When you walk into the Max Núñez Arquitectos office, you are struck by the light, peace, and warmth that fills the space. Even though it is in a building in one of the liveliest and busiest parts of Providencia, the thick walls and big windows make you feel like you are somewhere else, far from the hustle and bustle outside. It is undoubtedly the ideal place to have an in-depth conversation with this renowned architect. We discuss his first steps in architecture, the passion with which he has pursued his career, and above all, his motivations, inspirations, and the characteristic elements of his architecture. Bárbara R When would you say you discovered that architecture was your calling? Max R The initial decision was rather unconscious. It was at school that I understood what designing really meant. That is where I found the meaning. Obviously, being close to my father and seeing him work and understanding what an architect's profession was like is extremely important prior information; a fundamental experience, but I think that in my second or third year at school, I understood what it was all about and what the meaning of architecture was. Bárbara R What memories do you have of accompanying your dad to work? Max R I remember being in the office and seeing him working, reviewing models... I remember a very beautiful model of the School of Economics in San Joaquín. It was half of the building, which is a large interior gallery, and the model had a mirror at the back to duplicate it and give it the full dimension of the building. I must have been 12 years old. At that time, everything was still drawn by hand, and the plans were colored with colored pencils. It was very striking manual work for a child. Seeing how they approached their profession, the total dedication they gave to the projects, and the seriousness with which they ran the office. They conveyed a very admirable ethical appreciation of an architect's work. Bárbara R Was your dad pleased that you chose architecture? Max R I think so. Although we have always maintained a professional distance, that has allowed me to follow my own path. I never worked in his office. Pablo R What was your thesis project about? Max R A thesis on the use of building roofs in downtown Santiago. My supervising professor was Sebastián Irarrázaval, who was my workshop 3 professor and with whom I did my internship. The project itself was not very impressive, but the research, raising the issue of recovering building roofs and understanding that this space had the potential to be developed in the city, as a fifth facade, is still a good idea. Pablo R What was your first project after graduating? Max R While I was doing my master's degree, Teresa Möller commissioned Bernardo Valdés and me to design a barbecue area in Calera de Tango. It is a small wooden pavilion, which turned out very nicely. As a result of that positive experience, she recommended us to Miguel Purcell to design his house on the road to Farellones, which was our first major commission. It is a house in the foothills, in a location in Lo Barnechea that faces the Santuario de la Naturaleza valley. Miguel was the best first client an archi- tect could wish for; in that house, he allowed us to work with a great deal of freedom and develop numerous ideas despite our limited experience. That house has a very close relationship with the topography and the landscape. There were some hawthorn trees on the land, which we kept, and the house adapted to the site and the slope. It was very im- portant in defining architectural concepts that I have continued to work on. After that house, Miguel commissioned me to do some projects in Portillo. That meant working in difficult locations with extreme climates and geography, which is a line of projects that I have also continued to develop to this day.
Alejandro Aravena, and then close up during my visits and interactions with many Chilean colleagues and students. I feel a deep affinity with your architecture, partly because it has a very close connection with nature. There is also a very strong connection between the profession on the one hand and the materials and construction industry on the other. There are other dimensions too, like your effortless ability to be rational and irrational in the same work. Aravena introduced me to the poetry of Nicanor Parra. It’s so systematic. So erratic at the same time. That’s something I envy in such work, because it cunningly frees itself from the burden of rationalizing. Pablo R Why so much interest in a country as small as ours? Hashim R I come from a much smaller country with many similarities. A creative drive has emerged in Lebanon after the war, maybe because of the war, in the same way that a creative drive has emerged in Chile after the dictatorship. Every time I come here, I discover incredible new talents and amazing work. In my recent trips, I have noticed how you blend techniques like very few architects do. Pablo R For example? Hashim R Both in your crafts and construction. You work more directly with the different building trades, and you mix them so unexpectedly in a way you don’t see in other countries. You also keep the material’s origin present in the architecture. For example, the way you use wood gives you the feeling that you are speaking directly to the person who cut down the trees. I also feel you have a great ability to stay connected to the whole world, but with clarity about where you stand. Please keep doing what you’re doing. By being so unique, we learn a lot from you. !
GUEST ARCHITECT
From his office, located a few steps from a Drugstore, in one of the most interesting and entertaining neighborhoods of Providencia, this prominent architect spoke about his relationship with architecture since he was a child; the main characteristics of some of his most important projects; and the great challenges facing architecture in Chile, especially with the new generation of professionals. Max Núñez. Building from Structure By: Yves Besançon & Pablo Altikes. Edited by: Bárbara Vicuña Photos: Max Núñez photo library
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