The appeal of Swiss competitions

FB: The Swiss competition system is actually one of the reasons we decided to live and work here. It’s a particularly transparent system, developed over years of refinement. The basic idea is that, for large urban transformations and especially for public projects, a process like this is essential. It ensures a transparent competition among professionals—architects, in this case. The process is very clear: the client has a budget allocated for organising the competition. A feasibility study is conducted, outlining the rules of the game. Architects, recognised experts, and technical specialists—including structural engineers, ventilation and sanitation experts, landscape architects, and others—are part of the jury. Sometimes juries consist of 10 to 15 people, analysing each project from multiple perspectives. The process is factual and precise, with construction experts reviewing costs and providing feedback on economic feasibility. Anonymity is the cornerstone of the system, allowing even young studios to submit their proposals without bias.

EA: There are various types of competitions. Some are open to everyone, others involve pre-selection where you submit your CV and portfolio, and if chosen, the competition proceeds anonymously with a shortlist of around 10-15 studios. Then there are invitation-only competitions, structured differently again. Initially, we were drawn to the French-speaking region of Switzerland and focused on open competitions. We prioritised programs involving housing typologies because that’s where we feel most comfortable and interested. We pay close attention to these types of competitions, as residential projects align best with our expertise and interests.

FB: Competitions offer a unique opportunity to independently explore a place and program, which differs fundamentally from working with private clients. With private clients, the project evolves through dialogue and collaboration, which is interesting in its own way. But competitions allow a carte blanche approach—within the constraints of the context—where you can propose your idea without compromise. This system also provide a great space for experimentation. You can push boundaries and question certain things, knowing your idea will be judged on its merits. This freedom, in a sense, is fascinating. Moreover, the competitive aspect encourages research and reflection. You’re working on a challenge alongside 50 others, and at the end, you have the chance to compare, learn, and see how your work measures up. It’s an incredibly enriching process.

We chose this path because of our strong interest in this way of working. Competitions are like a sprint—you dedicate yourself entirely for two months, living and breathing the project. It’s an intense but satisfying process, with a clear start and finish.

The art of competition

FB: I have to say, Enric and I have complementary approaches to competitions. For me, every competition feels like stepping into Wonderland. Everything is new, and I start from scratch, embracing the complexity and contradictions of the territory. Enric has an incredible ability to organise all the knowledge we’ve accumulated from past competitions. Our approaches complement each other: On one side, we identify and focus on the big themes, like the urban scale, public space; on the other, we filter ideas, deciding where we can refine or search for inspiration.

EA: It’s interesting to have this mix of Federica’s skills and mine. It ensures that when we present our work, the jury values both the ideas and the practicality behind them. Many factors come into play: understanding the program, knowing how to build, and having construction knowledge, which helps identify what’s doable. Intuition is also key—but it’s a working intuition, honed through continuous research.

One particularly useful resource is the platform Espazium, which publishes competitions, results, and jury feedback, including the strengths and weaknesses of each proposal. It’s invaluable when designing something like a school—you can study similar projects, analyse their strengths, and learn from them. We’ve been dedicated to this kind of research since arriving in Switzerland in 2011.

FB: From the start, we’ve been deeply interested in competitions. We studied them, visited them, and analysed them. Eventually, we began participating on our own and realised our strong interest in residential programs. During COVID, one of our competition projects was delayed, and at that point, Enric decided to submit competitions under his name. In 2021, we took on a major challenge: two competitions simultaneously, while also welcoming our second child. Luca was born, and two weeks later, we submitted the first competition; three weeks after that, the second. We won both. That period marked a significant personal and professional shift, leading us to establish Argemí Bufano Architectes. Our first projects were Le Rolliet in Plan-les-Ouates, Geneva, and Secteur T in the Quartier de la Concorde—both housing developments. We were fortunate to have exceptional clients who trusted us and supported our transition from zero to a team of seven or eight people.

Focusing on public space and context

FB: Recurring themes have emerged in our projects over the past three years, and the first is public space. We see public space as the fabric that fosters social interaction and creates a sense of place. It’s what makes me proudest in our projects—contributing to spaces that bring people together.

Public space, for us, is the ‘negative’ of the built environment—what’s unbuilt but equally intentional. Social and urban planning aspects are crucial, but the overarching goal is to create permeable, connected places where people can meet. Our architecture aspires to integrate seamlessly, to feel as though it’s always been there, serving its purpose without drawing attention to itself. A particular focus for me, perhaps due to my Roman origins, is the geometry of public space. In nearly all our recent projects—especially the ones we’ve won—we’ve emphasised the design of the void. We aim to ensure that empty spaces aren’t just residual but have their own shape and identity. Baroque architecture, with its meaningful geometric voids, often inspires us. Think of Piazza Navona or Piazza del Popolo—these spaces are defined by their intentional emptiness.

You can see this clearly in our Secteur T and La Colline du Fey projects, where we invested significant energy in defining the geometry of the void before shaping the built environment. This approach often resonates with competition juries.

EA: Beyond public space, we’re deeply interested in how our projects fit into their contexts. Once we clarify the idea of public space and its connections to surrounding neighbourhoods, we use models extensively to refine these relationships, especially distances and interactions with nearby buildings. Typology is another essential aspect. In every project, we challenge preconceived notions and aim for a symbiosis between the existing and the new. We draw inspiration from many references—especially local studies from Zurich, Basel, Lausanne, or Geneva—because each place has unique characteristics.

Recurring strategies in our designs include maximising the perception of space, especially in small apartments. For example, we often use enfilade layouts, where spaces connect seamlessly, creating a sense of openness. We carefully plan transitions between day and night zones, imagining ourselves living in these spaces to ensure they’re functional and comfortable.

FB: Our work also relies on two fundamental tools: physical models and hand-drawing, often until the very last stages of a project. Surprisingly, we also rely heavily on Excel. It might break the romantic notion of architectural creativity, but competitions require extensive data analysis—calculating surfaces, costs, and feasibility. At high levels, even small details, like a discrepancy of 100 square meters, can determine the difference between winning and losing. Balancing creative vision with meticulous data control is critical to success.

Pushing the boundaries of flexibility

FB: Programs adapt to societal evolution, and this became even more evident with COVID. Flexibility is at the core of these adaptations: how can an apartment be transformed to add or remove rooms? How can it accommodate a dependent parent, a teenager, or an au pair? Flexibility is a very contemporary concern. In competitions, flexibility is one of many constraints to consider, so it’s difficult to build an entire project around it. However, we often propose mechanisms to enhance flexibility. One is the "wild card room," a space within an apartment that can also be accessed from the landing. This room could serve as a study, a guest room for visiting grandparents, or accommodations for a babysitter. Structural flexibility is another mechanism—designing buildings that can evolve over time. For instance, a floor with three apartments today could transform into a cluster of mini-apartments with shared spaces in the future. Clusters, which are becoming more common in Geneva, include private units around communal areas, promoting social interactions.

EA: The La Rolliet project addressed these issues during the height of COVID. We explored how, over the next 20–30 years, apartments could evolve—for example, reducing three units per floor to one larger unit. We also proposed changes like converting part of a floor into a co-working space. These were not requirements of the competition brief, but the client appreciated our forward-thinking approach. Flexibility allows buildings to function today while easily adapting to future needs. This is something we’re addressing in our three main ongoing projects.

FB: Flexibility may seem less apparent when applying this concept to public spaces, but our approach inherently embraces it. In all our projects, we have prioritised minimising underground construction.This choice stems from ecological concerns, such as reducing CO2 emissions and construction waste, which is a significant issue in Switzerland. The "planter" approach—leaving public spaces open—supports evolving uses. A square today could become a vegetated area tomorrow, perhaps for urban gardens, responding to challenges like global warming. The more open public spaces are, the greater the possibilities for transformation.

EA: This theme is central to our design philosophy. We often engage with local communities, as we did with the Secteur T project, where we organised workshops to gather feedback from neighbourhood residents. This helps adapt the project to their needs and enriches the design process.

FB: This participatory approach is deeply rooted in Swiss culture, where decision-making emphasises collegiality and collaboration. Including the community ensures that projects positively impact public spaces and the broader neighbourhood.

Ecology: beyond the obvious choices

FB: A fundamental theme in Switzerland is what we can define as ‘construction ecology.’ It’s a critical topic here, and we’ve been fortunate to work with extraordinary engineers and clients who have challenged us to address it in meaningful ways. This has allowed us to develop very specific approaches in our projects, with each providing unique answers. For instance, the connection between ecology and materials—whether wood, greenery, or other resources—varies significantly from project to project.

In our work, we systematically conduct an eco-balance of materials during the design phase. This involves cataloguing all the elements of a building and having our environmental engineer calculate their CO2 impact across production, on-site use, and disposal. The resulting analysis provides a clear picture of the building’s ecological footprint and guides our construction choices.

Sometimes, the results are surprising. For example, in the Secteur T project, which has a unique, triangulated shape, we initially proposed wooden floors as the most ecological option. However, when we ran the calculations, we discovered it was actually more sustainable to use a specific type of concrete paired with a different façade system. This outcome surprised not only us but also the client, and it highlights that there is no one-size-fits-all answer to ecological challenges. It also pushes back against greenwashing and preconceived notions, underscoring the importance of thorough analysis.

EA: Clients are increasingly driving this trend, and we’re thrilled to see it. Their input is invaluable in finding optimal solutions. As Federica mentioned, incredible results can be achieved with materials like recycled concrete. The entire process, from start to finish, is crucial in delivering truly sustainable outcomes.