We spoke with Iker Ochotorena, founder of OOAA Arquitectura, about the ethos that guides a quiet and warm architectural practice, one of balance, voids, and minimal gestures, where lighting "rests" on the architecture. Delving into the essence of his approach, Ochotorena reflects on the search for that profound substance that allows him to create calm, protective, and even healing atmospheres, and the strategies for achieving this vision.
Llevas más de 10 años haciendo proyectos con OOAA, cuéntanos tus inicios, ¿cómo diste vida a este estudio de arquitectura?
Comencé de manera natural, realizando reformas para familiares y amigos, y poco a poco fui ampliando mi trabajo. Tras terminar arquitectura en la Universidad Camilo José Cela de Madrid y fundar mi propio estudio, me encontré en cierta forma ‘abrumado’ y decidí contratar al primer miembro de mi equipo: una arquitecta junto a la cual comencé a enfrentar desafíos que gradualmente fueron atrayendo más reformas y oportunidades de nuevos proyectos.
Where do you find your inspiration?
Working, as Picasso said. Diligent work triggers images from memory, blurred impressions, often distorted and shaped more by our own perceptions than by actual memories.
¿La rigidez de las líneas geométricas o el fluir de las orgánicas? ¿Todo radica quizás en un equilibrio entre ambas?
Exactly, both have their meaning and importance, and it's crucial to consider the role that balance plays in all of this. This leads me to Chipperfield, whom I was recently reading, and who delves into the realms of the intellectual and the physical, identification and understanding—highly theoretical concepts, yet intrinsically linked to balance. In our work, this balance plays a crucial role, serving as tools guided more by intuition than by written rules, and it's something I constantly reflect upon.
Functionality or aesthetics?
In our case, they aren't contradictory because if something doesn't work properly, I perceive it as lacking appeal. Both are fundamental, as everything depends on the project's authenticity and inherent value, and I don't see functionality and aesthetics as opposing concepts.
Lighting is another element that helps define spaces. How do you take it into account? How important is it in your projects?
Lighting plays a crucial role in architecture, both in the form of natural light, which is an integral part of its essence, and through artificial lighting. Without it, nothing would be visible, and aspects such as definition, nuance, and the creation of atmosphere are entirely dependent on light.
You don't identify with minimalism, you refer to your work as "silent architecture", introduce this term to us, how does one concept differ from the other?
My lack of identification with minimalism as simply owning few possessions and living with the bare minimum leads us to approach the design process differently in our studio, placing particular emphasis on the value of emptiness. This emptiness, once embraced, allows us to realize that we don't need additional elements and that if our projects incorporate minimal elements, it's not due to a sense of restriction, but rather a deliberate focus on the importance of space.
What criteria do you use to choose between well-known brand products (passage doors, kitchens, bathrooms) and custom-made products in terms of interior design?
It all comes down to balance and a search for functionality where industrial processes coexist harmoniously with natural materials. As a human-made phenomenon, architecture doesn't rely solely on natural materials for sustainability; it requires a carefully considered mix of elements that integrate simplicity, functionality, and sophistication, while also honoring human craftsmanship.
Do you make distinctions when designing a national project versus an international one? Are you always true to your style?
Although I like to think that we value the context of each project, rather than adhering to a specific aesthetic, and I've never considered that we had a defined style, looking back I can recognize a certain trajectory in our work. However, I don't believe in forcing a project into a predetermined mold, but rather in letting the authenticity of the place and its specific context guide our design approach.
Working in different locations demands a deep understanding of the local culture, the people who will inhabit the building, and a much broader context that goes beyond simply meeting the client's needs. The success of the architecture depends on the depth, substance, and grounding of this understanding.
Do you prefer the freedom of a new construction project or the more limited design challenge of a renovation?
Both options are attractive, but witnessing the construction of a wall from scratch has a particular power that I find irresistible and that makes me think that, if I had to choose, I would probably opt for a new project.
What's important when it comes to execution and achieving an excellent final result? How does Gunni & Trentino help you elevate that concept of silent architecture?
When we talk about Gunni & Trentino, we're referring to a seamless, holistic integration—what we might call 'totality'—that guarantees a flawless experience with no loose ends. This holistic approach contributes to the overall experience and functionality of the space as a whole, addressing every corner of the home, from the most technically challenging areas to those brimming with activity and cultural significance, like the kitchen.
We admire your work and you are an inspiration to us. Do you think Gunni & Trentino offers you any advantages when it comes to carrying out your projects? And in terms of personalization?
Working with Gunni & Trentino has been a revelation in applying an industrialized process to our unique, non-standardized products—something that, at first glance, is no easy feat. The seamless integration of our aesthetic vision with their expertise ensures that the final result not only aligns with our design principles but also functions exceptionally well.
“IF SOMETHING DOESN'T WORK PROPERLY, I PERCEIVE IT AS LACK OF APPEALS”
Of all the projects we've collaborated on, which one would you highlight?
While I appreciate all the projects we've worked on, Corzo's exceptional result makes it especially memorable due to its unique complexity. Designing a circular house was a particularly intricate process, especially given the challenges posed by its curved structure, and the project ultimately resulted in a remarkable success.
A lo largo de toda tu trayectoria, ¿crees que ha habido una evolución en la materialización de tus proyectos o has sido siempre fiel a tus inicios?
Los conceptos fundamentales han permanecido constantes a lo largo del tiempo, con una evolución gradual; pero es probable que los materiales hayan experimentado cambios más significativos, debido al desarrollo constante y la incorporación de nuevos elementos a nuestro trabajo.
What has your experience been like working with us? Is there anything you'd highlight about working on international projects?
Collaborating with Gunni & Trentino offers the opportunity to bring the work of artisans, who typically operate in small, local teams with limited international reach, to a global audience. The firm's support empowers these artisans to bring their products and projects to life anywhere, merging traditional craftsmanship with industrial processes, overcoming logistical barriers, and gaining access to new markets with confidence and reliability.
Have you had any personal experiences while developing your projects that have impacted you?
All of our experiences have contributed, in one way or another, to my growth, progress and understanding, so I wouldn't highlight any one in particular.
What challenge do you think you still have to overcome?
My next challenge is to see how the recent projects we've conceived materialize, since architecture is a very slow process, and some important projects we've been working on for a year or two have not yet come to fruition.
To conclude, if it hadn't been architecture, what would you have dedicated your passion to?
I wish I could say more, but my passion lies deep within the realm of architecture, design, and drawing. However, I've always felt a strong inclination towards painting and sculpture, and sometimes I wonder if I would have pursued a career as a painter had I not dedicated myself to architecture.
