A rising multicultural Mexico

EP: Here in Mexico there are numerous new offices that can create many things that could not be  possible in other countries. This is due to our close relationships with artisans, known as maestros, which are normally professional workers such as blacksmiths, carpenters, masons, among many others. Their traditional background puts together years of knowledge which results in very unique solutions not possible in many other places. 

PG: At a larger scale, there are macroeconomic factors to consider. In recent years, many international communities have come to Mexico, providing exposure and validation of what is happening here. This has been occurring for approximately the past 4 years in which the country has become a popular destination, not merely because it is currently fashionable, but because it is now gaining visibility.

EP: The lack of regulations is also a significant factor. For example, after the COVID pandemic, when all countries were in complete shut down, many foreigners came to Mexico because there was not any control nor prohibitions. This led to a surge of digital nomads coming to Mexico after the pandemic. Once they were here, the absence of rules  and the promotion of businesses such as Airbnb attracted international communities because they could stay as long as they wanted without consequences. If they stayed longer than permitted, they only had to pay a small fine in pesos, and they were off with local authorities

PG: Mexico has recently become a multicultural hub, allowing for a great deal of diversity by mixing craftsmanship and tradition with technology and globalisation. This unique blend has given Mexico a special appeal. For instance, our office has lately received several commissions for the hospitality sector, which reflects the tourism boom and Mexico's growing international prominence as a top tourist destination. 

EP: Indeed, we've been working with hotel groups to create a new tourism experience, focusing on eco-tourism in natural places with very low impact and low density. Tourism is a key factor in Mexico's current boom. During COVID, people could come to Mexico and live almost freely. Many realised the need for open spaces and they moved to remote areas, contributing to the growth of  Mexico as a tourist destination. 

Embracing flexibility in rural contexts

PG: In recent months, we have been working mainly outside Mexico City, although most of our projects in the first few years were based there. It is difficult to pinpoint a specific location for most of our work because we usually go wherever the projects take us. We are not a large or consolidated office that can choose projects based solely on location. This flexibility provides a great opportunity to grow with the projects and learn about different places. It allows us to expand our understanding of architectural practice beyond just urban or city work.

EP: These projects on the outskirts present a different challenge because, for most of the projects we did in Mexico City and surrounding states, we managed to do both design and construction. In places like Yucatán, Oaxaca, or Baja California Sur, it is more difficult for us to handle the construction ourselves. We normally seek local contractors and carry on with a periodical supervision or, which we haven’t done before, bring our team to the site. Having these new projects all around the country  is positive but requires new approaches to get the work done, dealing with issues that are different from building in the city. It is both challenging and exciting. As a small office, we have to handle everything ourselves. Sometimes, we act as constructors, lawyers, accountants, and designers. We need to be versatile and not limit ourselves to just one role, such as only designing or supervising construction.

Crafting careers through collaboration

PG: We studied together and that is where we met and discovered our shared interest in architecture and other subjects. After that, we returned to Mexico and continued our studies. One of us received a commission for a restaurant, and we decided to collaborate on that project. Although we never built the restaurant, it served as a practical exercise to test our collaboration and apply the knowledge we had gained during our studies. This happened during our final semesters at university.

EP: We were both working in different offices when this commission came. Even though, we never got it built, we met a developer during this process. The restaurant was planned to be in a commercial building developed by this guy so he started giving us commissions for other projects he had.

PG: These commissions were mainly focused on building and getting things done rather than design. This was a significant milestone for us, as it gave us valuable experience in construction itself, not only in design. While our interest in design and architecture was always present, this experience awakened a deeper interest in hands-on work and construction. Following this, we received other types of commissions. First, we worked on an apartment for an artist in the south of the city, followed by  a project for a 19th-century building in Puebla called El Parral which is currently being built. This allowed us to blend construction, design, and architecture, which has become a defining feature of our practice. Our work involves a close collaboration between hands-on craftsmanship with maestros and the more technical aspects of design and architecture. This balance between artisanal craftsmanship and technical design is what characterises our approach.

We started receiving commissions for new builds a couple of years ago after mainly working on renovations and interventions. About two years ago, we began designing buildings from scratch. This became possible due to the experience we gained in the first years.

EP: From the artist’s apparment project, we developed an interest not only in completing the space but also in designing various elements within it. For example, we started creating lamps, light switches, and furniture, aiming to be as multidisciplinary as possible. We approached design holistically, focusing on both the architectural space and smaller objects like ashtrays and lamps for the apartment. This approach is something we continue to practice. We think about architecture in a comprehensive way, not limiting ourselves to just designing buildings. We see architects as designers and creatives who can be involved in projects of all scales, from small objects to large structures.

PG: We are a young office, and everyone on the team is quite young, too. We focus on getting things done by asking questions, investigating, and making the best use of available resources. We also involve technicians or maestros, who may not be experts but have a deep, practical understanding of how things work in a vernacular context. We often create full-scale models. For example, if we are designing a lamp, we collaborate with our black smith to make mock-ups and see what adjustments are needed for it to work. 

From theory to craftsmanship

PG: We are located in the central part of Mexico City. I see Mexico City as a place where you can find everything from the most expert façade specialists to small ateliers creating individual pieces of aluminium. It is a mix where craftsmanship and technical knowledge blend, forming a vast hub of opportunities. Our office is in Roma Sur, a very central area. Here, you can find many specialised places working on various things alongside large offices. Our office used to be a sportsclub in the 1940s called Club Deportivo Condesa, and now it is mainly a creative hub. We have a lot of open space, which is quite rare in this city and this part of town, offering us a quiet environment. We take advantage of this space by engaging in hands-on work with full scale mock ups.

EP:  Some of the perks of our current space is we can take a piece of chalk, draw the space on the floor, and assess its size directly, determining if it’s too big or too small. This hands-on experimentation is invaluable, allowing us to visualise and adjust the design before finalising it. Having the whole team involved in making mock-ups adds significant value. For instance, we did a prefabricated curved pavilion in the empty swimming pool outside our office. The project had a circular structure and the pool space was perfect for our testing. We need to ensure that the curved glass fit the structure so we completely built it for the glass provider so we could take the exact measurements the curved glass had to have We have a very close-knit team of workers who understand our ideas perfectly with just a simple drawing. They have specialised skills and the confidence to get things done efficiently. For instance, if we need to weld, bend, cut or saw something, they bring all the necessary equipment here.  This allows us to work alongside them, make adjustments, and solve any issues immediately.

PG: In the end, they end up designing with us hand in hand, which is quite enjoyable. After finishing architecture school and starting real-life projects, you realise how little you actually know compared to  the maestros. Many of them have been in the trade for years, often following in the footsteps of their fathers or grandfathers. This ancestry knowledge in hands-on experience is a very valuable learning process for us.

Respecting a hands-on harmony

PG: The name of our office is oioioi: The word itself doesn't mean anything in particular. It's not a binary code or anything like that. Our name offers a more abstract vision of the team. It's not about one, two, or three people; it's about the entire team. We focus on architecture, design, and construction, but our name doesn't confine us to a typical architectural practice. It keeps us from being boxed into a conventional label.

EP: We make it as multidisciplinary as possible, working on projects from small to large scale. The name “oioioi” is unrelated to any specific field. It could suggest accountants, lawyers, designers, architects, or anything else. It does not limit us to any particular identity.

PG: Two concepts that best represent our approach are hands-on and teamwork. Our collaboration focuses primarily on working with people on-site. These individuals end up designing with us, and we integrate their practical insights into our work, enhancing the material aspects of our projects.

EP: We always strive to be realistic and true to the place in terms of materiality. For example, a few months ago, we worked on a hotel project in Mérida, housed in an old historical building. Our approach was to avoid altering the building itself. We created a new structure within the existing walls, leaving them untouched. Similarly, for a nearby gallery with a typical 1930s pasta floor (a type of decorative tile), we built a structure above the floor to preserve it. We don't aim to conserve by simply avoiding contact but seek a balance between respecting the context and realising our vision. We avoid replicating existing elements in a way that feels caricaturesque and inauthentic. For example, if there is an old floor, we do not replace it with a new one that mimics the old style. We respect both the historical and natural contexts of our projects.

PG: That's where our persistence comes in, which has been a common theme in our work. Given the location of our office and the fact that it is quite new, our first projects were renovations. We had to deal with existing structures a lot, which was a significant challenge for us.

A meticulous home

EP: We have also been working on new projects, such as a house in Malinalco, in the outskirts of Mexico City. The place is surrounded by mountains, and the natural landscape serves as the main player.. Whether the context is historical or natural, we always consider the surrounding elements that inform the project. It’s about understanding and respecting the context rather than imposing our design on the place.

PG: It's about finding the small scenes, rituals, or moments in architecture that create an experience of the space. This might be why we enjoy designing details like doorknobs, downspouts, or lightning fixtures. These elements provide a sense of experiencing the space as unique, very site-specific, and custom-made to the site and the experience we aim to create within each project. The house in Malinalco is primarily made of stone and concrete. It has been an entire experience because we have been dealing with very detailed and tailored work on-site, which was new for us. The time, sacrifice, and attention to detail required for each corner is something we have never encountered before.

EP: We discovered that Malinalco has abundant stone and skilled stonework, so we built the entire house from stone and concrete. The stone walls are structural, so we had to plan everything before construction began carefully. Once the stones were placed, we had to ensure all preparations and installations were done first, leaving little room for mistakes or corrections.

PG: This approach is quite the opposite of our usual practice, where we make many decisions as we go along. This project required everything to be planned in advance, making it a complete challenge for us.

Broadening horizons

EP: We will continue doing both small and large scale projects, without limiting ourselves to just residential, public space, or interior design.

PG: We aim to maintain a broad spectrum of architecture that is as multidisciplinary and flexible as possible. The more adaptable the office is, the better. This approach is also reflected in our name, oioioi. We don't know where we will end up, but we believe this flexibility will guide us.

EP: It's interesting to always have external inputs. Even in an office with a team of seven, ten, or twenty people, it can become quite repetitive and cyclic. Collaborations bring fresh perspectives. For example, we've worked with Tony (Antonio Morodo, founding partner of MRD) on office projects, with our friends Hermanos Koumori, who have a clothing brand, and with Arturo López-Ayala  Spanish architect we met in a workshop led by Anne Holtrop in Mexico City, creating a proposal for a pavilion. Working with new people and approaches enriches our process and prevents us from getting stuck in one way of thinking.