Legacy, competition, and great education

JC: One of the main reasons Switzerland is so rich in emerging architectural practices is its strong architectural tradition. The country has a long history of great architects, from Le Corbusier to Mario Botta, to name a few. This tradition continues to inspire and create fertile ground for new generations of architects to flourish.

Another key factor is Switzerland’s system of architectural competitions, which plays a fundamental role. Most competitions are open to everyone, regardless of experience, providing young professionals with a real opportunity to compete with more established firms. This accessibility fosters innovation, allowing fresh ideas and visionary firms to thrive across projects of varying scales and complexities.

The quality of university education also contributes significantly. Institutions like the Academy of Mendrisio train architects with a strong design foundation, equipping them to face professional challenges, including competitions. This combination of tradition, innovation, and excellent education makes Switzerland a unique place for architectural growth.

Regarding the increasing number of architects, while I don’t have precise figures, it doesn’t surprise me. Switzerland offers many professional and economic opportunities. Many architects who study here or have an Erasmus experience choose to stay, as conditions are often more favourable than in other European countries, where architects tend to earn less. Additionally, the educational system, which allows for a bachelor’s degree in three years, facilitates faster entry into the job market, boosting the number of practising architects.

In my view, this growth has a mostly positive impact. Competition has become fiercer, pushing participants to continually improve and propose innovative projects. For example, in Ticino, it’s common to see competitions with 50 or 60 entries, which stimulates creativity and raises the quality of design. However, there is a potential downside: if the number of competitions decreases, an excessive number of professionals could lead to overcrowding. Smaller regions like Ticino might struggle to absorb all these architects, unlike major cities such as Zurich, Geneva, or Basel, where opportunities are more abundant.

A multicultural approach

JC: The presence of firms in Switzerland with multiple international offices also doesn’t surprise me. A key driver of this expansion is the country’s inherently cosmopolitan nature. Switzerland is a crossroads of cultures and languages, and this is reflected in its architectural scene. Universities like the Academy of Mendrisio attract students and faculty from around the globe, creating a highly international and stimulating environment. Coming from Argentina, I’ve personally benefited from this context, which has enabled me to develop a practice not only in Switzerland but also in my home country.

This multicultural approach predisposes Swiss architects to work on a global scale. Additionally, advances in technology have made remote collaboration seamless. Architecture, which traditionally required physical presence, has evolved into a profession where distance is no longer a significant barrier. Collaborating across cities and continents is now the norm, facilitating the expansion of firms into international markets.

However, this global expansion also presents challenges. One risk is exporting architectural models that don’t fully respect the local context, leading to standardisation and a loss of cultural identity. It’s tempting to replicate successful solutions from other locations without a deep understanding of the cultural, climatic, or social specifics of a new territory. The real challenge, I believe, is balancing international openness with respect for local contexts.

The greatest value of this global movement lies in the exchange of ideas and skills between regions that historically had little interaction. Working across cultures broadens perspectives, encourages experimentation with new materials and techniques, and promotes more inclusive thinking. In this way, architecture becomes continuously enriched and renewed. In my own work, I see how these international influences have become an integral part of my creative process.

A dual role: teaching & practice

JC: In Switzerland, the relationship between academia and professional practice is not just close—it’s symbiotic. Architects who teach while practising engage in a constant dialogue between theory and application. Teaching is not viewed as a secondary or separate activity but as a natural extension of their professional work. This dynamic is especially evident in institutions like the Academy of Mendrisio, from which I graduated. There, I witnessed how this dual role enriches both architectural thinking and the quality of work.

Teaching is more than transmitting knowledge—it’s about opening avenues for reflection, challenging conventions, and continually testing one’s ideas. Universities serve as laboratories for experimentation, offering opportunities to explore concepts and approaches that professional practice, often constrained by budgets, regulations, or client demands, might restrict. Teaching allows architects to maintain the critical and creative spirit central to the discipline.

A clear example lies in the design process. In practice, compromises are often necessary to meet immediate needs. Teaching, by contrast, offers a chance to revisit a purer, more exploratory vision. Through teaching, architects can develop a coherent design philosophy, one that transcends technical or functional problem-solving to propose new ways of envisioning space and society. For many Swiss architects, teaching is a form of resistance to conformism—a way to combat the standardisation that can seep into professional work. It’s an opportunity to cultivate critical, visionary thinking and to remain connected to creative integrity and freedom. In this context, the architect who teaches aligns with the idea of an ‘unyielding visionary’, reminiscent of the character in Ayn Rand's The Fountainhead. This architect resists the compromises imposed by market forces, economic pressures, or cultural norms. Teaching provides a platform to preserve creative integrity and defend ideals, even when professional practice demands different priorities.

This dual role has a profound impact on daily practice. Teaching requires staying updated and engaging with new generations of students, whose fresh ideas often challenge us to think differently. This exchange becomes invaluable, offering new perspectives and fostering innovative solutions. It helps architects remain responsive to evolving social, cultural, and technological contexts.

Balancing teaching and practice creates a productive synergy. The university environment offers space to regenerate ideas, while professional practice anchors those ideas in the realities of construction, project management, and client relations. This interplay between theory and materiality enriches architects, resulting in architecture that is thoughtful, meaningful, and deeply connected to the present while looking toward the future. Ultimately, this dual commitment shapes how we view our role as architects. The continuous dialogue between theory and practice allows us to be visionary yet pragmatic, idealistic yet grounded. This balance may be one of the key reasons for the high quality of Swiss architecture: a dedication to keeping theoretical roots alive while transforming them into projects that address contemporary needs and future possibilities.

Family ties

JC: My professional journey has been deeply influenced by my family heritage. Growing up in a family of architects, with both my grandfather and father dedicating their lives to the profession, architecture has always been a part of me. Conversations around the table, visits to construction sites, and the contemplation of completed projects ingrained in me the belief that architecture is more than a job—it’s a vocation with profound social and cultural responsibility.

The decision to study at the Academy of Architecture in Mendrisio was a conscious and meaningful choice. Winning a scholarship that covered my entire education was not just an economic opportunity but an existential one. It allowed me to fully immerse myself in an environment of excellence, where innovation and respect for cultural heritage coexist. My experience at Mendrisio was enriched by intellectual exchanges with students from diverse backgrounds, broadening my understanding of space and its interaction with people and communities.

The first major turning point in my career was my job at Mario Botta's studio, where I had the opportunity to learn from a master of architecture. I absorbed his approach, which combines rigour, creativity, and a deep understanding of context. After this, I joined friends at LOKOMOTIV.archs in Sementina, Canton Ticino. The early years were challenging. We started with four partners, but within two months, we were down to two. That transitional phase tested our resilience, but it also laid the foundation for future success. For over ten years, I worked at the firm, honing my skills and building a network of contacts and clients. This allowed us to construct several buildings, including the funeral home in Bellinzona – CAFUBE, a personal achievement.

A pivotal moment in my career came when I decided to open my own studio. In 2021, I founded CAMPOPIANO.architetti sagl with my wife, Lucia Cardona (also an architect from SUPSI in Mendrisio). This was not just a professional step but a shared desire to explore the complexities of contemporary architecture. Our studio is currently constructing a new funeral home in Lossone – Locarno and has won the competition for the new Raiffeisen bank headquarters in Ligornetto – Mendrisio.

Authentic architecture

JC: I don’t seek to be unique, nor am I interested in that. My approach centres on individuality, both in the creative process and in my relationship with clients. My training and experience have taught me that architecture is not just about creating functional spaces but about capturing the essence of the people for whom we design. I believe that every client is unique, so before addressing technical or formal aspects of a project, I focus on understanding their lifestyle, priorities, and way of inhabiting the world. This enables me to create architecture that goes beyond programmatic needs—it becomes a reflection of their memory and identity.

‘I don’t build to have clients. I have clients to build.’ This philosophy emphasises that each project is an opportunity to express creativity and create meaningful architecture. As an architect, I value hard work and passion for the craft. True innovation comes from the courage to remain true to oneself, even if it means going against the grain. This is reflected not just in the design process but in managing every project. I don’t simply seek to solve technical problems; I aim to create spaces that reflect and uphold the integrity of architecture, without compromising my principles or vision.

In summary, my approach is rooted in deeply personalised architecture that reflects the history and identity of those who inhabit it. Architecture is not a mass-produced product but the result of authentic collaboration driven by passion, where every detail matters, and every choice reflects respect for individuality and meticulous work.

Career-making moments

JC: At the beginning of my career, winning the scholarship was a life-changing moment. The story behind it is that I knew nothing about the competition. A friend invited me to accompany him, and unexpectedly, I won. This taught me never to waste opportunities and to always try because you never know where an unexpected chance might lead.

Another significant moment occurred early in my independent career in 2010, when we collaborated on a competition for the construction of the SUPSI in Mendrisio. We had reached out to Catalan architect Carmen Pinos, an important figure for me due to her connection with Enric Miralles, one of my architectural influences. However, on the day of submission, one of our team members withdrew at the last minute. We found a replacement, but we arrived three minutes late—11:03 instead of 11:00. This incident deeply affected me, instilling a strong sense of punctuality that is now a key part of my professional life.

Another notable project was the first private funeral home in Ticino. This was more than just a functional building; the delicacy of the theme and the deep relationship between space and humanity allowed me to explore a dimension of architecture beyond mere functionality. Every element of the project had to reflect sincerity and truth, a place where humanity faces its own finiteness.

Stay open

JC: I don’t believe in limiting influences or in mentors who overshadow one’s creative voice. I’ve always rejected the idea that inspiration should come from a single reference. My education has been a continuous challenge to stay true to my vision, without becoming a slave to pre-existing models. I study everyone—even those I don’t agree with—because there’s value in every perspective. But I don’t allow myself to be influenced. For me, architecture is an act of pure creation, reflecting my thoughts and spirit, never compromising because of external conventions.

In my architectural practice, individuality and originality are the foundations of every project. I believe in staying true to my convictions and not yielding to external pressures, always maintaining the integrity of ideas and design coherence. This approach is evident in projects like the funeral homes in Bellinzona and Locarno.

In Bellinzona, the cenotaph concept guided the creation of a space that, beyond fulfilling its function, holds symbolic and reflective meaning. In Locarno, I’m evolving this concept—integrating the funeral home and cenotaph within a traditional system inspired by Le Corbusier's Domino system. Both projects reflect my commitment to creating spaces that not only meet functional requirements but also honour a deeper vision rooted in memory and reflection.