Rural rush: aesthetic evolution

EA: The ongoing expansion of our territory commands considerable attention. Mexico boasts vast expanses of land, and the recent expansion efforts mark a pivotal development. Moreover, there's a noticeable evolution in the economic landscape, with a pronounced uptick in the involvement of larger enterprises in the construction sector. Previously, wealth was concentrated among a select few; however, there's now a discernible surge in investments pouring into construction and housing, deemed a safer bet for investors. This shift signals a broader diversification of the economy and a departure from traditional wealth distribution patterns.

Another pivotal trend on the horizon is the rapid urbanisation of previously uninhabited regions. Existing urban centres are grappling with overcrowding issues, prompting the establishment of new settlements in areas once deemed remote. This migration towards previously unexplored territories not only addresses population pressures but also fosters economic development in untapped regions. Furthermore, there's an evident cultural shift in the perception of architecture. While functionality has historically been the primary focus, there's a burgeoning emphasis on the aesthetic and stylistic elements of architectural design. This shift underscores evolving societal values and preferences, shaping the architectural landscape in profound ways.

In the realm of architecture, a notable cultural shift is underway, particularly with the emergence of a new generation of clients who place heightened importance on aesthetic considerations. Over time, we've noticed a shift in our client base. Nowadays, our clients tend to be younger and have different priorities compared to older generations. They're financially secure and come to us with unique intentions. Unlike older clients who may have had more traditional interests, these younger generations is more open to experimentation and artistic expression. They often value artisanal processes and are willing to invest in innovative architectural approaches. This trend reflects a broader societal change where younger people are more empowered to make decisions and investments. It's a shift driven by cultural and political factors, and it's reshaping the landscape of architectural practice. This cultural evolution may be attributed, in part, to the pervasive influence of media and the visual-centric nature of contemporary society. Clients increasingly seek an architecture that not only serves its practical purpose but also boasts visually striking features, often prioritising designs suitable for social media platforms like Instagram. While this trend may occasionally sideline fundamental architectural principles, it undeniably influences decision-making processes and underscores the evolving relationship between architecture and society. 

Heritage through materiality

EA: In the early days of our practice, I recall one particularly special project for us because of how it came about. It was a personal project for a family member, someone very close to me. It was something I had always wanted to do, given the circumstances in the city. When this opportunity arose, I took it on alongside my part-time job at another office. Having recently completed a master's degree in Barcelona, I brought back a mix of personal ideas and concepts from my studies there. It was a period of self-discovery, finding my own design style amidst various influences. I was determined to approach the project in a personal and hands-on way, both in terms of design and construction. I delved into local research, exploring the artisanal processes and rich cultural heritage of our city. Despite the challenges posed by industrialisation, which has affected many cities, the Jalisco region still boasts a wealth of artisanal traditions in construction and craftsmanship.

I was deeply involved in this particular aspect, aiming to seamlessly integrate it into a contemporary project. Therefore, for this residence, our team made a deliberate choice to utilise locally produced clay bricks, which are plentiful in our city and offer remarkable versatility. The concept was to fashion the entirety of the house from bricks, serving as a homage to both the material itself and the rich heritage of our city. Not all locales possess the resources for brick manufacturing, making this endeavour feel particularly special and emblematic of our unique circumstances. While similar approaches have been undertaken by others, I was determined to infuse my distinctive architectural perspective into the design. Collaborating closely with skilled artisans, we embarked on a journey to uncover the full potential of brick construction. To our delight, the possibilities surpassed our initial expectations. We crafted a bespoke brick for the project, enabling us to discreetly conceal the concrete framework and essential utilities such as water and lighting within the walls, which were meticulously engineered to a thickness of 22 centimetres. In select areas, the structural elements are intentionally left exposed, allowing for a captivating display of its inherent raw beauty. Nestled amidst a verdant forest atop a gentle hill within an exclusive residential enclave, the house exudes an aura of tranquillity and seclusion. With the client's privacy as a paramount consideration, the design incorporates intimate, enclosed spaces that effortlessly flow into internal courtyards, inviting abundant natural light and refreshing ventilation. These design strategies, reminiscent of the architectural traditions of historic Spanish dwellings, have been deftly reimagined to align with our contemporary requirements and aesthetic sensibilities. This project proved to be an invaluable learning experience, offering insights into the pragmatic nuances of construction that complemented my theoretical understanding acquired through academic pursuits.

From pages to practice

EA: When we finished working on that first project, it got widely published, including printed books like one by a reputable editor at Arquine. This gave us a spotlight that, honestly, I didn't think would work at first because the people interested in these publications are usually architects who could potentially become our clients. It seemed like a long shot, but it paid off in the end. Initially, I started by working on a couple of house projects. Then I took on interns to collaborate with me. This turned out to be beneficial because they grew with the office, becoming integral to its development. We've since moved to a larger office, where we continue to adapt and grow. One important lesson I've learned is to tailor our schedules to accommodate our team's availability rather than expecting them to conform to ours. For example, if someone can only work three hours a day due to being a student, it's better for us to adapt to their schedule rather than seeking someone else. This approach has yielded positive results, with team members evolving alongside the office's growth over time. My team is small, with four architects, including myself. Despite our size, we've found a good balance of skills and tasks among us. Some are great with models, others excel at renderings, and some focus on plans. This organisation helps us keep control of our projects and the process. 

Homes for the future with timeless patios

EA: The most common projects that come to our office are private housing. This is what we mainly work on and enjoy. We're deeply interested in analysing new ways of living. It's a major focus for us. We aim to rethink these aspects because in Mexico, especially in Guadalajara, houses have followed a colonial heritage for many years. It's intriguing to consider new forms of housing, especially as our social culture evolves while housing designs remain largely unchanged. We find it fascinating to blend conceptual or stylistic elements from traditional houses with contemporary or modern approaches.

A clear example is the central patio concept. It was a common design in the 17th and 18th centuries across our country. These patio houses can be found all over, and they're still very functional and in use today. They represent not only a cultural aspect but also function remarkably well. They offer privacy while incorporating large open spaces that are typical of our region's architecture. We aim to take this traditional concept and adapt it to contemporary designs. In our recent projects, we incorporate smaller versions of these central patches, maybe in different shapes like rectangular or triangular, but the underlying strategy remains the same. This illustrates our approach to blending traditional architecture with modern designs.

We also have clients who have asked us to do projects in other areas of the country. About six months ago, we completed a project in Pachuca, which is located north of Mexico City. It was quite challenging for us due to the unfamiliarity with the area. It's a city quite different from ours, with higher elevation and colder weather compared to our marvellous climate here. Despite these differences, we adapted to the new conditions and realised that interior patios were still important, but in more private spaces like the bedrooms, rather than in social areas because of the colder weather. Unlike here in Guadalajara, where interior patios are vibrant and sunny, in Pachuca, they wouldn't be as lively due to the lack of sunlight and windier conditions. However, we found ways to adapt and apply similar strategies in different spaces. For instance, in the main bedroom, which faced east-west, we wanted to capture sunlight. So, we created a large opening in the wall with a brise-soleil for privacy that allowed sunlight to enter while controlling the weather inside.

Crafting a sanctuary

Many of the strategies incorporated in that first house, which I mentioned at the beginning of the interview, still influence the architecture we create today. These transitional spaces between the street and the interior were a key feature of that project and remain a focus in our designs. Gardens, natural light, and private patios, introduced in that project, are now common elements that we reinterpret or adapt to different projects. Having a personal relationship with the client allowed me to witness the project's evolution from construction to habitation. Feedback from the client highlighted what worked well and what didn't, informing the practice’s approach to future projects. 

I've always been drawn to gardens and landscape design, perhaps on a very personal level. It's something I feel strongly about. In many cities in our country, including Guadalajara, lush gardens and patios are common due to the climate. For instance, in the project in Pachuca that I mentioned earlier, we researched which plants and trees thrive there, considering the weather conditions. It's almost common sense. Having a good garden is integral to our practice. I can't imagine a house without one, especially in this climate. Here, many plants thrive with minimal care, providing not just aesthetic appeal but also shade and privacy. 

Spaces that allude to inclusivity

I aim to approach my personal practice with common sense, focusing on practicality rather than flashy facades or media attention. I strongly believe that architecture should be a service to the community, not just a product. It's essential to see it as a service, not just something you buy and use. Unfortunately, not everyone in the field shares this perspective. Some treat architecture as a commodity; you pay for plans, and that's it. But I think it should always be about serving our city, our community, and our environment. That's why we mainly focus on housing, but our interests extend beyond that. We're particularly interested in public spaces and how our projects impact the neighbourhood or the city as a whole. We consider not only the residents who will live there but also pedestrians and passing traffic. It's about creating spaces that benefit everyone. In Mexico, we lack good public spaces. We barely have any public spaces at all. This isn't a priority in how our cities are planned. There aren't many big organisations helping us create good public spaces. This is reflected in how our shopping malls are always crowded. They're the closest thing we have to public spaces. People go there because they feel safe, and security is a big concern here. 

We've worked on a couple of semi-public spaces in our projects, but they're still private. It's funny because they're located within private housing developments. One project was in a forest of rest houses with communal areas. We enjoyed working on it, even though it won't be built. The other was similar, but in the city: it had communal spaces like a mini park with benches. It felt kind of public, but it was within a private setting. Ultimately, we're interested in creating more public spaces, but it's a challenge. For example, in one project, we managed to convince the client to allocate some space for the city. We included a small communal terrace that we opened to the street with landscaping. A portion of this green area, although part of the project, extends beyond the private boundary, allowing us to offer it to the city and pedestrians. Visually, it blends with the surroundings, creating a win-win situation. We presented this idea to the client, highlighting the added value it brings to the public space through private investment. This approach proved successful as it appealed to potential buyers, enhancing the project's appeal. It's an ongoing process, but it's progressing well.

Practice and pedagogy

EA: I've been teaching at ESARQ for about five years now. It's an architecture school located in one of the oldest parts of Guadalajara. The school itself is situated in a historic house, so it's quite small. I like to think of it as a boutique school of architecture because we prefer to keep our student numbers low, allowing for more personalised education. About a year and a half ago, they offered me the role of coordinating the entire architecture school. I'm not the director but rather a coordinator. My work there is quite interesting because, in my role, I have to oversee all the architectural subjects and analyse the entire curriculum to see if there are any outdated or irrelevant topics. If so, I need to introduce more up-to-date ones. I'm responsible for managing each subject, which includes finding new teachers if the current ones are unable to continue teaching. It's crucial to ensure that the school maintains its focus on teaching, so hiring new teachers is a significant aspect of my role. We have around ten students per year, which is quite small, but it allows for a more focused approach and therefore, building personal relationships with the students. 

The school offers three courses: architecture, interior design, and plastic arts. I have around 150 students, approximately, depending on the year. It's been fascinating to see how this contrasts with my personal practice. My private practice aligns with the changes we make in the curriculum because I'm actively involved in architecture outside of academia. This gives me insight into the city, the context, the clients, and how money flows within the industry. It helps me understand what adjustments are needed in the university and vice versa. Having my own practice is very beneficial because it reflects the realities of the field, which can be quite different from what is taught in schools.