It’s not every day that you get to step inside a sculptor’s studio. Even less so when that sculptor works with something as hard to explain as sensations, intuition, and a very particular way of understanding space.

In the Martutene neighborhood, on the banks of the Urumea River, San Sebastián-based artist Íñigo Arístegui has set up his studio. To reach it, you must walk down a hidden alley that leads to an open space, a sort of stable or inner courtyard. There we are greeted by EsPAZio, a work that invites reflection by recalling tragic events such as the fire of August 31, 1813, the collapse of the Twin Towers, and the atomic bombs dropped on Hiroshima and Nagasaki. A full-blown reality check that forces us to look at ourselves in the mirror as a society.

After this project, we finally arrive at Íñigo Arístegui’s workshop, which could easily be mistaken for a welder’s shop. There, he welcomes us warmly and cordially to begin a conversation in which we try to gain insight into his creative process, his way of observing the city, and how the pieces that eventually become part of a home—such as our Prim,22 property—come to be. Because before it becomes a project, it all starts with a question: What should someone who enters here feel?

Hands, head, and heart

Íñigo Arístegui’s creative process is neither immediate nor superficial. It stems from a combination of technique, thought, and sensitivity that finds its fullest expression in a quote from St. Augustine that defines his approach to work: “He who works with his hands is a laborer; he who works with his hands and his head is a craftsman; and he who works with his hands, his head, and his heart is an artist.”

• The hands: contact with the material, the craft, the act of making
• The mind: structure, intention, language
• The heart: that which cannot be measured but determines whether a work resonates or not

Not to impose, but to discover

One of the most interesting points that came up in our conversation is his approach to a commission. Arístegui doesn’t start with a fixed idea. He doesn’t simply “place” a work in a space. What he does is something different:he tries to discover the sensibility of the place. “And once you discover it, you find the way.” This involves observing, exploring, and understanding.
Not just the physical space, but what it conveys. In the case of a home, that translates into something very concrete: what the person living there will feel.

Intuition as a tool

Unlike other more technical or rational processes, his has a distinctly intuitive element. There are no set formulas for deciding on materials, forms, or compositions. “There’s no logical explanation. They’re intuitions.” He even speaks of how each person or each space “exudes” something different—a kind of invisible language that he tries to interpret. An intuition, an instinct that doesn’t replace technique, but guides it.

You don't control the material; you guide it

Another key aspect of his approach has to do with his relationship with materials. In contrast to the idea of control, Arístegui proposes something very different: “You don’t have to tame any material. You have to befriend it.” Iron, steel, wood… each has its own behavior, its limits, and its possibilities. Trying to impose a form can ruin the work. Understanding the material allows the piece to work. It’s an approach that blends respect, craftsmanship, and experience. Because Arístegui isn’t just a sculptor: he’s a blacksmith, a welder, a carpenter, a mason… artisanal trades he’s developed as he’s carved out a long international career.

San Sebastián as a source of inspiration

The city comes up constantly in conversation. Not merely as a backdrop, but as an active part of the creative process: the Ensanche district, the Urumea River, the history of local trades, the relationship between architecture and daily life… Arístegui speaks of San Sebastián as someone who has lived there, not just observed it.

And that is evident in the way he constructs his pieces—pieces that, far from being abstract, are deeply connected to the place.

Create to evoke a feeling

When asked what he hopes people will feel when they enter a home featuring his artwork, his answer is straightforward: “That they connect with it. That they feel at ease.” He isn’t talking about visual impact or taking center stage, but rather something much harder to achieve: that the artwork helps the space resonate emotionally. The sculptures aren’t the focal point. They serve to enhance the experience of the space.

Four pieces, one common goal

In the project at 22 Prim Street, this approach has resulted in four distinct works, each designed for a specific moment within the home.

• Eguzki Lore (entrance):protection and welcome
• Besarkada (main area):hugs, energy, and a warm welcome
• Rowing Together (Dining Hall):Community and Shared Leadership
• FACE TO FACE (table):gathering and celebration

Regardless of their form, they all share the same purpose: to accompany the life that will unfold in that space.

The balance between architecture and space

There is one particularly interesting aspect regarding how the artist himself views his role in a project like this. He does not seek to take center stage. In fact, he states this explicitly: “If a piece carries too much weight, it is adjusted or even removed.” Because the goal is not for the artwork to stand out above the space, but rather tofit within it. That balance is likely one of the keys to the final result.

A way of understanding housing

This collaboration between Reditas Capital and Íñigo Arístegui is no coincidence. It stems from an understanding of housing that goes beyond renovation or investment. It has to do with the character of the property, its relationship with the city, and the experience of those who live there. In that sense, Arístegui’s work does not simply add aesthetic value.
It adds a deeper layer: meaning.

That’s why stepping into Íñigo Arístegui’s studio means understanding that art doesn’t begin with the finished work, but long before that. It begins with the way we look at, listen to, and interpret what a space can become. And when that process is applied to a home, the result isn’t just a well-designed space, but a place you can truly feel. That’s what Prim, 22 is all about.