Opportunity and tradition

IH: I believe that Mexico serves as an excellent starting point for young architects because it is a country brimming with opportunities. As an immigrant, I can attest to the fact that Mexico opens its doors to us, enabling the commencement of a process steeped in experimentation, tradition, and a Latin American viewpoint. Despite the numerous challenges that many Latin American countries face, I, as a Venezuelan, perceive Mexico as a place of transformation and struggle. I am convinced that it can offer opportunities for learning and transformation within communities. My experiences since I began at Casa Wabi Foundation, have shown me that through architecture, one can transform the context in communities. It is a notion that we value and understand deeply. Even the traditional aspects, deriving from ancient ancestors and the pre-Hispanic eras, continue to inspire and enhance the work of all architects in this country, becoming an integral part of our process.

Transforming tradition through restoration

IH: I completed almost my entire degree in Venezuela and finished it in Mexico. I also sought parts of these practices due to the socio-political problems that my home country faces. In this context, I applied to several organizations, including the Casa Wabi Foundation in Puerto Escondido, where I had the opportunity to work. I was accepted and had the joy of collaborating with two internationally recognised architects, Álvaro Siza and Tadao Ando, who are engaged in projects of social transformation. This experience taught me that through art, we can initiate a process of transformation and societal evolution. It was an enriching experience at that location. The culture of Oaxaca ultimately influenced me deeply, as I was there for about three years. It conveyed profound knowledge and allowed me to learn from these great masters through architecture, which is exceptionally pure, functional, and human-centred. I relocated to Mexico City towards the end of 2017. It was when an opportunity emerged from investors and acquaintances who were looking to initiate a restoration project within Mexico City. I was eager to participate and was selected to develop the project. Here is where I believe the value of the endeavour becomes apparent, as this work involved restoring a building from 1910. Mexico City is fundamentally characterised by a deeply rooted tradition of transformation across various historical levels. This project, Mar Mediterraneo 34, specifically involved a building that was in ruins, presenting me with the opportunity to revive it to give it a second life. It was a surprise for me because, as I have mentioned, I had the pleasure of learning extensively at Casa Wabi, and now, beginning personally and with the support of wonderful people, family, friends, and colleagues who assist me in my endeavours, I was able to transform that ruin and give it a second chance. I believe this was the moment when I began my own work, my own independent journey within Mexico City.

Transcending time

IH: Something that the ruins have taught me, as we delve deeper into this topic, is very inspiring to me. I believe there are three important points for me, the first of which is the ruin itself. For me, ruins have no ego. They do not have an ego precisely because we have learned that our footprint is ephemeral. It is a process of transformation, even evolution, which might sometimes seem as though it can transform the context, but it is also a process that entails decline. This is because we understand that our footprint can last for decades, centuries, or even millennia, but we do not really know how long this will endure. What this ultimately teaches us is that what transcends or lasts beyond the actual evolution or the context around it is something deeply rooted in architecture. It is about building community and freeing ourselves from the process dominated by ego. Speaking of community, I also believe that since part of this project was developed in Mexico City, in Tacuba, I have come to realise that it was a place in ruins and in deterioration. Observing how this changing urban image influences others, neighbours are also learning from this to improve their neighbourhood. They are saying, "I am a part of this, and these places are a part of me", and we will inherently evolve together.

Mar Mediterraneo 34 involved participation from national institutes, specifically INBAL, Instituto Nacional de Bellas Artes y Literatura (National Institute of Fine Arts and Literature), and INAH, Instituto Nacional de Antropología e Historia (National Institute of Anthropology and History). Both institutes played a significant role. Importantly, the residents of this area, who are from the same neighbourhood, were actively involved in the process and the investment. Contrary to the opinions of many who suggested it should be demolished, the local community felt differently. They argued, "No, this is a part of our childhood, it's part of our past, and it should also be part of our future." Through this sensitivity to their past, they became engaged in wanting to transform and evolve the area.

From old roots to new horizons

IH: I believe Mexico is both my base and my main source of inspiration, largely because of its strong connection to its past, which has taught me that innovation can indeed arise from tradition. We often assume that innovation cannot emerge from the old, the vernacular, or the past, but for me, the opposite is true. I consider that this connection to the past can inspire us to transform the future. These are techniques that have been forgotten over time but are still applicable in Mexico and in any global context. In Mexico, for example, we have collaborated with local artisans who have assisted us in carrying out reforms and transformations of buildings that have centuries of history. Similarly, in Portugal, we are working on a project dating back to 1780, which spans three centuries. The work on this project involves understanding how the walls were constructed, and how they can be reinforced, rebuilt, or transformed by appreciating their original capacities. In the case of the United Arab Emirates, specifically in Liwa, an oasis near Abu Dhabi, the scenario is different as it involves a blend of the new amidst the old. However, the work implemented in this desert also utilises vernacular processes that have been used for millennia. These techniques are continually revisited and applied in modern contexts, demonstrating their timeless relevance and adaptability. Thus, these ancient methods are still employed today after thousands of years, showing their enduring utility and effectiveness.

Cabana is a project I am developing in the south of Portugal, in the Algarve region. It involves an isolated cabin located in a remote area, now inhabited by two elderly people, two grandparents who have claimed this space for themselves to spend their old age in harmony and to be in community with other nearby villages. This project provides them with a serene environment to live out their retirement, surrounded by nature and connected to neighbouring communities. Additionally, unlike many who have owned or been associated with this site, the current occupants have understood that this place can be a cultivation of transformation. Essentially, it serves as a sustainable resource for them to live in, to share with neighbours or neighbouring communities, and even to recover a space that was previously in ruins. This understanding enables them to re-inhabit and rejuvenate the area effectively. So, based on this perspective, the approach is very much aligned with the theme of using the past to build a pathway towards the future. This perspective highlights how historical sites, when embraced by the community, can serve as foundations for sustainable development and communal growth.

Timeless techniques for today

IH: Contemporary architecture can be enriched by incorporating vernacular and ancient elements that have been part of human history for many years, particularly because they embody sustainable practices. These traditional techniques often have a more sustainable character compared to modern construction elements. For instance, using construction methods such as brick, clay, or rock walls instead of concrete or metal can demonstrate this point. Such techniques are not only effective but also deeply rooted in the natural aspects of humanity, highlighting their ecological and cultural significance. This approach allows us to understand and appreciate how these ancient methods align with contemporary needs and environmental considerations. Sometimes, the durability of these ancient construction techniques has allowed buildings to endure through time and even remain standing as ruins. This is a testament to the solidity with which they were conceptualised and built. These methods developed long ago, continue to prove their robustness today. This means that even if we allow these buildings to fall into ruins, they might still be around in thousands of years, much like how we see ancient structures still standing today. This enduring presence highlights the lasting impact and significance of these traditional construction techniques.

A global team

IH: My team is composed of individuals from various parts of the world. Rather than having a traditional office where many people set up their computers, we are based in different locations. They include people from Peru, Colombia, Venezuela, Italy, and Spain, and they all participate as equals. This approach has also taught me a lot about architecture and building community. Despite being in distant places, we can all connect to the same ideas about how the past inspires the future. This is something I think is particularly true for Latin Americans. We have undergone a pre-Hispanic transformation process, followed by a colonial past, and then achieved independence from these colonies. This history has helped us to develop a more global perspective of the world. In the end, I believe this understanding will be a part of the future, recognising that we can already see the world as a network of communities. Despite differences in religion and culture, what unites us is our humanity and our ability to empathise with others. This shared human experience is fundamental to our collaboration and collective progress. Perhaps this doesn't sound very healthy, but it involves working with tight schedules and accommodating to different time zones, which sometimes brings me to almost not sleeping. But I think it’s part of the experience. It’s also part of the process as an emerging architect, where initially, it's not very easy because you have to put in a lot of effort. However, with each practice and process, you gain a great deal of experience. Despite being in many different places, as I mentioned, we are in different time zones, but we've managed to synchronise them effectively. For instance, even if in Spain we are six to eight hours ahead, or in Peru two hours behind, we can adjust and divide the work according to these time zones. I think that's part of what we've achieved. It has led us to a balance between those differences in time zones and has streamlined our processes. This helps us to process, deliver, and develop the work more efficiently.

Client connections shaping spaces

IH: Another crucial element that connects us in this process is our clients. I believe that the client plays a fundamental role or serves as a cornerstone in the entire process because they inspire us a great deal. Ultimately, it is the client who will inhabit the place and who understands that these processes can be lengthy. Architecture, as I see it, is a methodical and prolonged process. By understanding this, clients demonstrate patience, and through this process, they also teach us. We learn from them about how they inhabit and develop their space and how we can use this knowledge to implement or transform their reality. Therefore, I believe that we have developed a dynamic where both our team and the clients have been fundamental cornerstones in the entire process. This collaboration is crucial to the success and effectiveness of our architectural projects. Our clients have provided us with both amusing and very serious experiences. How do we interpret all these tastes and memories to transform them? I think there is also a keyword here, which is feedback, that you need to understand. They might say, "When I'm building, I would like...", because memory encompasses all that accumulation of processes and histories that a person has, which you will incorporate into the project regardless of the context. It’s like a combination where the architect acts as a tool or medium, taking both the site's history and the client’s past and blending them together. We need to create a space of coexistence, a communion between those two entities: the client and the place. Their requirements can range from how they would like to inhabit a 20 square meter room to a 100 square foot room. There might be a person whose shoes need to be in a specific spot, accessible all day. So, you learn from these details, and then you think about how you can incorporate each of these factors to make the space comfortable and accessible for them. This process is fundamental in shaping the environment to suit the client’s lifestyle and preferences.

In the 21st century, it's essential that we open ourselves to all the possibilities that come our way. Throughout this learning process, we must be very sensitive and strive to convey who we are as clearly as possible. However, I don't have the thought of a 'star architect' leaving the ego behind to work in the community; rather, my focus is on how to transmit who I am and connect with others through the simplicity that defines my life philosophy. This approach is reflected in how I present my work, emphasising simplicity and my philosophy of life. This is all part of the process that has led me to explore new opportunities. Additionally, having a connection with the place is crucial. You need to adapt extensively to both the project and the client. The approach can vary significantly, for example, developing a project with a much lower cost for two elderly people in Portugal, as opposed to a project in the United Arab Emirates or a community project here in Mexico City. Each scenario demands a unique response and adaptation to meet different needs and contexts effectively.

Roots of memory

IH: Revisiting the theme of memory, for me, the greatest source of inspiration is the fact that I come from a small town in Venezuela, which has significantly influenced my creativity. I believe the experiences we encounter, such as cinema, painting, literature, books, archaeology, ruins, and more, shape who we are. For instance, here in Mexico, the numerous archaeological sites provide an immense source of culture, imagination, and inspiration. These foundations shape you; as I mentioned earlier, the past builds you for the future. Furthermore, I find a lot of inspiration from various sources. Engaging with the world of art, whether it's visiting a museum, sitting down to watch a play, going to the theatre, or observing a painting, enriches your imagination and enhances your visual culture. Obviously, the global development of many architects whom I admire also contributes to this enrichment. I have also had the pleasure of working with Álvaro Siza, who, despite being considered almost as an “Untouchable Master” in the architecture field, is incredibly humble. From this interaction, it's clear they approach their work with a very human touch. This attitude not only treats you with great respect but also serves as a source of inspiration, showing how humility and humanity can deeply influence professional relationships and creative processes.