Sebastián Domaniczky Arévalo is a Paraguayan architect and founder of SD+A (Sebastián Domaniczky + Asociados), a practice dedicated to architecture that integrates indigenous knowledge with contemporary methodologies. His work engages with ecological sensitivity, cultural identity, and ethical responsibility in shaping built environments.
Domaniczky Arévalo studied architecture at the Universidad Nacional de Asunción, where he developed a foundation in landscape integration and vernacular construction methods. His approach is rooted in contextual analysis, drawing from natural resources, geography, and indigenous traditions to create adaptive and inclusive spaces.
Under Domaniczky Arévalo’s direction, SD+A has developed projects that explore environmental and cultural sustainability. The Yvyrupa Cabins reinterpret Mbya Guaraní architecture, employing indigenous materials such as earth and wood to minimize environmental impact and establish a dialogue between architecture and nature.
Beyond practice, Sebastián Domaniczky participates in academic and professional discourse, engaging in workshops and seminars on global environmental change and decision-making, particularly within the La Plata Basin region. His work advocates for architecture as a medium that negotiates between cultural heritage and ecological imperatives, reinforcing the relationship between built space and its broader environmental and social contexts.
What inspires you?
Within the Latin American context in which Paraguay is situated, fostering transformation and creating inclusive opportunities is imperative. As architects, our role is to design built environments that enhance quality of life. This requires a deep understanding of the surroundings—natural resources, geography, vegetation, and landscapes—while also drawing from the ancestral wisdom of Indigenous communities. More than a mere source of inspiration, this knowledge serves as a foundation for developing smarter, more responsive, and ecologically integrated design solutions.
What inspired you to become an architect?
I followed in my father’s footsteps as an architect, immersing myself in the craft of design, art, and construction from an early age. From my mother, I developed a deep awareness of our local context—its political and social dimensions—as well as the ability to perceive the built environment through the lens of marginalized groups, Indigenous communities, and those in need. Today, this fusion of hands-on practice and critical reflection forms the foundation of our ethical approach to architecture and urban design.
How would you describe your design philosophy?
I conceive it from a biological and anthropological perspective.
From biology, as human beings, we are born in complete dependence on each other—our mother—without whose presence we couldn’t survive. This implies that our existence and identity depend on others. Based on this premise, we work with ethics as a fundamental principle that guides our practice, placing the well-being of others at the center, as an essential component of our own existence.
From anthropology, we draw on the Guaraní concept of “Yvyra ñe’ê” (flow of the tree of words), which symbolizes the origin of human language in listening to nature. This principle reminds us that we coexist through mutual respect and a deep connection with nature, the vital source of our existence.
The philosophy of our architecture, then, emerges as an expression of this recognition: we exist because we are in relation to nature and to others. Therefore, it is essential to build with an ethical perspective, ensuring the well-being of both people and the natural environment, which are the foundation and origin of our being.
What is your favorite project?
There are many projects that captivate my interest, and it is impossible to overlook the great works of renowned masters. However, if I had to choose one that fundamentally changed my perspective on architecture and landscape since my university years, it would be the Nordic Pavilion by Sverre Fehn. In this work, structural logic seamlessly resolves the architecture, all while maintaining a deep connection to the context of the Giardini forest. Fehn understands the control of natural light and shadow as key elements for regulating both the climate and the character of the architecture. Today, these values remain as the foundation of my thought process.
What is your favorite architectural detail?
Construction detail of the Nordic Pavilion project, which summarizes the ideas I mentioned earlier.
Do you have a favorite material?
We do not have a favorite material, as we believe the choice of material should respond to the specific conditions and circumstances of each project. The landscape, economy, time, budget, soil conditions, hydrological factors, labor availability, both in urban and rural contexts, the local idiosyncrasy in the use of certain materials, as well as the exploration of new, more sustainable materials with a lower carbon footprint, are all factors that influence our decision-making process. These elements serve as the starting point in our reflection when selecting materials for the construction of our architecture.
What is your process for starting a new project?
We begin with a thorough analysis of the context, both in urban and rural settings, to establish the core idea that will guide the entire development of the project. This process is iterative, characterized by constant reflection and the formulation of key questions that the project must address. Throughout this journey, we maintain as a fundamental premise to our commitment in creating high-quality architecture, capable of adapting and responding sensitively to its context.
How do you balance function and creativity in your designs?
We believe that architecture should not be thought of exclusively from a functional perspective, but rather as a sum of multiple factors. Solving a specific functional problem is not the ultimate goal of architecture. The Modernist movement and its functionalism were linked to a model of time distribution: 8 hours of work, 8 hours of leisure, and 8 hours of rest. This fragmented human life into three functions, understanding only a logic based on productivity and commerce. We believe this is not the model of the contemporary human being, as we believe our time should be a lived experience, not just mere survival. It is essential to aspire to a type of human being capable of living more dignified lives, and not merely as a machine that produces economic benefits and consumption. Function, therefore, is the result of reflection on the type of human being we aspire to in our time.
What inspired the Yvyrupa Cabins?
The Yvyrupa Cabins were designed under the premise of a profound connection with nature, drawing inspiration from the traditional architecture of the Mbya Guaraní. Respecting the natural configuration of the forest, the spaces have been arranged in pre-existing clearings, minimizing environmental impact and promoting a harmonious dialogue between the built environment and its surroundings. The use of indigenous materials such as earth and wood not only strengthens the sustainability of the project but also enhances the sensory experience of the visitors. More than just a collection of accommodations, Yvyrupá is an architectural manifest that reclaims dwelling as a humble and poetic act, where nature is not a decorative backdrop but an essential and inseparable element of the design. The integration of the landscape, the simplicity of the forms, and respect for cultural identity make this project an outstanding example of sustainable architecture that is sensitive to its environment.
What advice would you give to young architects?
Working from an ethical perspective, understanding that architecture is not a consumable product nor a means for personal gain, but rather the materialization of human dignity. In this sense, it demands a deep commitment to the creation of more just societies that respect the coexistence between human beings and the natural environment in which we live.
