An architectural renaissance unfolds

SM: From our point of view within Mexico, we can sense a palpable surge in architectural activity, a sort of boom that's been steadily building momentum over the past decade or so. It's a phenomenon that can’t be attributed to economic factors, as the stability of the Mexican peso doesn't necessarily indicate an economic boom. It's not tied to a political change, either. I believe it's closely linked to the flourishing tourism industry and the emergence of hotspots like Mexico City. This trend mirrors similar occurrences in other countries like the Netherlands and Spain, where certain factors within recent architectural history seem to have laid the groundwork for such growth. It's a fascinating enigma, and it prompts us to ponder why Mexico is now making such a resounding impact on the global architectural stage. Another aspect to consider is the freedom architects enjoy in Mexico compared to places like the United States. Here, regulations are less stringent, allowing for more creativity. Take Felix Candela's experiments with concrete, like the Palacio de los Deportes, or the ultra-brutalism of Abrams-Savludovsky and Teodoro Gonzales de Leon. This leniency, combined with access to skilled craftsmanship and affordable labour, creates fertile ground for architectural experimentation and innovation.

JF: I think we're witnessing a generational shift, a response to years of monumental projects characterised by grandeur and excess, epitomised by Spain's infrastructure ventures and China's ascent as a global hub. The subsequent economic downturn forced a recalibration, prompting a return to architectural fundamentals, a reconnection with local contexts, essentialism, and a more intimate scale. In this evolving landscape, Mexico stands out, uplifted by financial stability yet tempered by controlled budgets. Architects here embrace manual techniques and exquisite craftsmanship, once ubiquitous but now rare in more industrialised or cost-prohibitive settings. Moreover, Mexico boasts a rich tapestry of indigenous and colonial art and architecture, a cultural heritage that enriches our creative palette. It's this convergence of factors that positions Mexico as a fertile ground for architectural innovation and expression in the present moment.

AT: It's not just architecture experiencing a boom in Mexico City. Across various artistic fields like jewellery and art, there's exceptional talent producing remarkable work. I agree with what Jofa mentioned about our generation being in crisis. In Mexico, we've had to find creative solutions not only in our designs but also in our approach to business models and project execution. It's about innovating at every stage of the project, not just during the design phase.

SM: It's indeed remarkable to see the talent emerging from the architectural community in Mexico. Many architects have ventured abroad, gained invaluable perspectives, and returned with new skills and expertise to contribute. While we haven't been actively involved in academia lately, we've observed shifts in the direction of various universities in Mexico City, with politics playing a significant role. Despite these challenges, there's an abundance of talent graduating from these institutions, with many individuals returning from abroad to make powerful contributions to the field. The idea that coming back to Mexico offers more opportunities to apply their knowledge and contribute to the improvement of cities like Mexico City resonates deeply. This sense of belonging and the desire to make a positive impact in their home country motivates architects to bring back the expertise and skills acquired from their international experiences.

From niche to notable

SM: When we first kicked things off with the office, it was pretty much just me. We carved out this little niche within the construction company, kind of like a project area. Think of it as a different business model within the same space. At that time, we were dipping our toes into some architecture projects. Then Jofa (José Miguel) came on board. We had this amazing synergy, bouncing ideas off each other, and everything just clicked in the most incredible way. Eventually, Alejandra and I tied the knot, and we began to toy with the idea of having our own little architecture venture. She started spending time in the office, and it turned out she and Jofa got along very well. It all happened quite naturally, and interestingly, we all came together somewhat by chance. What we realised is that our skills and talents complement each other well. We don't step on each other's toes; instead, we each have our unique role in the office, and it just works. And that's essentially how HEMAA came to life. Reflecting on the past 12 years we've worked together as HEMAA, I'd say one of our most significant and formative projects has been  Ferrocarril de Cuernavaca 780. This project is very representative of our entire career because it presented us with a highly challenging plot full of restrictions and complexities. We decided to dive into it without overthinking. It consumed over eight years of our time, demanding our utmost effort and creativity. Seeing this project finally come to completion after these times of complexity and seeing it finally activated is incredibly gratifying.

JF: Indeed, the recent years have brought us many challenges, each translating into valuable learning experiences. We've gained a deeper understanding of our practice, the market dynamics, and how to adapt to sudden changes, particularly due to the pandemic. The shifts in sectors like commercial real estate and corporate buildings were abrupt and demanded extra effort and creativity from us. One of our key accomplishments was transforming a building initially intended solely for corporate use into a more hybrid, mixed-use space. This adaptation wasn't just a necessity; it turned out to be a more intriguing and dynamic approach. It's a private building, and seeing it evolve in this way has been a source of great pride for us.

AT: We're still absorbing and processing everything that's unfolded over the past three years. Amidst it all, our trio has formed a solid bond. What truly solidified our partnership were the tough times; they revealed each other's true character and how we complement one another in facing challenges. We draw strength from each other, filling in the gaps where needed. Our journey began with our first development project, stepping into the role of a promoter for the first time. At that time, we believed we could handle every aspect of a project, from design to fundraising, construction, and selling. It was when we truly discovered each other's strengths, which still guide how we naturally divide tasks in our practice today.

Developing financial frontiers

SM: The decision to engage in this very challenging path, as we said, developing a building of such scale and complexity, resulted from some deep reflections on the intricate and delicate nature of the architecture studio business model. We invested significant thought into it, realising that at times, we were undervaluing our work, essentially transferring value to our clients. There was a particular project we poured our hearts and hours into, a house we were immensely proud of. Yet, just two months later, someone offered the client double what they had invested with us. It was a wake-up call, highlighting the inherent limitations and fragility of our business model. We realised that while our payment was fair, the overall model lacked generosity and profitability. It took time and some tough sacrifices, but we eventually understood the need for a shift. We began involving family and friends in new projects, seeking private commissions, all with the aim of stabilising the economic foundation of our office.

JF: The biggest challenge for us as architects was reconciling our passion for creating exceptional spaces with the realities of economics. We love what we do, but we also need financial freedom within the architecture business model. The solution came in balancing our involvement across design, construction, and development. This approach allowed us to pursue our passion while also ensuring financial stability.

SM: The level of risk involved is significant when you're entrusted with other people's investments. However, as Jofa pointed out, projects like Ferrocarril de Cuernavaca wouldn't have materialised if we hadn't taken charge of the investment and guided investors with a long-term perspective. Despite not aiming to be extravagant, the project was deeply compromised from the start. It navigated challenging times, including a pandemic and market shifts, requiring tough decisions with clients and investors. Through it all, we gained invaluable experience and learning opportunities while never losing sight of our passion for architecture, attention to detail, and our responsibility to enhance the urban landscape.

JF: At the project's inception, we had initially budgeted a certain amount. However, due to the pandemic and subsequent inflation, costs skyrocketed, nearly doubling our original estimate. Faced with this challenge, we had to make a pivotal decision: scale back the project, compromise on its significance, or persevere and secure additional funding to enhance its quality despite the turbulent times. Fortunately, we were surrounded by a supportive network of people and mentors. One of them, midway through, encouraged us to stay the course and not compromise, emphasising that great architecture ultimately yields returns. It was a difficult decision, but we ultimately chose to press forward. We're now delighted with that choice and the successful completion of the project, which is exactly as we envisioned. Throughout, our constant struggle was to do what was right. This didn't mean overspending but rather seeing the project through to its rightful completion, knowing where the finish line lay.

AT: This was also a journey of self-reflection, an exercise in self-criticism. We wanted to ensure that our decisions were not solely driven by our architect's instincts, potentially leading investors to overspend. Our aim was to be both rational and uncompromising in achieving the final outcome of the building. We've seen too many developments start with grand ideas only to see them gradually erode due to short-sighted financial decisions. Avoiding this pitfall was one of our primary struggles. Benjamin Romano, our former university teacher, known for his work on Torre Reforma, played a significant role as a mentor during this process. Seeking his advice was pivotal for us. Throughout this journey, we've come to appreciate the value of guidance from colleagues and mentors. We've maintained ongoing conversations with friends, fellow architects, and teachers, discussing the challenges of our profession. This continuous dialogue not only helps us understand the business model better but also provides insights into how the entire system operates, allowing us to deliver the best outcomes from our office. Talking specifically about Ferrocarril, we felt a profound sense of responsibility as architects. We recognised that we held the city's future in our hands, tasked with contributing to its improvement. Budget concerns weighed heavily on us, especially since we were not just designing but also constructing the building. We understood that the structure would become a permanent part of the city's landscape, and as architects, we bore the responsibility of leaving behind the highest possible quality. 

Depth over dazzle

SM: Our office philosophy revolves around prioritising the development of a good project over pursuing mere originality. We don't chase after Instagram-worthy designs or seek out "money shots." Instead, we firmly believe that every project has its own inherent originality. We're not fans of rushing ideas; we value profound and thoughtful concepts. This mindset is why we often refrain from participating in competitions in Mexico; we prefer to focus on cultivating deep ideas rather than producing quick ones. We often share a quote from David Lynch's book on transcendental meditation, where he aptly expresses, "If you want to catch a big fish, you've got to go deeper." This resonates deeply with us, as we believe that profound ideas lie beneath the surface, waiting to be discovered. When working with clients, we emphasise the importance of delving deeply into each project. We don't believe in presenting multiple options; instead, we dedicate our limited time to thoroughly exploring every aspect of the project. Our designs are the result of in-depth conversations with our clients, and we steer clear of replicating typologies or material choices without careful consideration. In our practice, we like to adhere to certain assembly norms. Sometimes, we find ourselves balancing the project with various relationships in mind. Other times, it's all about proportions, be it a two-to-one ratio or the revered golden ratio. We strive to infuse rhythm into our architectures, ensuring legibility and understanding within the structure. These principles are integral to our design ethos, reflecting our approach as a design office. However, we approach each commission with utmost seriousness, believing that each project deserves its own unique identity and outcome. 

AT: We're really tuned in to this idea. I'm not sure if ‘comfort’ quite captures it, but it's all about how our clients will really feel and engage with the space, both inside and out. We're meticulous about the views, the windows, and how they seamlessly connect the inside to the outside world. It's about creating this beautiful vibe, this sense of home. We're all about our clients experiencing those magical moments within our projects. That's why, honestly, we're not rushing to nail down a specific form or mass right off the bat. We're more focused on envisioning how the space will be inhabited from the inside out.

SM: It’s definitely an inside-out approach for us. We place a huge emphasis on framing the landscape, capturing the essence of the trees, and choreographing how the sunlight filters into the house or project throughout the day. These discussions might sound like standard architecture talk, but we genuinely believe that the heart of architecture lies in how it's experienced from the inside out. Sure, the external appearance matters, but we reckon about 90% of the time, you're living and breathing the atmosphere from within. So, we're careful not to let things like diagrams or model-making overshadow our focus on crafting spaces and architecture that truly connect with the people who inhabit them.

JF: We've never stood for a linear approach, we would rather embrace the complexity of each project. We tend to layer our projects differently, diving deep into aspects like sustainability for one, while another might focus more on the historical significance of the site and its industrial past. Each layer reveals a new dimension or story, shaping our approach uniquely for each project. As much as we thrive on this organic development within our office, we're also aware of the need to systemise things further. However, we acknowledge that there's a certain magic that happens organically, with ideas flowing seamlessly between us after years of collaboration. Finding that balance is our current challenge. After a decade or so of working together, it's only natural that we've developed our own way of doing things, almost instinctively. Sometimes, we don't even need to verbalise, we just get each other. But now, we're exploring how to link that organic flow with a more structured approach, keeping the magic alive while ensuring efficiency and consistency in our work.

Harmonising design with nature

SM: The Pabellón de la Reserva, Reserva Santa Fé was quite captivating. We were blessed with one of the most stunning sites we've ever had the pleasure to work on: nestled next to a lake, surrounded by an enchanting forest, just a short 20-minute drive from Mexico City, and moreover, a lovely client. We faced the significant responsibility of crafting a small space that would exude comfort while allowing people to immerse themselves in the beauty of the surroundings. Moreover, we aimed to embody the new development's philosophy, which starkly contrasts with typical urban expansion, tasked with communicating the ethos of sustainability through our design. It's more than just a development; it's a community, and they're completely committed to it. Our discussions with them made it clear that sustainability was at the core of their ethos. As architects, we were already well-versed in sustainability responsibilities, but this client took it a step further. They were determined to make this project the first Living Building Challenge building in Latin America right from the outset. It wasn’t easy. We embarked on an exhaustive journey, documenting every aspect of the project down to the last nail and material process. Since completing the project, we've seen signs of regeneration, with new wildlife returning to the area, including ducks, frogs, and snakes. It's incredibly rewarding to witness the project's real impact firsthand. Our relationship with the client remains strong, and every time we visit the site, we're filled with a deep sense of fulfilment, witnessing the vision we crafted together with the client come to life. 

JF: It's truly a community that embodies what's important today. With 90% of the land's forests preserved and efforts to restore water to its original locations, it's setting a remarkable example. Additionally, the nearby Otomi community, partners in this initiative, were benefiting economically and improving their livelihoods. Connecting with the community was vital; we delved into their origins and diverse cultural perspectives. Conducting a biophilic tour and gathering insights and materials from the community and the forest was essential. We collected mushrooms, plants, and hues to inform our colour palette. This project was fascinating because it demanded a deep understanding of the site. It's a beacon of positivity in our current landscape, demonstrating how to coexist harmoniously with nature.