Artistic revival in architecture

GO: Mexico’s boom is due to a mixture of several reasons. The strongest one, I believe, is the growing middle class in Mexico over the past 10 or 15 years. This, combined with the real estate business becoming more serious with new touristic places and efforts to make cities more welcoming to a global audience, has led to significant changes. Consequently, architectural firms are starting to become more relevant. Additionally, in the past 15 years, the number of architects in Mexico has increased significantly. We are all looking for better jobs and new opportunities. For instance, in Guadalajara, 20 years ago, there were about four universities. Today, we have more than 15. This means the number of architects looking for jobs every six months is increasing. Furthermore, we have a larger population and more opportunities to build or participate in the development of buildings.

In the artistic realm, Mexico is experiencing a renaissance. After Luis Barragán won the Pritzker Prize in 1988, many firms, especially from Guadalajara and Mexico City, fell into a period of numbness, attempting to replicate Barragán's work. They ignored Barragán's most important advice: “Do not do what I did; see what I saw”. Now, people are beginning to understand his legacy in a different way. Given the way we construct and design in this part of the world, it is crucial to understand our relationship with both artisans and artistic practices, not just fine art but also artisan craftsmanship. The world is starting to look at Mexico again, and I believe we are emerging from this period of artistic numbness. While we have always been prolific artists, we are now showcasing our work more effectively. Architecture is being enriched by this artistic revival, and we are making the most of the opportunities available. At the moment, Mexico is currently a wonderful place for an architect to be.

Crafting culture through construction

GO: Our practice is based on an artisan building method. We construct our houses and buildings by hand. From a very initial stage, we become accustomed to working with people who are skilled in manual craftsmanship. For example, to create authentic architecture, we use local products made by local artisans. These can include clay flooring, pottery, or the type of plaster used on our walls. We avoid industrialised processes in woodworking, metalworking, and even structural work. We always collaborate with people who use their hands, with expertise often passed down through generations. A skilled woodworker, for instance, is likely the son of another skilled woodworker. To achieve a high level of design, we need to learn from these artisans and understand how to work as architects so our proposals make sense within their context. It would be impossible to understand architecture or construction in Mexico today without including all the handwork involved. In my opinion, the only way for architecture to reflect its intended location is by using local handwork and construction materials. It is crucial to collaborate with local artisans and utilise local materials to create an original and authentic architectural proposal. During the conceptual phase or when developing compounds, it is fascinating to hear what the artisan has to say about the part they will develop. There is a part of the process where you are allowed to stay open or even improvise, sharing your ideas with some of the people you are working with and building on that. Then, there is another part of our process where improvisation is no longer possible. After incorporating their input, you must stop to ensure the process is successful. This conversation enriches the process and is a significant aspect of the Mexican architectural approach today. This, of course, leads to something very unique and fascinating. It all stems from our upbringing, education, and cultural background. Typically, we're not fans of prefabricated or overly clinical proposals. So, these elements rooted in the earth, crafted by hand, and embracing spontaneity, as we've discussed, hold great appeal for us as architects. They allow room for curiosity and a willingness to explore alternative construction methods that might not strictly adhere to regulations. So, we do enjoy a degree of freedom, although we must ultimately abide by the rules. 

Independent path, fresh insights

GO: I've been working for 16 years now. For the first 14, I worked with a colleague who used to be my teacher at university, where he taught architectural design. We had a successful partnership. In December 2022, I decided to start my own architectural practice, marking the beginning of the next 20 years of my career. I felt it was time to move on from my mentoring phase with my former teacher. Working solo for the past three years has been a learning experience. I now make decisions independently, which were previously shared. This transition has been insightful, as it has allowed me to discover new ways of working and understand myself better. Architects often reflect their personal experiences in their work, so I've been expanding my knowledge through reading and drawing inspiration from various sources like art, music, photography, and even cooking. Travelling is also a source of inspiration, as I enjoy observing different architectural practices and how they incorporate international influences into their local context. Overall, the journey hasn't been challenging; it's been exciting and rewarding. I'm optimistic about the future and believe that starting my own practice was the right decision.

Recognition through personal narratives

Besides the usual career achievements of the past ten years, like winning competitions or being the first to accomplish something, I believe there's more to it. Recently, we were honoured with an international design prize for our work on a wedding room's interior design. This adds to our previous wins, such as the Paris Design Awards, which we've secured twice, and the America's Property Awards for multiple houses. While these accolades are commendable and serve as recognition for the team's hard work, I don't see them as major milestones in my personal growth. Instead, I'm more interested in the stories behind our projects. I often ask myself if there are any noteworthy anecdotes or personal experiences that reflect the essence of our solo practice. These stories, to me, hold more significance than the awards themselves. A significant part of my current practice is owed to my former colleague, Carlos Lassala. We used to spend countless hours discussing not only architecture and art but also humanity and how people perceive and inhabit spaces. We understood that catering to each client and site's unique needs is paramount. This influence has been crucial to my career. Additionally, collaborating with and learning from architects I admire, such as Lucio Muniain or Héctor Esrawe, on a national level has been invaluable. Visiting buildings by renowned architects like Peter Zumthor, Tadao Ando, and Frank Gehry, as well as studying works by authors like Alberto Campo Baeza and Eduardo Chillida, has also played a significant role in shaping my approach. I recall many inspiring moments in this sense, such as when I visited the Louis Vuitton Foundation building in Paris. It was truly enlightening. The building spoke to me in unexpected ways. Before that visit, I had only seen it as a large-scale sculpture. However, being inside allowed me to truly appreciate the space, architecture, and design concept, especially with the detailed explanations provided. 

Blending art with architecture

The connection between our practice and art is profound. I have great respect for the creative processes of both architects and, particularly, artists. Over time, I've noticed that many artists find themselves drawn to architecture and vice versa. This happens because architecture offers such a broad spectrum of creative possibilities. I've witnessed artists, including interior and product designers, venture into architecture. Their approach often differs from that of traditional architects. This has challenged my preconceptions and broadened my perspective. Seeing how these artists tackle spaces or solutions with fresh, unconventional ideas has been eye-opening. It makes you reconsider your own approach and realise that there are alternative, more innovative ways of doing things. Artists are always seeking new viewpoints, and when they intersect with architecture, remarkable things occur. I believe that architecture and art coexist, and this coexistence is not always clear-cut. Many architects in Guadalajara and across Mexico have deep roots in art. Art has always played a significant role in our lives, shaping how we live and express ourselves. In the artistic community, particularly in Guadalajara, there's a strong sense of collaboration between artists, urban planners, architects, and landscape architects. In my experience, these disciplines are intertwined, and each complements the other. I can't imagine a project that focuses solely on architecture without considering art, landscape, and how they integrate into the urban environment as a whole. In essence, they rely on each other for inspiration and functionality, and this interdependence is evident in Guadalajara.

Collaborative creativity in design

GO: Here at Dosorozco Studio, there are six of us working together. Our approach is collaborative; we gather all our ideas and brainstorm together. My role involves bridging the different disciplines we work with and infusing creativity into our projects. For instance, we have been collaborating with Ocre Studio on landscape architecture, which is like a sister company to Dosorozco, focusing primarily on landscapes. As an architect, I believe that architecture and landscape go hand in hand. Many of our clients appreciate that we address this connection in our projects. While we offer comprehensive design solutions for houses and buildings, we often collaborate with specialists in various fields to ensure the best outcome for each project. This might involve artisans, artists, landscape architects, or even urban planners. It's about finding the right expertise for each project and working together to achieve our vision. We're always listening and adapting to ensure we assemble the perfect team for every job. Each client and building has its unique characteristics and challenges, which we address individually. Our approach varies depending on the project. When designing buildings in urban areas, it's crucial for us to integrate them seamlessly into their surroundings. This applies to our residential designs, too, although not as much to our retail projects, which stand on their own. Regardless of the project, understanding our client and the context is vital. One constant in our work is our attention to light. We ensure that all our designs are well-lit and energy-efficient. Structural integrity is also a priority, although we don't always discuss it explicitly with clients. We strive to exceed expectations by offering innovative solutions that go beyond the obvious. We believe that those who seek our services are looking for well-lit spaces with quality finishes and thoughtful design. Our process incorporates the concept of “Recorrido Arquitectónico,” which involves the progressive revelation of spaces. This concept is about experiencing and understanding spaces to evoke emotions in those who inhabit or visit them. Light and landscape play significant roles in creating these experiences.

When it comes to clients, another central aspect of our practice relates to the economic side of the project. We tend to avoid discussing money directly. Instead, we focus on energy. We explain to our clients that their level of commitment should match ours as we work together towards a common goal. We assign a value to our efforts to materialise ideas. Sometimes, what we're selling isn't tangible, it's a design, an idea, a plan. To ensure project success, thorough planning and consideration are crucial. We strive to convey our understanding of work and finances, but more importantly, the energy directed towards achieving our goals. This approach has proven effective, especially considering the educational background in this part of Mexico. Design's importance may not always be fully appreciated, and the consequences of inadequate planning may be overlooked. People can be sensitive about money, so we aim to shift the focus slightly. Money is certainly involved, but our primary focus is on the project itself. We see money as the means or fuel to reach our objectives.

Experimenting with urban integration

GO: We were used to working on residential projects, but a few years ago, when we decided to start our own practice, it was also about embracing a different approach to architecture. While I still love designing homes and will always do so, I wanted to broaden our horizons. In each project, we now explore the scale and dynamics unique to it. We collaborated on a residential project with another talented architect, and together, we delved into the concept of public space. Although it's not a public project, it will have spaces that integrate with the city. This has prompted us to consider various aspects that we wouldn't typically think about when designing a house or a retail space. We engaged in exercises not just to arrive at architectural proposals but to understand ourselves and our ideas better. This freedom to explore different themes allows us to learn and adapt. Sometimes, an idea works across multiple projects because of its underlying principles. Our practice is evolving around experimentation as we continue to learn from our experiences and the environments we work in. Some of the best architecture today is created by architects who have decades of experience, often in their 70s or 80s. Architecture is biographical; it's shaped by personal experiences. So, I try to gather as much knowledge and experience as I can to enrich my own journey. My aim is to become one of those architects who truly make a difference. Architects, I believe, mature much later in their careers compared to other professions. It's a gradual process, and it takes time. We need to accumulate experiences and achievements throughout our careers to create meaningful architecture. This journey involves working on projects of different scales and complexities and understanding the breadth of production involved in architecture. It's about continuously learning and growing to create architecture that truly matters.

Adapting spaces, shaping lives

GO: One residential project I'm particularly proud of is Casa Si.Ma, a 150-square-meter house. It's a project I've been emotionaly involved in, and am very pleased with the outcome. But we're also working on a much larger project, a 2200-square-meter house, which is equivalent to about 30 Casa Si.Ma houses combined. Although both projects are residential, they represent different approaches to architecture and living spaces. Despite their differences in size, both houses accommodate two people. However, their needs and preferences vary, leading to different architectural solutions. It's fascinating to explore how people interact with their spaces and how the same plot of land can accommodate different architectural programmes. It's fascinating to observe how two individuals can have such different needs, even within the realm of housing. Currently, we're also involved in a hotel project, which is on a completely different scale. Here, we must consider the impact on the city skyline first before delving into the specifics of each area within the building. What's important to us is how the building fits into the broader cityscape and how its various components interact. Switching between projects of varying scales can be challenging, but we're getting better at it, and the results have been satisfactory so far. It's remarkable how humans can adapt to different environments and spaces, and we're constantly exploring this aspect in our work. It's been quite intriguing, and we never anticipated working on such a diverse range of buildings.