A new hub for experimentation 

RR: Mexico’s vast potential as an emerging market spans tourism, hospitality, infrastructure, culture, and public sectors, creating a fertile landscape for ambitious architectural projects. With a rich architectural heritage and vibrant arts scene, the country offers a unique playground for experimentation—much less regulated than Europe—allowing for large-scale projects rarely feasible elsewhere. Having explored these possibilities while working with Zaha Hadid in 2012, I saw firsthand that Mexico’s appeal went far beyond any specific sector, revealing a dynamic and promising environment. While we maintain our UK office for its global reach, Mexico remains an exciting centre for innovative design.

NW: Through multiple visits, we were captivated by Mexico’s vibrant, multicultural design scene, similar to what we experienced in Beijing in the early 2010s —a creative hub full of diverse materials and regional styles. The freedom to experiment and explore various design approaches made Mexico an appealing ground to set a practice. We sensed an openness here that welcomed newcomers and fresh ideas.

RR: I completed my Master's at the Architectural Association in London in 2004, and during that time, persistence and determination were key to forging my career ambitions. I had no legal right to stay in the UK after my studies, so I tried every possible job while applying for architecture positions; I tried everything from being a rickshaw driver to working in catering and bartending. It took me a full year after finishing my master's to finally be on equal footing with other European architects my age or even younger. 

NW: I came to London in 2006, right at the time when Poland joined the European Union, at the time practices like Foster + Partners were hiring at an incredible pace, bringing in around 25 architects a week. The growth at the time was just unimaginable. I rode that wave along with many other architects from the rest of Europe who were moving to London to pursue their careers. 

When paths align

RR: We met during that time, and although we each had independent careers, we did work on some of the same projects. I worked at Foster’s office for two years while Natalia stayed for five. I eventually transitioned to work with Zaha Hadid, who had just been awarded the Pritzker Prize and whose work I was deeply passionate about. 

It was a fantastic time to be in London, both offices operated very differently with their own very established design methodologies, a strong work ethic, and distinct approaches to architecture. When the financial crisis hit in 2008, I was asked to relocate to Beijing to follow the first commercial building the studio ever built, the Galaxy SOHO. Natalia also moved to Beijing with Foster’s and we found ourselves working in the same city again.

NW: The Beijing office was small, having just completed the airport project, with around 10 people, mostly locals—and me. It was quite an experience. Moving there proved beneficial; in London, I was one of thousands, but in Beijing, I stood out as “the one from London,” frequently asked, “Can you design this?” and given significant responsibility, which I appreciated. Despite the long hours and challenges, I grew a lot. Eventually, I transitioned to Zaha Hadid Architects, where my background at Foster’s in project documentation and management made me valuable. Shifting from Foster's structured projects to Zaha's fluid designs was challenging yet rewarding.

RR: We were on the verge of moving to Mexico, as we had already been researching this market, however in 2012, an unexpected offer came through to join Jean Nouvel's office in Abu Dhabi for the site management of the Louvre Museum. I had always been an admirer of Nouvel’s work, and when the invitation came to apply for the position, it felt like a culmination of a phenomenal journey through the top of the architectural profession. 

Although the team was small, and our experience in China was highly valued, especially our ability to oversee the construction of very complex projects by a well-renowned architect. So, we decided to take the plunge and reset everything once again. There’s an adrenaline rush that comes with moving to a new country, where the language, religion, and climate are all different, and you're in a new office.

Time to fly solo

RR: One common thread among the three places I've worked at is the unwavering attention to detail, the passion for design, and the unwavering belief that what we were doing was meaningful. Design was never compromised; clients had a lot of respect for the work being produced and this instilled in us a strong sense of self-validation for our role as architects. Over 15 years, regardless of scale, context, region, or typology, we were trained at the pinnacle of architectural design; how as AIDIA STUDIO it is our duty to honor that commitment and continue the legacy.

NW: Once we decided to go solo, one of the biggest challenges was moving to a new place without a signed commission, leaving behind the safety of a regular paycheck. In London, we immediately started teaching to reconnect with academia and gain insight into architecture’s current landscape. We gradually entered competitions, networked, and knocked on doors. A significant milestone was winning the Sharjah Barjeel Museum for Modern Arab Art project, validating our path and confirming that our approach was being well received.

Another key benchmark was winning the bid for the Tulum Train Station, which although ultimately wasn’t built helped us establish a name and presence internationally. From there, we moved on to design a series of public projects in Mexico as part of the PMU projects (Urban Improvement Program ran by the Secretary of Urban Development), our first set of designs started to get built which after four years of proposals and competitions, marked a turning point. Seeing our projects on-site and seeing the people inhabit them and react to them has been a realisation that our choice had been worth it. Though we nearly quit at times, witnessing our projects come to life after years of effort has been a tremendous satisfaction.

RR: In 2019, we also won two second prizes in competitions organised by the Abu Dhabi Environmental Agency, the first one for the Flamingo Observation Deck, followed by the Oculus Eco-Lodge Resort in the Rub Al Khali desert in 2020, both of them very significant projects for the studio. Additionally, we secured the first prize for Converge, a high-end residential development in Tulum sponsored by Forbes, a shortlisted competition that we are currently developing.

NW: Working in the competition sector has been a constant in our careers, especially having worked for the three biggest names in Architecture. We've consistently engaged in competitions, meeting creative individuals worldwide, whether collaborating or competing. At the outset in 2018 we took a full year to focus on competitions and seize their opportunities. Reinventing ourselves in this way has been crucial, as working for others often means contributing to someone else's vision. While some practices offer more creative input, we’ve always valued the chance to shape our designs, which has been essential for the growth of AIDIA STUDIO.

Synthesising form and foresight 

RR: Our collaboration has a productive tension which is the source of our strength. With her architectural engineering background from the Gdansk Polytechnic School of Design, Natalia brings meticulous attention to detail, balancing my broader conceptual focus. This allows us to approach projects from distinct perspectives, meeting effectively in the middle.

One project that was significant to us was the art installation for Beijing Design Week in 2011. It explored strategies for redeveloping Beijing's historic hutongs, which face pressure from real estate interests. For the installation, we collected ceramic yoghurt pots from Dashilar Hutong, one of the oldest near the Forbidden City, and transformed them into a parametric light display suspended from a double-height staircase. The design combined local material familiarity with modern aesthetics, merging technology and context in a way that established our creative narrative. We value how data-driven insights enhance our designs, allowing them to feel local and contemporary.

NW: Context is central to our work, as each project has its distinct character. My passion for research drives me to start with an in-depth analysis of each location. We conduct climate studies to understand temperature variations, humidity, wind patterns and identify local materials. We also focus on the people who use the space, developing mood boards and color palettes that capture the regional essence. Before sketching, I aim to gather as much information about the area as possible. Rolando, on the other hand, prioritises biophilic design research through AI and parametric experimentation in his design approach. We then brainstorm and sift through the research until a compelling narrative emerges. 

Utopian visions

RR: We utilise climatic data and site analysis to inform our design process, focusing on the extreme conditions we need to address. We aim to ensure that architectural features are integral to the design rather than merely added as an afterthought for sustainability. While much of our approach relies on common sense, drawing from passive design strategies like natural ventilation and thermal mass, projects like the Oculus Eco-Lodge Resort present unique challenges. For this glamping pod in the desert, traditional thermal strategies were impractical due to the focus on views. Instead, we designed a protective skin that deploys to shield occupants during the day while enhancing their connection to the landscape. Recently, we have embraced biophilic architecture, drawing inspiration from nature in both form and performance. This approach fosters a connection between architecture and biology, leading to innovative solutions that harmonise the built environment with the natural world.

This marked a pivotal moment for our practice. With the Tulum Train Station project, we recognised an expanding public discussion on the sustainability challenges of constructing a railway through Yucatán’s fragile environment. Drawing from our experience in China, where train systems are swiftly growing, we knew the complexities involved. Furthermore, Natalia’s European background and my time in Europe fostered our appreciation for the beauty of trains and railway lines. This context raised essential questions about sustainability for us.

NW: Our aim was to create a typology that would suit the region without being too invasive. It was solely to understand the subject and propose possible solutions. We never anticipated it would attract so much interest. Working in the Emirates gave us experience managing challenges like humidity and temperature control in open public spaces—knowledge we aimed to share. In a sense, we felt equipped with solutions. Yet, this also reveals a certain naivety, as we haven't lived here for years. It highlights a gap in our understanding since, despite our confidence, we’ve been away from the region for quite some time.

RR: Having developed a prototype for a generic Train Station in the jungle, we reached out to the project's tourism board and eventually secured a meeting. We presented our proposal, and the director, an architect himself, immediately recognised its potential. He valued our background and experience, primarily how our design addressed the project's sustainability concerns head-on a subject which had been problematised in the press. Our plans demonstrated that creating a station sensitive to the environment and suited to its fragile surroundings was possible. This eventually led to the invitation to bid for the design of the Tulum Station. 

RR: If an architect loses their naivety and becomes cynical about their environment, or stops trying, that’s when stagnation begins. Entering a competition is, in many ways, an act of faith. The chances of winning are low, yet we find it valuable. For example, without that unsolicited train station, we wouldn’t have the experience of developing a transportation project, which has opened many doors in Saudi Arabia and China.

NW: Interestingly, we are now working on a chapel. We're focused on diversifying rather than specialising only in hospitality, transportation, or any one specific typology. Moving from transportation to hospitality to residential projects broadens our experience, enabling us to adapt to varying needs over time.

Design discourse

RR: Teaching has been immensely rewarding. I began in China with the AA Visiting School program, which provided a valuable platform to exchange ideas and build a discourse in architecture, focusing on areas like form-finding, biophilic design, digital manufacturing and parametric design. Upon returning to Mexico, I started teaching the digital design fabrication unit at my alma mater, Iberoamericana. Many of our current team members are former students, making teaching a great way to identify new talent. Teaching is also a learning journey—mastering a subject requires becoming an expert, it also makes you realize that teaching goes beyond tools; it’s about imparting a methodology and setting up a theoretical framework to guide a process. Only then can technology be used in an informed way.