Towards an architecture of simplicity

CG: Understanding the construction boom in Mexico is tricky. I'm not sure exactly when it started or where we are. It might have something to do with our neighbour, the USA. Many Americans travel to Mexico, so a big part of this boom is focused on tourism. Also, Mexico is a developing country, so it's cheaper to build here than in the US and Europe. This leads to a lot of construction projects by entrepreneurs. Many architecture firms start building after their studies because there aren't many restrictions to building in Mexico. There's also a lot of self-construction going on. The regulations aren't very strict, so people can build what they want. As a result, there are many architecture firms now. What's good about this is that some architects are rebelling against many buildings' typical, not-so-great aesthetics. They're striving to create something more beautiful and unique. Even though there is a small percentage, quite a few architects are trying out new styles and experimenting with new ideas.

I look at this with hope. I interpret this phenomenon as a reaction to the poor quality of the architecture being built in Mexico. In general terms, I think many cities will become uglier because 90% of the architecture is not being built well. Nowadays, construction methods allow for much freedom, which can lead to ugly results. In contrast, in other parts of the globe, like Europe, buildings are designed to last, employing good materials, allowing for more expressive architecture and creating beautiful cities. This hyper-productivity in architecture might result in a collage of different architectural styles worldwide. While that might be interesting in the long term, I see a trend towards uglier cities in the short and medium term because much of the architecture isn't well thought out. At Goma, we try to rebel against this trend by focusing on simplicity and blending into the context rather than standing out. We aim to use minimal materials and understand the landscape we're designing for. We see ourselves as part of the landscape, not trying to dominate it.

SL: Perhaps I'm taking a different perspective, but I agree. Historically speaking, Mexico has followed a pattern of continuous evolution without much deliberate planning. This trend has become more apparent recently, especially due to the monopolistic tendencies of major cities like Mexico City. They extend their influence from the urban core to the outskirts and popular tourist destinations. Many construction projects in these areas lack coherence with their surroundings, leading to the emergence of new, conflicting aesthetics in our civilisation. As Carlos suggested, we may witness a clash of these different visions in the future. This presents an opportunity to reorganise architectural practices, foster stronger community ties, and preserve cultural roots. Our work strives to align with this ethos of community-oriented planning and design.

Hércules, preserving over demolishing 

CG: One thing we aim to change is how we use space. For example, our project Hércules: what was once purely industrial is now a blend of different functions. Hércules brings back to life a former textile factory that we converted into a local brewery combined with a series of activities such as a hotel and a spa, workshops, bars, and a mix of other spaces. It brings together different communities and is a new reference point for the neighbourhood. This is a decade-long project. This building has stood since the 1500s, but not in its current form. It's undergone numerous changes over time. So, our lack of intervention is relatively small compared to its long history. We were focused on the present, preserving the different layers, and building something new. The restoration of the building has passed through a complex process, where different layers are combined in one articulated space. We see this space as a natural landscape, like a forest. Before making any changes, we spent much time imagining various scenarios. We discussed what might have happened if we had removed or added walls, carefully considering the consequences of preserving the landscape. Our goal isn't to destroy the character of places like this old factory; instead, we want to embrace it and ensure its longevity. While some may see these walls and industrial spaces as obstacles, we see them as opportunities for something exciting. It's about transforming them into new landscapes where people enjoy experiences like beer in an industrial setting. Our approach involves a lot of discussion and imagination before we even begin to draw a single line. This way, we ensure that we don't harm the natural beauty of the surroundings. It's like sculpting the landscape in our minds before we do it physically. I believe that when one visits an old factory without enthusiasm, one tends to disregard its value. However, imagining it as a vibrant space where one can enjoy lunch or a drink can foster a lasting sense of appreciation. It adds significant value to the city by illustrating that everything holds unique worth. Experiencing a beer garden in such a setting is challenging to replicate, highlighting the inherent value of existing structures. We were fortunate to work on this project, recognising the need to appreciate the beauty in what might initially appear unattractive. Upon our arrival, the site lacked greenery, without a single tree or plant. Viewing the site as a collaborative effort with the landscape is key, striking a balance that appeals to many. People enjoy being close to nature; even in a stark, brutalist setting, introducing trees can integrate seamlessly. This approach resonates well with the current generation, who are receptive to such innovative ideas. 

Impacts on the local community

CG: Querétaro is a city of continuity. Most people here are natives. Hércules is a special neighbourhood where residents have deep roots. The grandparents of those working in the brewery today were once employed in the textile industry. So, we're simply transforming the industry's focus from textiles to beer. By providing job opportunities in the area, we're potentially preventing this building from sitting empty for years, which might otherwise lead to residents leaving due to lack of employment. In the urban context, it's hard to determine whether our actions are positive or negative without considering the long term. At the moment, we believe we're making a positive impact. There's an effect, I believe, in taking action, but there's also an effect in doing nothing at all. That's the gauge we must consider; if we take no action, it will still have an effect. While no one can predict the future, we're confident that our current actions are beneficial. Most people living here are content and proud to have this place and welcome visitors from Mexico City and other parts of the country. About 300,000 people visit Hercules each year. So, I believe the locals take pride in it. When people are proud of their community, they'll protect it. Thus, I believe things are moving in a positive direction.

SL: One of the positive aspects of the entire project is that Hércules has positively regained prominence. Tourism is significantly increasing, and people are fostering community within the factory premises. Additionally, numerous local businesses have recently opened, aiming to transform their way of life. What we've observed in recent years is people embracing and safeguarding their community and neighbourhood.

CG: In Mexico, I don't see many interventions like this. I think because this happened gradually. We also had references in the back of our minds. When you travel, you have references, maybe not a factory, a market or a beach, but everything is in the back of your mind. But for this, as I mentioned, we simply wanted people to come here because, previously, nobody came to Hercules just to visit and have a beer. Having a beer in this industrial landscape was quite exciting and appealing. People kept returning, and that was the outcome. It happened day by day. It was enjoyable because we've been working on this site for the past four years, gradually improving the rest of the property. So, you witness things unfolding in real-time, which has been a really rewarding experience for us. Perhaps difficult to replicate, but I think it was truly wonderful.

We've established an environment where people who appreciate the space can freely pursue their ventures, which has led to forming a community. If you ask around now, everyone here knows each other, and tere'shasng camaraderie. It's not just about coming to work; it feels more like being in a small town where everyone is familiar with one another. The main topics of conversation here aren't business, problems, or politics, although they do come up, but rather discussions are passionate and lively, often playfully or eccentrically, debating who's better at something. Here, everyone is on an equal footing; there are no hierarchies. So, it's like a hippie commune in some ways, but with money involved. We don't barter beer for coffee, but there's a similar vibe, don't you think?

Beyond the factory norms

CG: GOMA is based in this old factory, Hércules. We have a team of architects who operate from the design office. Additionally, we have a construction team and a workshop that crafts everything from ironwork to glazing. For instance, almost 99% of the hotel was constructed in-house. We handled the lighting, glazing, building, accessories, and furniture. This illustrates our approach. Ideally, we'd prefer to undertake every house project in a similar manner, where we handle every aspect despite the challenges it poses from a business standpoint. We relish the opportunity to oversee the entire process ourselves. We aim to create an atmosphere where you don't feel like you're getting a factory-made product; instead, we prefer to craft each element ourselves. We don't want a factory to handle things like the kitchen or the glazing; we prefer to do it ourselves. I acknowledge that replicating this process may be challenging, but that's our goal. 

SL: GOMA is a multidisciplinary team. The team size varies depending on the project's needs. We aim to be involved in every stage of the project and pay attention to every detail of the work. We also collaborate with artisans, including those in our workshop, who are integral members of our team. So far, I believe this approach has yielded positive results for us, and we feel satisfied with the outcomes it has produced.

CG: In our practice, we endeavour to assign a leader to each project. This individual is responsible for overseeing the project from start to finish, handing over the keys to the client upon completion. We encourage our architects to be involved in every stage of the project, from the initial sketches to the final drawings. Rather than adopting a factory-like approach where tasks are passed from one person to another, we strive for a more personalised touch. Each project leader acts almost like an independent architect within our office. We're still refining our methods, but this is the approach we're committed to.

Tailored transformations

CG: We have ongoing projects in Mexico City and in Puerto Escondido. We've been operating for around four years now, with most of our work concentrated in Querétaro. We also have a project underway in Ensenada, Baja California. However, approximately 80% of our projects are based here in Querétaro. Tailoring projects with locally sourced materials and production within Querétaro enhances positive impact and supports local context. Achieving this in all our projects can be challenging, but it is our aspiration. For instance, we have a small cabin named Casa de Barro (Clay House), located a couple of hours away from Querétaro. In this project, we didn't physically build it; instead, we supervised the construction. We devised the project with the approach that if we weren't going to construct it ourselves, we would design it in a way that someone else could build it. The entire structure is made of brick, so a skilled bricklayer handled about 90% of the construction. They did an excellent job while we focused on the brickwork. Additionally, we supplied the windows from our workshop, effectively completing the house. Although it was built locally, we played a role in closing the project by adding our workshop's contribution. Overall, I believe it was a success because when too many different specialities or systems are involved in a remote location, the chances of errors increase significantly. By simplifying the process and sticking to local materials and expertise, we can minimise the likelihood of mistakes. This example illustrates how we aim to maintain control over our projects, even when managing them from a distance. We strive to approach design in a way that respects local traditions and responds to the site's specific requirements. In this case, since the local builders were adept at working with bricks, we designed the cabin accordingly.

SL: There's another project in Puerto Escondido where we're using a single material. We're sending one of our architects, who has overseen all the concrete work here, to supervise. About 90% of the house will be made of pigmented poured concrete. We envision this house lasting for 200 years or more. Another example is a place called El Aguacate, where we restored an old hacienda with minimal intervention. It's located in a very hot area, so we're planting trees and constructing a large natural pool on the 30-acre property. These small improvements make the place more appealing and enjoyable to be in.

CG: As we said, we are paying particular attention to existing buildings. The Hub, for instance, is a recycled project built in 2023 and situated in a new part of the city. It was formerly a supermarket that we redesigned. We reconfigured the layout, particularly the unused workspaces, transforming them into a gastronomic area. This layout encourages people to explore the entire space before reaching the gastronomic section. If you visit the area, you'll notice it's surrounded by new developments, resembling something like Miami in the middle of the desert. It used to be a warehouse but has been transformed into a new development aiming to revolutionise the concept of shopping centres, sports facilities, and dining destinations. This project, which we consider our second most impactful, represents a different approach to commercial ventures. 

A brief manifesto

CG: Our work isn't about grandiosity or conforming to a particular architectural stereotype, like the American dream transplanted to Querétaro or any other developing city. Instead, we focus on reconnecting with nature and emphasise landscaping in our designs. We prefer a more modest aesthetic, veering away from the three-story glass palaces. Our approach isn't deliberately rebellious; it's more of a response to the frustrations we feel towards prevailing trends. In each of our projects, you'll notice elements inspired by the past or influenced by nature. Some may appear simple or unfinished, prompting questions like, "When will you complete this wall?" To which we answer, "We like it this way." Our direction isn't always pre-planned, but within GOMA, all partners and architects share a common vision. We appreciate the value in places beyond superficial appearances. We aim to challenge conventional norms. I believe it's not a conscious effort; rather, we naturally follow our instincts and feelings. 

SL: One of our main goals is to shift our perception away from the ordinary and towards what truly suits the environment. Whether it's in urban or natural settings, we aim to respond to the context appropriately. Additionally, in all of our projects, we seek to redefine the concept of luxury, focusing less on extravagant finishes and materials and more on creating a tactile experience for the user, akin to walking barefoot. Across all our projects, we strive to reconnect with their origins, providing a sanctuary from the chaos of the outside world through minimal interventions that alter the atmosphere within the space.