Challenge conventional thinking

LF: While there are many emerging and established architectural practices, they represent only a small percentage of the projects being realized. Despite the vast opportunities presented by rapid growth and development, only a small fraction of these buildings adhere to high standards of thoughtful architecture. Even if every single one of those practices performed optimally, they would still represent a minority of the projects being constructed. The country is vast, and the built environment often reflects a haphazard approach to development. This lack of organization and regulation leads to frenetic and often unsustainable growth, which is now being recognised as a significant issue in public discourse.

AF: Creating better environments is crucial. We might not be able to change the entire world, but we can certainly make positive changes in our own practice. One key aspect is reconsidering the purpose of cities. Instead of focusing solely on investment, we should prioritize creating cities where people can truly live. This idea, championed by scholars like David Harvey, resonates deeply with us. In our projects, we often challenge conventional typologies and programmes, questioning whether there might be better, more sustainable solutions. For instance, we've encountered situations where alternative approaches could enhance sustainability, social cohesion, or spatial efficiency. It's about asking the right questions and striving to do what's best for communities rather than just pursuing profit-driven development.

LF: That's a philosophical take on the issue. Now, let's look at the practical side. Public policy plays a crucial role here, especially in rapidly changing areas like coastal regions, which are often tourist hotspots. Take the Yucatan Peninsula, for instance. The local government struggles to keep up with the pace of development due to limited resources and infrastructure. This leads to various problems, such as social and environmental issues, as seen in places like Tulum. The pandemic exacerbated this situation, with remote work prompting a surge in coastal development. Governments are slow to respond, and regulations often lag behind, resulting in negative consequences. In essence, addressing these challenges requires effective public policy and better regulatory frameworks.

Rethinking tradition

AF: We began organically, initially working on small-scale house renovations and a few commercial projects. Over time, we noticed something interesting about our clients. They seek us out for something specific rather than just typical development work. This is great because it means they value things beyond just profit, like experience, awareness, and a deeper understanding of a site through our interventions. Our clients challenge us to improve in these aspects. For instance, one client came to us after seeing a barbershop we designed, intrigued by our approach to “creating experiences”. It was back in 2014 when they asked us to design a chapel in their Tequila company, the Centinela Chapel, which became one of our more personal projects. This led us to question how we could design a chapel differently, sparking interesting narratives along the way. It's about finding new ways to approach familiar tasks. But consider this: How often would they use a chapel in a tequila factory? Perhaps only once a year. So, we ask ourselves, how can we design a chapel that serves multiple purposes? For instance, it could double as a social terrace for events where workers can gather for lunch or other activities. These are the kinds of questions we grapple with in our profession. By considering alternative uses, we can ensure that our designs are practical and well-utilized. 

Another example is the Mezcal Factory, which aims to capture the essence of traditional Michoacan mezcal production. While there's a business aspect to it, the project also seeks to preserve cultural heritage. It's not just about making money; it's about creating meaningful spaces that serve a purpose beyond mere profit. There's a quote by Octavio Paz that I really like about traditions and heritage. It says that the essence of modernity is criticism, where new ideas are compared with old ones. In our practice, we constantly reflect on this contrast. We believe it's important to critique tradition positively, adapting it to today's context rather than nostalgically clinging to the past without understanding the present.

LF: We've identified a niche in our work, as Armida mentioned, where the experiential, material, and spatial qualities directly enhance both the customer experience and the business aspect. Over time, we've increasingly focused on creating custom-made architecture that reflects the personality of our clients, whether individuals or businesses. It's not just about meeting functional and economic needs; clients now recognise the value of architecture that is tailored to their lives and personalities rather than generic solutions. 

Shaping home from afar

LF: In 2009, I had an international exchange in Sydney, Australia. Although my decision to go wasn't entirely clear, it turned out to be a valuable experience. I had the opportunity to attend Glenn Murcutt's studio at the University of New South Wales. Murcutt, a Pritzker Prize-winning architect, provided insight into specific processes and methodologies, from site visits to understanding how architecture interacts with its surroundings, including culture, ecology, and natural conditions. This experience taught me to view architecture not just as an object but as an integral part of its environment, delicately placed within the Australian context. After witnessing Murcutt's expertise, I gained insight into the practical side of architecture. This experience taught me to identify similar elements in my own environment and draw inspiration from my personal experiences, which have shaped my approach to architecture since childhood. Armida also studied abroad and then returned, spending time overseas, which offered a fresh perspective to blend with our local culture and context.

AF: In 2011, I studied Scandinavian design in Stockholm. It wasn't just about school; I learned a lot from Swedish culture too. Sweden really values democratic design, even making it a political priority in the mid-century. Seeing this first hand showed me how design can be truly democratic in a society that values consciousness, being aware of their context in terms of resources. I learned to appreciate the importance of understanding local materials, especially how the Swedes master woodwork due to their climate. I was also deeply influenced by a philosopher and writer named Ellen Key. She wrote about the importance of beauty as a basic right for everyone. This idea stuck with me, highlighting how beauty can enhance life, even in simple activities like farming. It was a holistic experience that left a lasting impact on me. Studying abroad helped me understand our own culture. Upon my return, we began collaborating together. 

LF: As our generations progress, studying abroad has become increasingly common. These international experiences nurture our understanding of different perspectives, a concept I've encountered in various lectures and discussions across disciplines. Viewing oneself from a distance often leads to a deeper understanding of our own circumstances.

Dynamic projects, unique solutions

AF: Each project we encountered was vastly different from the last. This diversity pushed us to approach each one uniquely. We started with a renovation of a house, then a bakery, followed by a barbershop and even a chapel. We also worked on a hospitality project in Baja California South, a tomato distribution centre in McAllen, Texas and, later, a mezcal palenque in Michoacán. Each project varied greatly, from hospitality to industrial infrastructures. We have understood that having worked with so different typologies have made us arrive at each project with a more humble attitude.

LF: In all our projects, our approach has become very contextual, tactile, and material-oriented. This is influenced by Armida's experiences and my own. We focus on the specific context, regional materials, and site logic. We believe the answers are there, so we approach each project with fresh eyes, aiming to understand and engage with the environment and its ecological and social aspects. Our work reflects this ecological logic and the inherent logic of each site. Clients have recognised these qualities and seek us out for projects, whether it's retail, residential, or industrial. It's this combination of influences and values that defines our approach.

F: Something that underscores many of our discussions is the importance of questioning each aspect of our projects. Whether it's the material culture, techniques, context, or landscape, we always strive to challenge the typology, programme, and design methodologies. This involves determining the most suitable approach for each project, whether it's through drawings, understanding different flows, or employing methodologies like participatory action research. For instance, when researching housing for seasonal farm workers, we need to adapt our methods to the complexity of the situation. It's a constant process of evaluating and refining our methodologies to ensure they align with the unique requirements of each project.

LF: We believe in always challenging ourselves to find the best approach for each project. Using the same methodology for every project might mean missing out on valuable opportunities. So, we approach each new project with fresh eyes, considering different methods that might be better suited to its unique requirements. This helps us to see each project from a different perspective and find innovative solutions. 

AF: I recently came across a quote by Carlo Rovelli that really resonated with me. He said, "The world is not a collection of things. It is a collection of events". This reflects our philosophy of designing spaces that can adapt to different uses and events. For example, in the case of the chapel project, we were delighted to hear that the terrace area, originally intended for religious purposes, was being used as a dining hall for workers. This flexibility in design allows us to create spaces where hierarchies can be fluid and adaptable.

Reimagining norms

AF: We have a strong inclination towards history, people, and places in our projects. We delve deep into understanding the context surrounding each project, questioning established norms and hierarchies. We aim to introduce alternative approaches that can effectively function by challenging these conventional boundaries. This often leads to the emergence of new behaviours and relationships within the space. For instance, in a project involving a warehouse and offices in McAllen, which serves as agricultural offices distributing tomatoes, we sought to democratise the space. We aimed to create equality between office workers, warehouse staff, and external drivers who may arrive exhausted after long shifts. By rethinking spatial arrangements and flow dynamics, we transformed the environment. The result was a shared space with ample natural light and a small patio, fostering a sense of community and enhancing productivity. The positive feedback from the client, who jokingly remarked about the reluctance to relocate the drivers due to the improved space, underscored the success of our approach.

LF: We find great value in being open to various influences and perspectives in our practice. Rather than adhering to a strict dogma, we embrace eclecticism, drawing inspiration from diverse sources. One project that exemplifies this approach is the Igualada Cemetery by Enric Miralles and Carmen Pinos. Situated on the outskirts of Igualada, not far from Barcelona, the cemetery was built on an old landfill, blurring the lines between architecture, landscape, and land art. Its unfinished state adds to its allure, reflecting the transient nature of existence and the cyclical rhythms of the environment. This unconventional space challenges traditional notions of infrastructure, embracing experimentation and ambiguity in both form and function. We believe in pushing the boundaries of architecture, exploring the gradients between disciplines to create truly unique and thought-provoking spaces.

Agricultural harmony

AF: We've recently discovered a recurring theme in our work: the integration of infrastructure into rural or agricultural landscapes. Our projects now consistently consider natural elements when placing infrastructure. We use materials that harmonise with these landscapes, fostering a dialogue between the built environment and its surroundings. This relationship extends beyond the physical site to include the broader agricultural and social aspects of the landscape. For example, the tomato distribution centre in the United States exemplifies this approach, as it seamlessly integrates with the agricultural production process. Similarly, our involvement with the tequila and mezcal industries highlights our commitment to incorporating agricultural elements into our designs.

LF: Our aim is not only to improve traditional programmes but also to challenge them, creating more efficient and effective solutions. By rethinking traditional approaches, we strive to enhance functionality without sacrificing quality or sustainability. We challenge traditional methods to achieve the best results, valuing temporality, experience, and beauty. Beauty is not seen as rare or exotic but as an integral part of global culture for centuries, without neglecting the social and ecological aspects. These considerations are also logical responses, being mindful of such factors.

The Tequila Centinela factory is quite straightforward in explaining some of our most representative concepts. It reflects the local understanding of space, particularly influenced by religious beliefs, which are deeply ingrained in the culture of Los Altos de Jalisco region. This local perspective shapes its design. Additionally, it responds to the evolving needs of modern spaces, showing how they must adapt. Historically, the design draws inspiration from old haciendas, which had social and religious programs within them. However, we're not endorsing the negative social aspects associated with them. Instead, we focus on how these spaces were used for social and religious gatherings, like having a portico with a chapel that could transform from a religious space to a festive one by simply opening or closing its doors. This flexibility has been relevant for centuries and is still applicable today. 

In terms of materials, we utilised uncooked brick walls containing bagasse, a fibre from tequila production: it's a common practice in the region due to the abundance of agave fibre waste. Similarly, the building's foundation is made of pink sandstone, typical of the area, enhancing its connection to the local environment. Overall, the Centinela project seamlessly blends historical influences with modern functionality. It's energy-efficient, built quickly, and adapts well to its surroundings, fulfilling the client's needs while respecting the region's heritage.

Blending theory and practice

AF: Luis and I sought ways to deepen our understanding of our profession. We felt the need for a master's degree to broaden our knowledge beyond practical experience. For me, this meant pursuing a master's degree in design with a focus on risk and resilience. This academic pursuit complemented our professional work and prompted us to question how we could improve and integrate theory into our practice. This combination of academic study and practical experience constantly makes us question our own practice.

LF: Our master's degrees in Landscape architecture in my case has significantly influenced the structure of our practice. Teaching has become integral to our approach, allowing us to organise internal projects focused on research. For about six or seven years, we've been researching collective housing for the agricultural industry in Mexico alongside our teaching commitments. We started intuitively but quickly recognised the need to educate ourselves on the subject. John Peterson, the Loeb Fellowship Program Director and sponsoring faculty at Harvard GSD, encouraged us to explore diverse sources and approaches to deepen our understanding and better address challenges. Initially centred on housing for agro-industry workers, the insights gained from this project have since become a valuable part of our toolkit for tackling pressing issues in more recent endeavours.

AF: Previously, we had a dedicated research unit, which we've discussed and felt it would be beneficial to maintain consistently. While it operated for some months or even years, we paused it for a while. Currently, we're dedicating some hours to revisiting research on housing for farm workers. We're questioning the typology of this housing because it hasn't changed in 70 years since the 1950s. It's concerning to us that such an important typology remains stagnant while so many other aspects of society evolve. We aim to explore how this typology can be improved to break the cycle of generational stagnation.

LF: We pressed ourselves about the importance of questioning typology and program. We had a dedicated research team for about a year, separate from our other projects. Now, these methodologies are integrated into our office practices. So, while the dedicated research unit may not exist as it did before, its influence remains constant in our discussions and project approaches.