Carlos Gómez Sos (born in Seville, Spain) is a Spanish architect and the founder of inN arquitectura. He graduated from the ETSA of Seville in 2008, after completing study and work stints in Belo Horizonte (Brazil) and at the RWTH University of Aachen (Germany). Gómez Sos has collaborated with renowned studios such as those of Antonio Barrionuevo, Julia Molino, and Horizontes Arquitetura. In 2013, he earned a Master’s degree in City and Sustainable Architecture from the University of Seville.
Carlos Gómez Sos approaches architecture through a process-oriented methodology, often starting with local linguistic expressions that translate into architectural forms. His notable works include the transformation of La Posada in Galaroza, Huelva, into a combined residence and studio that harmonizes contemporary and vernacular architectural practices. His projects frequently emphasize the use of local materials such as earth and wood, reflecting a commitment to sustainability and authenticity in construction
What inspired you to become an architect?
I believe architecture was always in me. I expressed that I wanted to be an architect at a very young age. If anything, years came to reaffirm this vocational belief. But in the end, it all comes down to that kid looking at the architecture models of a construction company behind a glass near my grandmother’s house.
How would you describe your design philosophy?
The architecture I produce relies heavily on the process, very rarely on an iconic image or an early vision. Therefore, I would define myself as a “processist” architect. Our buildings grow from certainties, which arise from an analytical process. Very often it all starts in the language, by learning local words and expressions typical of the place. These words can turn into texts or directly translate into lines. The process of inner maturation results in very clear sketches, with iterations limited to the evaluation of alternatives, but as many as necessary.
Can you tell us about your favorite project and why it stands out?
As of now, I must say the house-studio/studio-house, but only because it’s the last completed. In reality, I start every project as my favorite, always hoping for the best. Architects have to be optimistic.
What is your favorite architectural detail?
I wouldn’t call it a detail, but a set of details. The constructive section is where all of your assumptions must merge together and be put to the test. I do it with sufficient detail so I can always scale it up and dive deeper into it during construction.
Do you have a favorite material?
My heart is divided between earth and wood. Both are abundant in my area and are protagonists in all of my projects in one way or another. In a time where the image has replaced reality, the authenticity these materials provide is more needed than ever.
What is your process for starting a new project?
First of all, especially when it’s a new type of project, I must find my peace of mind. One must be able to detach from the noise of day-to-day practice and find spaces of quietness. Instrumental jazz is of great help to me. Still, ideas don’t flow freely at this stage. Not without a thorough recollection of information about the space and its location. One must be soaked by its atmosphere before drawing a line. In cases where the idea doesn’t come out clearly, I write a text expressing my impressions and where I would like the project to move. It is at this point that I recollect references and images that will help move the design process into the next stage.
How do you balance creativity and practicality in your designs?
I do not see a divide between the two. Very often achieving a practical objective within a limited space can require more creativity than letting out a free form as the solution. In this sense, there’s not much of a doubt in the form versus function debate. Creativity is a tool in the service of practicality. This stands for me over any other consideration. This was not the norm in my school years, so it was something I had to train heavily in the exercise of my practice.
What role does the surrounding environment play in your architectural projects?
As an architect who heavily relies on the process, context is key. Understanding where your building will stand is essential for its success. We architects often tend to be carried away by protagonism and inflated egos. One must let go of this and understand that villages and towns are a collective work. The best compliment one of my buildings ever received was: “seems like it was always there.”
How do you approach working with clients to understand their needs and visions?
In truth, I am very open with the design process of my projects with the clients. Part of the analysis consists of collecting as much information as possible from the clients and giving it architectural form in the shape of a house. We must never forget that this will be the place where, in many cases, they will spend the rest of their lives. There’s no greater responsibility and honor for an architect than giving them the right habitat to live and thrive. In this sense, I despise take-it-or-leave-it attitudes.
What architectural trends or movements do you find most inspiring?
I find most exciting the recovery of ancestral and vernacular techniques. The idea of self-construction and refurbishment using what is readily available in your vicinity is what keeps the office moving in a time of digital saturation. Not surprisingly, these trends are carried on mostly by smaller offices, very often with very few followers. Architects who struggle, to the best of their abilities, to decarbonize construction, using efficient and proximity resources. You can call it bio-construction, or eco-building. The way things are going, the time when people will have to build houses with their own hands is just around the corner.
What advice would you give to aspiring architects?
At a time when machines are rapidly moving from tools to competitors, I find it almost impossible not to be drowned in the tsunami. I would discourage them from riding that wave. Instead, I suggest they go back to their pencils and models, that’s the only way in which architects will remain useful.
