From New Zealand to New Horizons

SH: I was born in New Zealand, where my architectural journey began. After studying there, I taught at a university for a few years before beginning to practice. In early 2019, my partner and I were looking for an adventure. While New Zealand is a fantastic place to live, it's quite remote. New Zealand is a young country, and any building over 100 years old is classified as historic. Most projects are new builds, with ample land and development opportunities. Our approach in New Zealand is holistic, considering everything from how a building fits into the landscape to the smallest details, like doorknobs.

I received a job offer in Basel, and we made the move. I spent two years at a firm there, which provided an interesting introduction to working in Europe, contrasting sharply with my experience in New Zealand. I was at that practice for about a year when COVID hit, shifting life for many globally. We went into home office mode, and I distinctly remember a lunchtime walk in the forest, reflecting on the importance of open landscapes, calm spaces, and my connection to nature. This experience helped me clarify my creative practice and the types of spaces I wanted to work on. Upon returning to the office, I sought ways to bring more of that connection to nature into my life. At the time, I was working on a private project in New Zealand from afar but had little work and almost no network in Switzerland or Europe. I decided to take a leap, starting my own practice while relocating from Basel to a remote mountain area in the French-speaking part of Switzerland.

I quickly realised the importance of connecting with people interested in the work I wanted to pursue. I knew I wouldn't be the architect recommended by someone's brother, uncle, or relative. Instead, I turned to social media to connect with like-minded individuals who appreciate beautiful spaces, landscapes, art, architecture, and cycling—one of my passions. I also engaged with other expats in Switzerland who, while here for work or family, lacked a local network and understanding of local processes. For the first year and a half, I primarily worked with expats in Switzerland. This led to some clients returning for second projects, such as work in their home countries, including Belgium. I've continued to leverage social media to connect, resulting in intriguing opportunities around the world, including cabins, villa and farmhouse refurbishments, and boutique hotels—varied projects that have come to me in unexpected ways.

A newcomer’s view of Swiss architecture

SH: Whenever I think about Switzerland and architecture, one particular event always stands out: while studying architecture in New Zealand, my family hosted an exchange student from Switzerland. Later, I did a university exchange in Paris, and on my way there, I spent a month with this exchange student's family in Switzerland. At around 20 years old, I remember one day when our exchange student Angela’s father took us to Zurich. He was thrilled to show me the site for the new opera house, passionately explaining the project's significance for the city and its anticipated design. His enthusiasm made me realise how highly regarded and understood architecture and architects are in Switzerland compared to New Zealand, and how open the discussions about architecture are—factors that likely contribute to this valuation. That encounter has always resonated with me and is part of what makes Switzerland a fantastic place to be an architect. 

The most significant difference I’ve found between New Zealand and Switzerland is the maturity of the building culture. New Zealand has a relatively young architectural history, lacking a distinct urban form or architectural identity that says, ‘This is New Zealand.’ As a result, we often look to Europe or America for inspiration, constantly seeking to innovate or improve upon existing ideas. Historically, there has been minimal renovation work; however, that is beginning to change. In contrast, Switzerland boasts a rich architectural tradition with a well-established profession. Here, the roles and responsibilities of architects and other built environment professionals are clearly defined, reflecting the rigour that characterises the practice of architecture.

Tailored perspectives for Switzerland

SH: One thing I often reflect on is the fresh perspective I bring to my work, particularly as I frequently collaborate with other expats in Switzerland. Many of my clients are unfamiliar with the Swiss way of doing things, and I believe I can offer a more integrated approach than a standard architect in the region. My perspective allows me to think holistically about projects, especially during the transition into interior architecture, which is sometimes overlooked at the project's conclusion. I guide clients through the entire process with a strong focus on achieving their end goals. I've always been introspective regarding my practice and creative processes, considering the environments that foster my best work and the lessons I learn from various experiences. When I established my practice, I recognised it as an opportunity to envision what I wanted my life to look like and the contribution I wished to make to architecture. This journey often involved learning from the practices I had previously worked in—understanding how to attract clients, manage finances, and prepare presentations for competitions. However, it also meant critically assessing those experiences. I would think, ‘This approach worked well in that context, but in my situation, I’ll do things differently. I want to cultivate a relationship with this client that is grounded in a distinct set of values and expectations.’ Sometimes, it even inspired me to pursue opportunities that I might not have been considered for if I had approached them in the same manner as a larger firm.

Culture, materiality, and craft

SH: In Switzerland and throughout Europe, my work is deeply connected to specific places, aiming to create an experience that celebrates the location—encompassing everything from the food you enjoy to the activities you engage in, and how a person interacts with the space. In the hospitality sector, this contrasts with more commercial hotel projects, which often prioritise profitability and the design of a money-making building.

Regarding history, craft, and materiality, I am particularly attentive to the atmosphere that a building creates—both in terms of the external experience and the internal ambience. For me, this encompasses how the building unfolds in front of you, how you navigate through it, and how it interacts with the seasons and the surrounding landscape. Nothing should appear out of place; it should feel humble, discreet, and harmonious within its environment. Local culture, materiality, and craftsmanship are integral to my approach. I dedicate significant time to understanding traditional construction methods and authentic ways of building, orienting, and creating different elements that feel anchored in their location. However, I'm also bringing something new to it, a new vision—creative thinking that’s grounded and adds another layer to that history rather than turning its back on it.

Whenever I visit a new place, whether for a project or a personal trip, I always conduct research—documenting my experiences through photographs and notes. This process is both intellectual and sensory, allowing my body to absorb the feelings evoked by the environment. When working on a project in a specific location, one of these three aspects often leads the design process. 

Balancing an international client base

SH: The first two years, most of my projects—I'd say 60%—were in Switzerland and 30% were in New Zealand, and there was a project in Spain, too. I was Swiss-based, but most of those clients were not Swiss people but expats who'd come to Switzerland and were doing renovations or additions. At the same time, I was working on new-build residential projects in New Zealand, which required working at either end of the day to have Zoom calls in the right time zone. But in some way, that New Zealand work was easy for me because I understand the construction regulations and how to put a project together, and I have the same cultural background as the client. For every project outside of New Zealand or Switzerland—whether in Spain, France, Italy, Belgium, or elsewhere—I always collaborate with a local architect. They are responsible for handling local permits, sign-offs, and ensuring compliance with local regulations. Currently, I’m focusing on building lasting partnerships that can extend across multiple locations. This approach allows us to carry the lessons learned from one project to the next, ensuring continuity and avoiding the need to start from scratch each time.

Over the past year, I’ve begun working on several projects spread across Europe. One project is in Spain—a hotel that we’re developing in stages. In Belgium, I’m working with a client I previously collaborated with in Switzerland. Additionally, I have a project for New Zealand clients located in France. Closer to home, there’s another project on Lago Maggiore, just across the Swiss border in Italy. These experiences have prompted me to focus more on local materials and methodologies, deepening my understanding of different regions and their crafts through research and exploration.

Projects that represent Sophie’s spirit

SH: A representative project is a hotel I’ve been working on in Catalonia. It’s set in an old masia, a grand country house. We transformed several rooms on one level into guest accommodations, and last year we focused on the restaurant. This year, we’re working on another floor of rooms, with possible plans to develop cabins in other areas of the site. What’s fascinating about this project is that when the clients purchased the house, it was filled with centuries’ worth of family objects and heirlooms, collected over time. As we walked around the property, we continuously discovered niches, nooks, and hidden rooms, creating a real sense of wonder as I explored the space. Working on this project required balancing the transformation of the property into a hotel—a space where guests, by nature, will only spend a short time—with preserving the intimate sense of history and privacy that the family once shared. It’s about creating a space that feels personal and connected to its past, even for those who will only experience it briefly. 

Additionally, a key challenge was integrating modern requirements—like individual bathrooms, air conditioning, and other complexities of contemporary living—into a very old stone structure. This required meticulously mapping the existing materials and construction, especially understanding how the traditional Catalan vaults in the ceilings were expressed. This informed the layout of the rooms below, ensuring that when we added new walls and bathrooms, everything still felt natural to the space. This careful approach extended to the materiality and craftsmanship of the project. When incorporating new elements or finishes, we collaborated with local artisans and stonemasons. We also worked with a local furniture and lighting company that crafted terracotta lights, glazed by another local artisan. This allowed us to introduce a new level of craftsmanship while staying true to the original materials used in the building’s construction.

I’m currently working on a new house in the north of Auckland, situated on a peninsula overlooking the Pacific Ocean. It’s a beautiful site that was cleared for farming, and we plan to regenerate much of it with new plantings. What’s particularly interesting is that there’s little built local history to draw upon. There isn’t a tradition of buildings in this area, and from the site, you can only see two other structures—both of which are new. In many rural projects in New Zealand, we often reference the concept of a shed—something simple, like a shelter for animals. For this project, I’ve been exploring the idea of creating a humble, long, and elegant form that blends into the gentle contours of the landscape, while also having depth. This project marks my first opportunity to bring some of the principles I’ve absorbed during my time in Europe back to New Zealand. I’m reimagining the simple farmhouse shed typology, incorporating elements that feel more European, yet still connect with the site. My aim is to create a structure that feels more embedded in the landscape, fostering a deeper, more enduring relationship with its surroundings, rather than merely sitting lightly atop it.