood. It is not enough to show flawless images, it is necessary to tell the story of the project, its motivations, its processes. Representation should be a pedagogical and narrative act, not just a visual one.

For me, that is the goal of architecture. Design can question systems, make inequalities visible, propose other ways of inhabiting. Unfortunately, it does not change the world on its own, there are economic and political factors that go beyond architecture’s reach, but it can create the conditions for change to happen, especially when it is put in service of equity, dignity, and everyday life.

Although it is not an architecture project in itself, it is still a project that serves it. I am currently developing a book on social architecture and energy savings in housing. I am also exploring ways to connect architecture with critical pedagogy and writing.

I am writing an article reflecting on this. I would like to see design slow down a bit. It seems almost impossible in a world that moves faster each day, but I believe it is essential to stop and rethink the role of architecture in terms of physical permanence, especially in a world where everything seems disposable and generates a brutal level of obsolescence. I would also like to see more value placed on critical thinking, social impact, and less on quick imagery or the designer’s ego. I hope that more collaborative, humble, and context-aware practices will be recognized.

I hope it moves toward a more intersectional practice, one that is sensitive to climate change, aware of social inequalities, and open to transdisciplinary approaches. I believe the future of architecture does not lie in the object, but in the system, and that is where we need to focus.

I begin by observing and listening, visiting the site, talking to those who live there or will use the space. I try to understand what is at stake beyond the formal commission, what stories, needs, and relationships are embedded in that context.

I would say, to design with honesty and responsibility, to inhabit with awareness. I believe design is not a quick answer, it is a reflective act that carries real consequences. That is why I try to approach it with commitment.

I believe the market constantly imposes trends; however, I also believe there are good designers who don't follow the current, but rather decide when to question and go against the grain. Design isn't about following, it's about proposing, and I believe critical design can anticipate trends, whether they are adopted or not.

Technology is a tool, nothing more. I believe it's valuable when it improves efficiency, sustainability, or engagement. True innovation lies in the thinking, not the software. I wrote an article about this, where I mentioned that design has a soul, and it achieves it through the soul of the architect, not through an algorithm.

I work with tools like AutoCAD, SketchUp, Revit, and the Adobe Suite for documentation and visualization.

My ideal partner is someone with a different perspective than mine, who challenges my beliefs and complements my intuitions (and I have that at home). I firmly believe in co-design, especially when it involves users and the community. Shared design is richer, fairer, and more coherent.

I am not entirely sure, because it is hard to choose just a few, but I think I would love to speak more with philosophers than architects, to understand firsthand many of the ideas they proposed. For example, with Gadamer, Hegel, or Descartes.

I would say it is those moments when I learn something new or have a conversation that makes me rethink an idea. I feel motivated knowing that what I do can have a real impact, even if small. I am also motivated when I see students question what I myself have taught them, that is a good sign.

From a very young age, I felt a natural attraction to art in all its forms. I would spend hours drawing or painting, and music also played a significant role in my early development; it was a kind of emotional school for me. All of that built a strong foundation that, over time, led me to see architecture as a way to integrate those artistic expressions into a discipline that could also have a tangible impact on people's lives.

Although it wasn’t an immediate decision, it wasn’t sudden either, I believe it was more of a natural evolution, something I was meant to encounter. I always knew I wanted to dedicate myself to something creative, but also to something with practical meaning. Architecture offered me that balance between art and function, between emotion and reason.

My studio is quite domestic in nature. It’s primarily run by my partner, Maria Gabriela, who is also an architect, and myself. It’s just the two of us. As a studio, we are very young, but we see ourselves as a platform for strategic design with impact and above all, with a human focus. We never lose sight of the fact that we design by and for the users.

What matters most to me is that each project, regardless of its scale, has a clear purpose: that it responds to its context, respects available resources, and offers something meaningful to those who will inhabit it.

To me, design is a form of dialogue between the user, the environment, and the values we embed in a space or object. It’s never just about solving a problem or making something look good. It’s about translating context, emotion, and intention into a tangible result. Good design listens before it speaks. It respects its surroundings, anticipates people’s needs, and dares to propose something meaningful. Ultimately, I see design as a responsibility, a commitment to imagine better realities, and to do so with empathy, clarity, and purpose.

I especially enjoy working on residential projects, collective spaces, or social programs, where design can directly improve people’s quality of life. I'm drawn to challenges that require balancing limited resources with creative and context-sensitive solutions. Beyond the type of building, what truly motivates me is the process of deeply understanding the users, the environment, and the possibilities of the site. I like to design with intention, guided by a logic that goes beyond aesthetics always aiming for outcomes that are functional, sustainable, and emotionally meaningful for those who will inhabit them.

The first thing I designed for a company was the bathrooms of a restaurant. It was a small project but very valuable because it helped me understand the importance of details and user experience in everyday spaces. Although the scope was limited, that first opportunity taught me how to balance functionality, aesthetics, and budget within a real professional setting.

Creativity doesn’t follow a schedule or a fixed agenda; I believe it comes like a muse, spontaneously and unexpectedly. Sometimes it arises in the quietest moments when I least expect it, and other times it shows up amid chaos or under pressure. That’s why I don’t try to force or control it, I aim to stay open and receptive, creating spaces where ideas can flow naturally.

I also believe creativity feeds on curiosity and constant observation, blending personal experience with external inspiration. That’s why I enjoy going for walks, talking with other professionals, reading, or simply disconnecting for a while. It’s often during these moments that ideas mature and take shape, sometimes quite surprisingly.

I focus primarily on deeply understanding the context and the needs of the users. I believe good design is born from that empathy and detailed knowledge of who will inhabit or use the space.

Additionally, I pay close attention to functionality and sustainability. I'm interested in design that is not only aesthetically pleasing but also efficient in its use of resources, respectful of the environment, and built to last over time.

Designing, for me, is a complex emotional experience, but a deeply rewarding one. At the beginning, there's usually a mix of excitement and curiosity, it's like facing a blank canvas with endless possibilities. As the project evolves, moments of doubt or frustration can arise, especially when trying to balance all the factors: functionality, budget, context, among others.

But then there's a very special moment, when the pieces begin to fall into place and the project starts to make sense. That’s when I feel a great sense of satisfaction. It’s a mix of clarity, motivation, and a deep connection with what I’m creating.

When a design becomes reality, I feel a powerful mix of emotion, gratitude, and responsibility. It's completely different to see it on paper or in renderings than to experience it built, inhabited, alive. There’s something almost magical about walking through a space that once existed only in your imagination.

I believe a design is successful when it manages to improve the lives of the people it was created for. Beyond aesthetics, technical execution, critique, or recognition, true success lies in the project’s ability to generate well-being, respond to its context, and remain relevant over time.

A successful design is one that addresses real needs, is functional, sustainable, and establishes an emotional connection with its users. It’s one that adapts respectfully to its environment, uses resources intelligently, and leaves a positive mark both socially and environmentally.

A good design must be useful, accessible, and meaningful. It’s not enough for it to be visually appealing; it must have a clear purpose and fulfill it with sensitivity and coherence. I also evaluate how it relates to its context, whether it respects the environment in one way or another, whether it uses resources intelligently, and whether it proposes something that adds long-term value.

Sustainability, functionality, and clarity in design decisions are key for me.

I believe design carries a great social and environmental responsibility. As designers, we don’t just shape objects or spaces; we shape experiences, habits, and ways of living. Therefore, our decisions have a direct impact on people’s quality of life and the environment we share.

We have the responsibility to think long-term, to design consciously, optimizing resources, reducing negative footprints, and promoting sustainable solutions. We must also be sensitive to the cultural, social, and economic diversity of the contexts where we intervene, avoiding replicating models that exclude or homogenize.

Moreover, I believe design should be a tool to foster equity, inclusion, and well-being. It’s not just about creating “beautiful” things but about ethically, humanely, and meaningfully transforming realities.

I believe that, on one hand, design is evolving toward greater social and environmental awareness, integrating sustainability principles and aiming for a positive impact on communities and the planet. However, on the other hand, I also see a trend toward more globalized architecture and design, often relying primarily on economic resources and international trends, sometimes losing their local identity and cultural context.

This contrast presents a significant challenge for the future: to find a balance between innovation, social and environmental responsibility, and respect for the roots and particularities of each place.

I would describe my design style as a fusion of functionality, sustainability, and contextual sensitivity. I’m interested in creating spaces that respond to the real needs of users, are efficient in resource use, and, whenever possible, engage in dialogue with their natural surroundings. The main characteristics of my approach are empathy, the pursuit of balance between form and function, and the integration of innovative solutions that provide tangible and emotional value. For me, design is a strategic and human process where every decision has a clear purpose and a conscious impact.

Although I am Venezuelan, I currently live in Chile, a country with a rich and diverse cultural heritage and a geography that offers multiple contexts for design. I feel that the cultural heritage of my country influences my designs, not necessarily in a literal way, but as a source of inspiration and respect for local traditions, materials, and forms.

A great advantage of living in Chile is precisely this diversity of contexts, which allows me to approach projects with an adaptable and sensitive perspective. Additionally, the growing awareness of sustainability and social design in the country opens many opportunities to work with a positive impact.

My design process is essentially the same as I explain to my students. It begins with a deep phase of research and active listening. I strive to thoroughly understand the physical, cultural, and social context of the project, as well as the needs, desires, and expectations of the users. This stage is fundamental to developing a clear and empathetic vision.

Next, I move into conceptualization, where I explore ideas and solutions that respond to that initial understanding. I work with sketches, models, and digital tools to refine the design, always evaluating its functionality, sustainability, and contextual relevance.

Finally, I integrate all the technical and formal aspects, collaborating with specialists to ensure the project is viable and durable. For me, design is an iterative and collaborative process, where each stage feeds back into the next until achieving a result that is aesthetic, useful, and meaningful.

Five of my favorite design elements at home are:

1. Natural wood, which brings warmth, texture, and a connection to nature.

2. Natural light, essential for creating lively and healthy environments.

3. Open and flexible spaces that allow the home to adapt to different uses and moments.

4. Furniture and objects with simple yet functional design, prioritizing comfort and utility.

5. Plants and natural elements that improve air quality and bring life and freshness to the home.

These elements reflect my interest in design that is human-centered, sustainable, and connected to its surroundings.

From my perspective, being a designer has many positive aspects, including the ability to create solutions that directly impact people’s lives and the environment. It is a profession that combines creativity with functionality, allowing me to express ideas while providing tangible value.

On the other hand, one of the negative aspects can be the constant pressure to innovate and meet expectations, sometimes with limited resources or within bureaucratic contexts that hinder the implementation of ideas. It can also be challenging to balance one’s own creative vision with the needs and restrictions of clients, users, or regulations.

However, I believe these challenges are part of the process and motivate me to grow professionally and always seek better solutions.

My “golden rule” in design is to design with empathy and to question everything. Designing with empathy means always putting the user at the center, deeply understanding their needs, emotions, and context. Questioning everything means never taking anything for granted, challenging preconceived ideas, and constantly seeking better, more creative, and meaningful solutions.

From my perspective, the most important skills for a designer are empathy to truly understand users and their needs; creativity to generate innovative ideas and original solutions; communication and language skills to clearly convey concepts, collaborate with teams, and understand clients; and finally, critical thinking to question, analyze, and continuously improve the design.

For the future, my plans include continuing to develop projects that have a positive and meaningful impact on people’s lives, especially in the areas of sustainability and social design. I want to keep learning and collaborating with professionals from different disciplines to enrich my practice and explore new ways to innovate in design.

Additionally, I am interested in sharing my knowledge through teaching and publishing, contributing to the education of new generations of conscious and committed designers.

I believe the future holds opportunities for me to grow professionally, take on increasingly complex challenges, and, above all, continue contributing with projects that improve our environment and quality of life.

The relationship with the quillayes and myrtle forest was the conceptual core of the project. From the beginning, I understood that the bathroom had to integrate into the environment without disturbing it, like a pause in the journey of the landscape. Preserving a myrtle tree in the center of the plot was not a restriction, but rather an opportunity to redefine the logic of the design. Each decision was made based on that founding gesture: instead of modifying the topography, I proposed staggered platforms that followed the natural slope. Materials such as local stone, wood and recycled sleepers were chosen for their durability and their ability to blend chromatically with the environment. The result is a space that does not seek to impose itself, but rather to partially disappear among the vegetation, inviting an experience of contemplation. It is an architecture that dialogues with nature instead of dominating it, which in itself represents a challenge to the traditional conventions of built design.

The choice of recycled railway sleepers arises from the intention to give the project a resilient and coherent materiality with the environment. This material, loaded with history and previous use, provides a visual texture and a character that dialogues with the landscape without artifice. Beyond its rustic aesthetics and great durability, its reuse represents a conscious gesture towards sustainability, avoiding the use of new wood and reducing the environmental footprint. Their presence in the project reinforces the low-impact narrative: building not from excess, but from intelligent reuse and respect for existing resources. Furthermore, the aged dark color of the sleepers allows them to visually integrate into the terrain, as if they had always been there. With this, a silent connection is established between past, present and landscape, in line with the spirit of the project.

Implementing a terraced platform following the natural topography involved several technical challenges. Firstly, it was necessary to carry out a survey of the land to define levels without resorting to invasive cuts or filling. Each terrace had to resolve both the structural settlement and the fluid circulation, without compromising the existing vegetation or altering natural runoff. Specific and light foundations were chosen, avoiding continuous slabs, which made it possible to reduce contact with the ground and facilitate the aeration of the ground, leaving the building detached from the ground. The slope of the site also involved resolving the accessibility and stability of the construction elements, especially in an environment where rain and erosion are relevant factors. This strategy not only respected the landscape, but strengthened the idea that architecture can adapt to the terrain rather than transform it, maintaining its structural integrity with minimal impact.

Among Quillayes' energy efficiency is not based solely on sustainable materials, but on a comprehensive passive strategy. The design takes advantage of solar orientation to maximize the entry of natural light during the day, reducing the need for artificial lighting. The use of materials with good thermal inertia, such as stone and wood, contributes to stabilizing the interior temperature, absorbing daytime heat and releasing it at night. In addition, the inclined and ventilated roof allows accumulated hot air to be evacuated, improving habitability in variable climates. These resources work together to reduce energy consumption, minimize the carbon footprint and offer a comfortable experience that is deeply connected to the natural conditions of the environment.

Although the myrtle tree is not exactly near the bathroom, the preservation of the myrtle tree was a foundational decision that defined the character of the overall project, including the bathroom. To protect it, a respectful perimeter was established from the first stages of design, avoiding any excavation or foundation close to its root system. The structure moved laterally and was divided into platforms that flow around the tree, generating a central void that frames it without touching it. These adaptations not only protected the tree, but turned it into the symbolic and spatial axis of the project, reaffirming the idea that architecture can and should be built around the living, not above it.

The balance between rusticity and refinement in Among Quillayes was achieved through a careful selection of materials and construction details that responded to the environment without falling into the merely traditional or pretentious. Natural stone and recycled sleepers provide the texture and rustic warmth of the mountain landscape, while simple, clean lines and precise joints introduce an air of contemporary sophistication. The carpentry and surface treatment of the wood emphasize that duality: its organic essence was respected, but with finishes that ensure durability and comfort. Thus, the project invites an authentic experience, where the architecture feels genuine and at the same time carefully crafted, respecting the unique character of the place and offering a serene and welcoming atmosphere.

Maximizing functionality in just 7 m2 involved meticulous planning, where every centimeter is important without sacrificing the feeling of openness. The design takes advantage of the elongated shape and dimensions to organize the spaces in a linear manner, facilitating natural flow and unobstructed circulation. Strategic openings provide light and views to the environment, expanding spatial perception and connecting interior and exterior. The materials and textures continue the dialogue with the landscape, avoiding visual breaks that could saturate the space.

Site investigation was essential to understand the topographic complexity, biodiversity and climatic conditions of the area. Through visits, analysis of the terrain and data collection, we detected the presence of different trees under legal protection regime, which became the central axis of the project. We also identified wind and sunlight patterns that guided the orientation and natural ventilation of the bathroom. The study of locally available materials allowed us to select stone, wood and recycled sleepers that ensured durability and low environmental impact. This knowledge guided a design that responds sensitively to the place, minimizing interventions and maximizing integration with the ecosystem.

Although it is a small and private project, demonstrating that it is possible to design functional and beautiful spaces that deeply respect their natural environment is a good achievement. I believe this project promotes a vision where the integration of local materials, such as natural stone and recycled wood, not only meets aesthetic criteria, but also reduces the environmental footprint and promotes the circular economy. Furthermore, the conscious preservation of the landscape, such as the protection of myrtle, shows that architecture should not impose itself on the environment, but rather dialogue with it.

Receiving this recognition has reaffirmed my conviction that sustainable architecture is not just an option, but an inevitable responsibility, especially in complex terrain such as mountains. This recognition motivates me to continue exploring solutions that respect the natural environment and respond to technical challenges with creativity and sensitivity. The Among Quillayes project taught me that innovation can arise from simplicity, from understanding the site and using local materials with low impact. The award strengthens my commitment to designing spaces that harmonize with nature, minimize the environmental footprint and offer comfort, even in the most demanding conditions.