Iván's production focuses mainly on small and medium-scale projects of various kinds, from art installations and exhibitions, and curatorial exercises to houses and pavilions, where an exploration of different areas is evident, not only within architecture but also by blending the creative aspect found in disciplines such as art, industrial design, and engineering. He began his practice shortly after graduating in 2002, dedicating himself mainly to construction for external clients. In 2014, he closed the construction company to focus fully on his architectural studio.
Iván 的作品主要集中在各种中小型项目上，从艺术装置和展览、策展活动到房屋和展馆，这些项目都体现了对不同领域的探索，不仅在建筑领域，还融合了艺术、工业设计和工程等学科的创造性。2002 年毕业后不久，他就开始了自己的实践，主要致力于为外部客户建造建筑。2014 年，他关闭了建筑公司，全身心投入到他的建筑工作室。
Initially, I carried out projects when I had time, in between other jobs. I mainly took on projects that I could manage and complete by myself, such as design pieces or small architectural projects. In those days, I was mostly dedicated to construction, always looking to work on projects that interested me from a design perspective and where I could contribute my experience and passion for architecture.
Iván's artistic creation appears at some point as a response to the development of creative projects that did not require a client or a formal commission and where production times were faster. In this way, a relationship between art and architecture begins to intertwine, along with an architectural methodology for making art.
Although I would like to be able to define the relationship between art and architecture, I don't have it completely clear. I believe that each discipline informs and refers to the other in some way. Both are very autonomous, with different methodologies and rules, but at the same time, I think it is possible to blur the boundaries between them a bit. It is easier to imbue a work of art with architectural elements than to do architecture from an art operation. That's why the relationship is delicate and nebulous. What I am sure of is that I am interested in proposing with a certain freedom, thinking that it is possible to cross and contaminate both disciplines without worrying too much about the boundaries between them.
最初，我在有空的时候会做一些项目，在做其他工作之余。我主要接一些我可以自己管理和完成的项目，比如设计作品或小型建筑项目。在那些日子里，我主要致力于建筑，总是寻找从设计角度让我感兴趣的项目，在那里我可以贡献我的经验和对建筑的热情。
伊万的艺术创作在某种程度上是对创意项目发展的回应，这些项目不需要客户或正式委托，而且生产时间更快。这样，艺术和建筑之间的关系开始交织在一起，还有一种艺术创作的建筑方法。
尽管我希望能够定义艺术与建筑之间的关系，但我还没有完全弄清楚。我相信每个学科都会以某种方式影响和参考另一个学科。两者都非常独立，具有不同的方法和规则，但同时，我认为可以稍微模糊它们之间的界限。将建筑元素注入艺术作品比从艺术操作中制作建筑更容易。这就是为什么这种关系如此微妙和模糊。我可以肯定的是，我有兴趣以一定的自由提出建议，认为有可能跨越和污染这两个学科，而不必过多担心它们之间的界限
The design process of the works, particularly speaking of the houses produced by the studio in recent years, begins with an analysis of the specific commission, the client's needs, and the geographical environment. The design methodology addresses a list of factors that cannot be overlooked, such as the relationship with the landscape and its climatic conditions, the material construction possibilities, and the financial condition of the project. In this way, the houses are a formal and literal response to the specific requirements of the commission, and at the same time, surprise with the innovation achieved both in the typological form, the use and treatment of materials, and the technical construction details.
There are always multiple possible responses within any rule system. Once we clearly understand what can and cannot be done, we can move more freely. An important part of our design process is to demonstrate that our proposals are sensible, austere, and rational responses to the client's commission.
A fundamental resource when designing, also associated with art and craftsmanship, is the three-dimensional experimentation through models: "The project develops from a strategy that attempts to solve multiple variables simultaneously, and we quickly move on to test models in different scales to visualize the architecture in its fundamental conditions: space, form, and light."
作品的设计过程，尤其是工作室近年来设计的房屋，始于对具体委托、客户需求和地理环境的分析。设计方法论涉及一系列不容忽视的因素，例如与景观及其气候条件的关系、材料建造可能性以及项目的财务状况。这样，这些房屋是对委托的具体要求的正式和字面回应，同时，在类型形式、材料的使用和处理以及技术建造细节方面所取得的创新令人惊叹。
任何规则体系中总会存在多种可能的回应。一旦我们清楚地了解了什么可以做，什么不可以做，我们就可以更加自由地行动。我们设计流程的一个重要部分是证明我们的提案是对客户委托的明智、严谨和理性的回应。
设计时的一个基本资源，也与艺术和工艺相关，是通过模型进行三维实验：“该项目从试图同时解决多个变量的策略发展而来，我们很快转向测试不同规模的模型，以便在基本条件下可视化建筑：空间、形式和光线。”
Consequently, the confluence of all these elements: the commission, the design process, and artistic and artisanal experimentation, combined with experience in the field of construction, leads us to focus on the predominant material in Iván Bravo's works, wood. The use of wood is not only due to the tradition of Chilean architecture with this material but is also strongly linked to the architect's family history and a special interest in engineering and technical knowledge of wood. Acting as both a studio and a construction company, they can exert greater control over the construction of their works, which demonstrates a coherent treatment of wood from a constructive standpoint in the structure of the project, the final image of the work, as well as in the details and furniture.
因此，所有这些元素的融合：委托、设计过程、艺术和手工实验，再加上建筑领域的经验，使我们专注于 Iván Bravo 作品中的主要材料——木材。木材的使用不仅是智利建筑使用这种材料的传统，还与建筑师的家族历史以及对木材工程和技术知识的特殊兴趣密切相关。作为工作室和建筑公司，他们可以更好地控制其作品的建造，从建设性的角度展示了对木材的连贯处理，包括项目结构、作品的最终形象以及细节和家具。
The material and technology directly influence all aspects of the work, from the standard and finishing possibilities to the structural conditions. We do not predefine the material of each work; this is decided according to what we consider appropriate for each project. Chile still has relatively low technical expertise in construction compared to other countries, especially in small-scale and low-budget works like ours. This limitation has preserved certain construction techniques and knowledge that today are a fundamental part of what could be understood as 'Chilean architecture'.
Within the projections of Iván's studio for the near future is the desire to develop larger-scale projects that present interesting challenges in various themes within the field of architecture. There is also an interest in strengthening ties with professionals and artists from other countries, relationships they have built over the years, intending to materialize collective projects outside Chile.
Recently, together with Martín, we formed the BARO project, which is a parallel studio that concentrates on interdisciplinary projects that we develop sporadically, bringing together our concerns and creative interests beyond architecture. This year we led a workshop in Geneva and held an exhibition in Zurich, and we plan to consolidate it as a fully active studio. In relation to art, we have scheduled an exhibition for this year in Montevideo. I have no further plans afterward, but a goal would be to be able to work with one branch of the office constantly in art and another in architecture.
Below is a selection of works built by Iván Bravo Architects in recent years.
材料和技术直接影响工程的各个方面，从标准和装修可能性到结构条件。我们不会预先确定每项工程的材料；这取决于我们认为适合每个项目的材料。与其他国家相比，智利的建筑技术专长仍然相对较低，尤其是在像我们这样的小规模和低预算工程中。这种限制保留了某些建筑技术和知识，这些技术和知识如今已成为“智利建筑”的基本组成部分。
Iván 工作室近期的规划是希望开发更大规模的项目，在建筑领域的各种主题中提出有趣的挑战。他们还希望加强与其他国家的专业人士和艺术家的联系，这些关系是他们多年来建立的，旨在在智利以外实现集体项目。
最近，我们与马丁一起成立了 BARO 项目，这是一个平行工作室，专注于我们偶尔开发的跨学科项目，将我们对建筑之外的关注和创作兴趣结合在一起。今年，我们在日内瓦举办了一个研讨会，并在苏黎世举办了一场展览，我们计划将其整合为一个完全活跃的工作室。关于艺术，我们计划今年在蒙得维的亚举办一场展览。我之后没有进一步的计划，但我的目标是能够与办公室的一个分支机构在艺术和另一个分支机构在建筑方面持续合作。
以下是 Iván Bravo Architects 近年来建造的一些作品。
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