Among the numerous awards and distinctions it has received, the VII COAGranada Awards 2023 (Casa Duquesa, García de Paredes Award), the and Patio, Casa de la Abuela, Gran Vía 14), Europan 13 Barcelona, ​​the International Site Museum Montemor-o-Novo Competition (First Prize) and the Granada Science Park Competition (First Prize). Álvaro Gor Gómez is an undisputed reference in the panorama of contemporary architecture, combining in each project the technical precision of the architect with the creativity and attention to detail of the interior designer. Its approach is based on connecting tradition and modernity, sustainability and innovation, consolidating itself as a key figure for those seeking excellence in housing projects, culture and urban spaces.

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TEAM:

Technical Architects:

Fernando Molina García, José Manuel Segura Hernández, Francisco Campos Fernández, Daniel Moreno García.

Structure and Installations:

Daniel Usero Guerrero, Eduardo José Serrano Padilla (es+arquitectura), ELESDOPA.

Photographers:

Javier Callejas Sevilla, Imagen Subliminal (Rocío Romero + Miguel de Guzmán), Juanan Barros.

Architects and Designers:

Eduardo Alonso Tejedor (España)//Alejandro Fernández Martínez (Spain)//Paula Agúndez Hisado (Spain)//Lucía Amigo Carballo (Spain))//Manon Reversat (France)//Antonio Jesús Gutiérrez (Spain)//Aarón Ávila Rosas (Spain)//María García Fuentes (Spain)//Rebeca Pereira Durán (Spain)//Josefina Lalor (Argentina)//Nélida Jerónimo García-Casarrubios (Spain)//Alexandra Bailey (United Kingdom)//Elena López Rodríguez (Spain)//Claudia Wallace Urbaneja (Spain)//Basile Pousin (France) //Laura del Valle Sánchez (Spain)//Noemí Pérez García (Spain)//Diego Busnardo (Italy)//Arthur Blanche (France)//Antonio Rueda Jiménez (Spain)//Diego Vincenz (Switzerland)// Rafa Pérez Ariza (Spain)//Mara Vertunni (Italy)//José María Rueda Romero (Spain)//Gabriella Buttitta (Italy)//Esra Sucu (Turkey)//Ana María Aldana Vidal (Colombia)//Inma García Ramírez (Spain)//Lourdes Navarro Martínez (Spain)//Marion Collangettes (France)//Marika Mussari (Italy)//Chiara Giancipoli (Italy)//Federica Fiorese (Italy)///Léa Linden Reyne (Germany)//Marina Gómez Godoy (Spain)//Jules Gautier (France)//Tommaso Banfi (Italy)//Camille Vinas (France)//Dennis Graves (Denmark)//Martyna Smolarek (Poland)//María Fernanda Barquero Barahona (Costa Rica)//Anastasia Chaidi (Greece)//Luca Pasquini (Italy)//Marco Pallaoro (Italy)//Maribel Fernández Díez (Spain)//Romain Guigo (France)//Sophia Heinen (Germany)//Álvaro Gutiérrez Gutiérrez (Spain)//José Miguel Pérez Sevilla (Spain)//José María Díaz Martínez (Spain)//Pablo Fernández Carpintero (Spain)//José Luis Concha Jerónimo (Spain).

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ARCHITECTURAL MANIFESTO
Towards an ARCHITECTURE FOR LIFE

MANIFEST INDEX:
1. Preface: Why a manifesto today.
2. Vital principle: Architecture as an evocation of life.
3. Contextuality and territory: Honesty of place.
4. Media economy and ethical sustainability.
5. Light, matter, texture: Architectural sensuality.
6. Function, emotion, experience: Spaces to inhabit senses.
7. Re-use, recycling, transformation: Memory + future.
8. Humility vs. monumentality: Coherence with human scale.
9. Architecture as shared culture and community.
10. Call to commitment. For an ARCHITECTURE FOR LIFE.

1. PREFACE: WHY A MANIFESTO TODAY:
Contemporary architecture experiences a permanent tension between urgency and superficiality. The abundance of images and serial architectures run the risk of emptying the spaces we inhabit of meaning. In this context this manifesto was born: as a defense of architecture that recognizes life, memory, place and human dignity.
This document is neither a technical treatise nor a statement of style: it is an ethical statement. A compass that guides my professional practice and my own perspective. An invitation to think about architecture as an act of conscience.

2. VITAL PRINCIPLE: ARCHITECTURE AS AN EVOCATION OF LIFE:
Architecture should be a framework for living fully, not an empty stage. Each project, from the smallest home to the most complex intervention, must be able to evoke life, accompany it and sustain it.
I aspire to an architecture that breathes, that illuminates, that invites to be inhabited. An architecture that, like an organism, adapts, opens, transforms with those who inhabit it. I cannot conceive a project without first asking myself:
What way of life do I want to make possible here?

3. CONTEXT AND TERRITORY: DIALOGUE, NOT IMPOSITION:
Each work is born from a specific territory. Of its history, its climate, its light, its materiality, its human condition. My architecture seeks to dialogue with that reality, not impose itself on it.
In THE HOUSE OF CURTAINS, the intervention does not consist of “modernizing” by imposition, but rather revealing the essence of a home, letting the light and its interior divisions be the protagonists. There the project does not invent an aesthetic: it discovers a truth.
In CASA CALIXTO, the architecture is articulated with the rural landscape, demonstrating that contemporaneity does not demand rupture, but listening: a home that is born from the land and breathes with it, with a deep sense of topographic and human integration.
Architecture, when it is honest, does not colonize: it belongs.

4. MEDIA ECONOMICS: THE ETHICS OF ENOUGH:
I do not believe in architecture as accumulation, but as purification. Beauty is often found in what is essential, in what is precise, in what is just.
Economy of means is not just a budgetary issue: it is an ethical position. Building well with little is an act of environmental, cultural and human responsibility. It means not forcing the territory, not wasting resources, not saturating the space.
I advocate conscious use of materials, durability, ease of maintenance, reduced footprint, minimal intervention when possible.
True sustainability starts with not doing more than necessary.

5. LIGHT, MATTER AND TEXTURE: A SENSORY ARCHITECTURE:
Architecture begins in the light. Light reveals matter, and matter reveals life. I look for spaces in which natural light transforms the day, modulates the temperature, sets rhythms, inspires silence or activity.
The textures, the honest materials, the imperfections that narrate time: All of this is part of an architecture that wants to be felt, not just seen.
Surfaces are not decorations: they are tactile memories. Shadows are not absence: they are emotional depth. A house, an interior, a renovation, must produce sensations, not just solve functions.

6. FUNCTION, EMOTION, EXPERIENCE:
Architecture must simultaneously attend to reason and affect. A functional space without emotion is an empty container; An emotional space without function is useless scenery.
Each project must offer habitable experiences: a corner for meditation, accompanying light, a spatial sequence that invites discovery. In my work I look for room, threshold, hallway, patio and façade to be pieces of a coherent, sensitive and attentive narrative.
Good architecture is not seen: it is lived.

7. RE-USE, TRANSFORMATION AND MEMORY:
Rehabilitate, transform, recompose: These actions contain enormous architectural power. Architecture should not always start from scratch. Modifying what exists implies respecting time, memory and accumulated effort.
THE HOUSE OF CURTAINS is a clear example: it is not about erasing the past to impose a contemporary aesthetic, but rather allowing the old and the new to dialogue without hierarchies. Memory is another material of the project.
Building on what exists is an act of humility and respect for those who will live there and for those who lived there.

8. HUMAN SCALE: AGAINST THE EGO ARCHITECTURE:
I reject architecture that seeks notoriety above everyday life. I prefer spaces that dignify the user, that respect their scale, their body, their way of living.
Human architecture is not small, it is close. It is not poor, it is significant. She is not modest, she is sensible.
Sometimes authentic monumentality is in precision, in serenity, in just the right proportion, in the emptiness that allows you to breathe.

9. ARCHITECTURE AS SHARED CULTURE:
Each building, each home, each project also belongs to a community. Even if it is commissioned by a client, its impact is collective: it modifies a street, a landscape, a neighborhood, a way of living.
I am interested in architecture that generates culture, that teaches how to look, that offers historical continuity, that adds to the human landscape. An accessible, useful, understandable, profound architecture.
My work wants to participate in this shared construction, where the architect is not a distant author, but a mediator between land, time and life.

10. CALL TO COMMITMENT. TOWARDS AN ARCHITECTURE FOR LIFE:
This manifesto is not a closure, it is a beginning. A statement of principles that guides my practice and my thinking. An invitation to build with awareness, to design with sensitivity, to intervene with respect, to create spaces that dignify.
I commit to:
• Listen to each place before intervening in it.
• Deeply understand the people who will inhabit my spaces.
• Work with honest and durable materials.
• Always look for light, proportion and serenity.
• Transform without destroying, renew without erasing.
• Create architecture that evokes life, belonging and emotion.

I believe in an architecture that is born from the territory, that breathes with the people, that honors memory and that looks to the future with responsibility.

I BELIEVE IN ARCHITECTURE FOR LIFE.