Search

Search

ACTIU Berbegal y Formas, S.A.
Blog / Inspiration / A conversation with Hugo Berenguer about architecture
A conversation with Hugo Berenguer about architecture

A conversation with Hugo Berenguer about architecture

SEPTEMBER 2026
·
11 minutes
·

Hugo Berenguer is CEO and partner at Rafael de La-Hoz Arquitectos, one of the leading practices in contemporary Spanish architecture. Drawing on a practice deeply rooted in Spanish architectural culture, he has championed a vision that integrates tradition, innovation, sustainability and strategy, viewing architecture as an exercise in cultural responsibility and forward-thinking.

Actiu’s connection with Rafael de La-Hoz’s architectural practice is long-standing and extensive. It began with Vicent Berbegal’s admiration for the architect, his works and his talent. The new Actiu RED space in Madrid is housed in the same building – a long-held dream of Actiu’s founder, who is a great admirer of the architect. As both brands have evolved, the practice and the company share many values, ranging from the importance of roots and the history of places, to respect for materials and care for people – whether through architecture or furniture. With Hugo, we reflect on respecting the memory of places, the importance of their identity and the ability to design new ways of living, working and interacting.

Actiu Red Project, Madrid
Actiu Red Project, Madrid
Projects such as Lagasca 99 in Madrid, which houses ACTIU RED, and the refurbishment of the Betis stadium in Seville exemplify this approach, which explores the city’s history and its material culture in order to translate them into contemporary architecture.

What does it mean to you for an architectural project to have a sense of history?

Memory implies a conscious awareness of the context in which the project is situated. And so, once we have that awareness, it is inevitable that – for better or for worse – it will influence the architecture. Sometimes we engage with that context, with that memory, in a positive way to reinforce the project’s concept.

But history also teaches us that there have been many moments in architecture when its ideals arose precisely from a rejection of previous ideas and of tradition. This, in itself, cannot happen without memory, without an understanding of history, because one cannot reject what one does not know.

Do you think that architecture is, above all, a cultural practice? In what way can a building express the identity of a place?

Architecture is inevitably a cultural practice. How can a project be designed without context?

When we architects design, we never face that ‘blank page’ that people fear so much, because we always work with specific elements: the climate, the topography, the building’s intended use, the dimensions of the human body, regulations, history… Before we even begin, the page is already filled with data that helps us shape the building.

And the key lies in the balance with which you blend these elements to solve the architectural problem, which will be different in each case. There will be projects where the key element is how the building fits into a historical context; in others, it will be functionality or the topography. That is the architect’s task: to correctly prioritise each project’s requirements in every situation so that the building provides the right solution.

I often imagine architecture as an equation in which you’re given a lot of data – those ingredients I mentioned earlier – and in which the unknown is the geometric solution, in the form of a building, that solves all the problems.
Hugo Berenguer, CEO and partner at Rafael de La-Hoz Arquitectos, at MDF 2026
Hugo Berenguer, CEO and partner at Rafael de La-Hoz Arquitectos, at MDF 2026

How is scale managed in large-scale projects to ensure they maintain a human connection with the urban environment?

I think the issue of scale is one of the most difficult to get right, because it is very difficult for the human brain to make that leap from paper to reality. There are things that work very well on one scale but not on others. This is something that biology and biomechanics understand very well; they have known for a long time that certain organisms have limits on their size or shape depending on whether they are vertebrates or not. This also applies to architecture, and so we cannot apply the same design strategies to a small house as we would to a large stadium.

What role do materials play in creating a certain atmosphere and in the way people experience a space?

Materials are probably one of the most powerful tools architecture has at its disposal for creating atmospheres. Ultimately, people do not experience a building through its plans, but through light, textures, sounds, temperature or the way materials age over time.

The same space can convey completely different sensations depending on whether it is built from concrete, timber, stone or steel. Each material has its own physical properties, but also cultural connotations that inevitably influence how we perceive the space. For this reason, the choice of materials should never be a purely aesthetic decision. It relates to sustainability, maintenance, durability, comfort and also the identity of the project.

A very clear example where the prominence of materials is evident is Lagasca 99 itself , where Actiu’s showroom is located. The building’s façade is the first thing that catches the eye, showcasing three distinct materials that form part of a compositional strategy rooted in the interior’s functionality, such that each area – living room, bedroom or kitchen – is associated with a different material: glass, stone and wood, respectively.

Lagasca 99 Project, Madrid
Lagasca 99 Project, Madrid

To what extent should the context (climatic, historical, social) influence the formal and technical decisions of a project?

I think they must influence them greatly, because that is precisely where architecture originates. As architects, we are used to working within constraints. In fact, we often perform better the more constraints we face. The climate, history, regulations, the client’s needs, technological capabilities or the social characteristics of a place are not obstacles to the project, but rather the ingredients that help us shape it.

That said, this does not mean that the context dictates a single possible solution. Two architects can face exactly the same conditions and arrive at completely different proposals. The important thing is to understand that formal and technical decisions should not be made arbitrarily. They must stem from a proper understanding of all these circumstances and the ability to synthesise them into a coherent proposal.

In some projects, the historical context will carry greater weight; in others, the climate, topography or specific functional constraints will. The architect’s task consists precisely in prioritising these factors and finding the right balance in each case.

In some projects, the historical context will be the most significant factor; in others, it will be the climate, the topography or specific functional constraints.

The architect’s role is precisely to prioritise these considerations and strike the right balance in each case.

I find it hard to imagine good architecture that is indifferent to its context. In fact, when a building is truly well designed, something very interesting usually happens: it gives the impression that it could not have been built anywhere else.

Inside the Lagasca 99 building
Inside the Lagasca 99 building

How does the dimension of time influence the way you design? Should architecture aim for permanence or constant adaptation?

I think it’s both at the same time.

On the one hand, buildings are designed to last for many years. In fact, building structures are calculated to last for 50 years under normal use; in the case of hospitals, this can be as long as 100 years. The reality is that, if well maintained, they last much longer.

It is therefore an activity that, by its very nature, is intended to be long-lasting.

Having said that – and I’ll now tie this in with the other part of the question – only those buildings that are particularly good from an architectural point of view and are protected, or those whose design allows them to adapt to new uses or new ways of living in them, will endure .

How can we strike a balance between respecting our architectural heritage and incorporating new technologies and methodologies?

I think these are separate issues. Respecting heritage does not mean imitating it or restricting the use of new technologies. This is a very interesting debate that concerns the integration of new architectural styles into historic or already established settings.

Sometimes, we get the impression that respect is based on providing architectural solutions that are a continuation of the past, on imitating what came before, and I think that is quite wrong.

Look at the great historic cities you admire; they’re a mix of different architectural styles, some of which are separated by 2,000 years. The thing is, our minds have already categorised them as historical styles, and that plays tricks on us. How many examples do we have in Europe or in Spain of Roman architecture blended with Islamic, Romanesque, Gothic, Renaissance or Baroque buildings, which have little or nothing in common with one another?

What does a Roman building have in common with a Gothic one? Nothing – neither stylistically, nor conceptually, nor in terms of the technological methods used in their construction.

In fact, I believe that the blend of architectural styles – each of which is a faithful reflection of the ideas of its respective historical period – is what makes European cities so attractive and interesting: that blend, that coexistence of styles.

We cannot create architecture that does not reflect the times in which we live. Consider this: Mies defined architecture as ‘the will of an era translated into space’, and I believe he could not have put it more accurately.

Hugo Berenguer alongside Soledat Berbegal and Roberto García at MDF 2026
Hugo Berenguer alongside Soledat Berbegal and Roberto García at MDF 2026
Respecting heritage means studying it, understanding it and taking it into account when designing – which is very different from imitating it, because that leads to the fossilisation of cities, whereas buildings should be living entities, constantly evolving.

How important is collaboration between architectural practices and industry in the evolution of spatial design?

In my opinion, it is very important. The development of the industry and new technologies has led to a vast array of technical solutions on the market for tackling the same problem.

Nowadays, it is impossible for an architect to have in-depth knowledge of all the advances taking place in materials, construction systems, building services, sustainability or digitalisation. That is why collaboration with industry is becoming increasingly necessary.

The best solutions usually emerge when both parties work together from the outset towards shared objectives. As architects, we provide an overarching vision of the project, whilst the industry contributes specialist knowledge, innovative capacity and technical expertise.

Furthermore, this collaboration helps to bridge the gap between the idea and its realisation. Projects that would have been impossible just a few years ago can now often be built thanks to the development of new technologies or new production systems.

I believe that innovation in architecture is rarely the result of the isolated work of a single person. It usually emerges when different disciplines collaborate and share knowledge.

How can architectural spaces foster collaboration, creativity and collective well-being?

That’s an interesting question. You see, before the pandemic, there was a whole theory surrounding new workspaces designed to encourage collaboration between employees with a view to boosting creativity, sharing ideas and visions, and so on. This all stemmed from the understanding that the best ideas often don’t come about in planned meetings, but rather through informal interactions – in corridors, the café area, and so on.

Building on that, offices began to be designed to encourage spontaneous encounters between employees; I think they called it ‘creative collisions’.

Then the pandemic hit and, for a while, all talk of this ceased as we moved to remote working and working from home… which, in my view, is a mistake because I fully agree with the pre-pandemic trends; they make perfect sense and I believe they work very well, and that architecture had a lot to say on the matter.

Another very interesting example is its application in hospital buildings, where the aim is not simply to design spaces to prevent problems or illnesses, but to create environments that actively promote people’s wellbeing and health.

In this sense, architecture ceases to be merely functional or aesthetic and becomes a tool that influences how people perceive, understand and experience space.
Rey Juan Carlos University Hospital by Rafael de la-Hoz Architects
Rey Juan Carlos University Hospital by Rafael de la-Hoz Architects

Applied to design, this translates into strategies such as the use of natural light, a connection with nature, air quality, the choice of healthy materials, and the creation of spaces that foster both social interaction and privacy. It is not just a matter of preventing stress or illness, but of enhancing the positive experience of the space.

Numerous scientific studies have shown that the availability of natural light in hospital rooms has a positive influence on patients’ progress, promoting a faster recovery and improving their general well-being.

Furthermore, views of the natural environment help to reduce stress and the need for pain medication, which results in a more positive hospital experience and a more efficient recovery.

As a manager and creative professional, how do you develop a strategic vision without losing conceptual depth?

I am convinced that an architect is not just a great designer, but so much more. An architect must have a strong humanistic side. As we discussed, they must have a good understanding of history and the work of our ancestors; they must also possess strong analytical skills and be good with numbers. Furthermore, the profession requires technical knowledge of other disciplines such as materials, structural analysis, building services, acoustics and sustainability… In fact, on building sites, by law we are the directors and coordinators of all these disciplines.

An architect must also be able to explain their architectural vision to a client in a way they can understand, convince them and secure the commission. They must be articulate and, therefore, a good salesperson. If they are good at this, they will secure contracts and must therefore have legal knowledge. They must also negotiate their fee, as a great deal is at stake.

They must know how to organise their practice, whether large or small; they must understand what the sector needs at any given time and decide how to stand out…

And, of course, they must also be a good designer and possess conceptual depth.

But whilst this may sound complicated when put like that, it is what architects have been doing all their lives and what we have been trained to do at architecture schools.

What are the major challenges that architecture must tackle in order to remain relevant in a constantly changing world?

I believe there are major challenges on different scales and on various fronts… Let me give a few examples.

Generally speaking, I believe that architecture has diminished its capacity to act as a social tool in the face of a culture of spectacular, ‘Instagrammable’ buildings that are, however, often disconnected from society’s real needs. In this sense, it has lost a great deal of influence to political and economic interests… I believe that a profession with such a strong social vocation ought to be far more independent of all that.

In urban design, I’m very concerned about the challenge facing many cities due to the growth of tourism, which is turning them into theme parks where I find it impossible to live. What’s more, I find it almost unbearable even to be a tourist in certain cities… It’s something that’s spiralling out of control and deserves serious reflection.

I believe we need to discuss the emergence of AI as a challenge to be integrated into the profession. As a tool, it can enhance creativity, but it carries the risk of replacing critical thinking. It is also an issue that will spark many debates on intellectual property and authorship, which , I have no doubt, will prove to be a headache in the coming years.