A rediscovery of tradition

DS: I believe Mexico has always been a place of constant experimentation. Throughout its history, from the Olmecs, Mexicas, and Mayas eras, we've been a culture rich in symbols and traditions. Our cultural heritage is a fundamental force in Mexico. With the arrival of the Spanish, our culture blended European and Mexican influences. This fusion continued evolving through the 20th and 21st centuries, shaping our current identity. We're perpetually experimenting with colours, materials, and resources, asking ourselves who we are and what we choose. This spirit of exploration is what I bring to my work in Mexico. After studying architecture at Universidad Iberoamericana in Mexico City, I felt a sense of discontent. The curriculum focused heavily on design, neglecting critical aspects like materials, construction systems, and economics or politics. It was academic but in a limited way. Working in several architectural offices, I realised that wasn't my path. My interest in technology as a tool for experimentation led me to seek further education. This pursuit took me to Europe, where I completed my master's degree at ETH in Zurich, Switzerland. There, I discovered the true essence of experimentation. I started using robots as construction tools and delved into 3D printing and additive manufacturing with various materials like plastic, concrete, wood, and recycled play materials. This experience made me question why we don't embrace such experimentation in Mexico. Historically, we pioneered technologies like clay and earth and experimented with colours, textures, and shapes. But somehow, in the 20th century, we began mimicking practices from the United States and Europe. I'm now driven to rediscover and reinvent those traditional Mexican technologies and methodologies, blending them with modern innovations. 

A new open market

DS: Mexico represents a significant opportunity for architects and builders because here, you can truly innovate and create. However, the downside is the lack of strict adherence to regulations. We need a balanced approach, we can't just experiment wildly. This freedom is what attracted visionaries like Mathias Goeritz or Luis Barragán, who in the 20th century, together with other masters such as Ricardo Legorreta, aimed to define 'Mexicanidad' or Mexican identity through their designs. Eventually, however, this approach began to feel a bit like a caricature, and it was not entirely serious. Now, the younger generation of architects is revisiting these ideas more rationally. We're not just considering how to build but also why. We're questioning our use of colours, shapes, and materials. Our current era, marked by sustainability, housing, and rapid population growth crises, demands a new approach to architecture. Considering the growing homelessness and space constraints, we need to build faster and more efficiently. If the previous generation was exploring Mexican aesthetics, we're focusing on environmental responsibility and humanity.

A diverse global experience

DS: In places like Dubai, the lack of clear architectural rules can be both a blessing and a curse. It allows for experimentation, which is great, but it can also lead to architectural chaos. I've observed this in China and the Middle East, where there's a trend of what I'd call 'messy architecture'. My experience in Beijing in 2017, working with MAD Architects through MIT, was eye-opening. Initially excited about technology and 3D modelling, skills I honed while working with Rojkind Arquitectos in Mexico City using tools like Grasshopper and Rhino, my time in Beijing left me feeling empty. In Beijing, I witnessed firsthand the disregard for cultural heritage. I remember a project in one of the hutongs, the historic neighbourhoods, where they demolished ancient houses to build a new kindergarten. This attempt to blend the new and old erased important parts of history. This issue isn't unique to Beijing; it also happens in Mexico, where developers often prioritise profit over heritage, building for the sake of square footage. In contrast, the building we're in now (LAGUNA) respects its context, demonstrating the importance of considering the local environment and construction techniques. In Mexico, the new generation of architects, including myself, is striving to establish a balance. We're defining what should and shouldn't be done and, most importantly, understanding the reasons behind these choices. Our goal is to create architecture that is not only innovative but also responsible and respectful of our rich cultural heritage and environment.

Too good to ignore

DS: I studied architecture in Mexico City at Universidad Iberoamericana, Mexico City. After completing my studies, I felt something was missing. I didn’t want to follow the typical path of an architect or the usual architectural journey. This led me to explore what I truly enjoyed in academia. I discovered a keen interest in marketing alongside architecture. Initially, I joined Rojkind Arquitectos as a marketing director. This role was my introduction to marketing and how it intertwines with architecture. I soon realised my knowledge gap in technology. To bridge this gap, I pursued my master's degree at ETH Zurich in Switzerland. There, I met my collaborator, Edurne Morales, who is deeply involved in technological aspects like coding and parametric architecture. Our discussions often revolved around the narrative in data fabrication that robots and automation are the future of construction, intending to replace human involvement. This perspective troubled me. I couldn’t align myself with the notion of celebrating the loss of humanity in construction. While studying in Switzerland, a country abundant in resources and support for academia, I pondered the impact of these advancements in countries without such privileges. After completing my master's, I moved to Spain, a country that represents a blend of Swiss and Mexican contexts. Spain has resources, but not as extensively as Switzerland. Working with Ensamble Studio under Antón García-Abril and Débora Mesa in Madrid, I discovered that innovation in architecture isn’t solely dependent on machines. It can be about exploring new materials, geometries, and building methods with our hands, body, and intuition. This experience led me to contemplate the amalgamation of high and low technology in architecture, moving away from categorising them separately. I discussed these ideas with Antón, and his advice was straightforward: If I was truly passionate about the impact of digital fabrication in Mexico, “why was I in Madrid?” He encouraged me to return to Mexico to pursue my vision. I had the opportunity to move to LAGUNA, a disused factory in Colonia Doctores in Mexico City designed by PRODUCTORA. It was an opportunity too good to pass up, a chance to build a factory within a factory. Everything began to fall into place. I returned to Mexico in late 2021, ready to embark on this new venture. 

An alternative materiality

DS: In the initial phase of MANUFACTURA, I asked Edurne Morales, who is also Mexican, to join me in this venture. Our first year in business, 2022, saw us laying the groundwork for our company. At the time, I knew I needed someone to complement my profile, so I invited her to be my partner at MANUFACTURA during the initial stage of the project. She handled the technical side while I focused more on the media, communication, and project management, getting clients in Mexico. Now, she is based in Europe. She is quite brilliant in the tech department and codes like a pro. Even though she is not my partner anymore, we still collaborate on some projects. Our first year in business, 2022, saw us laying the groundwork for our company. We transformed the old office space at Laguna, infusing it with an industrial aesthetic. Soon enough, opportunities began to materialise, with an exhibition invitation, quite a promising start to our journey. The robot wasn’t operating yet, so we decided to showcase our work using 3D printing, and we created a totem using a combination of 3D scanning and some rocks. I got into 3D scanning rocks because I found it fascinating during the assembly. Now, I've amassed a collection of rock models from various places around the globe. So, I thought, "What if we use technology to create a totem with these rocks, even though they're physically scattered across different locations like New York, Menorca, and Oaxaca?" And that's exactly what we did for the exhibition. 

Then, things got really experimental, and we embarked on projects involving air, even eggshells, alongside some significant collaborations. One of these was with ANFORA Studio, the largest ceramic factory in Mexico, boasting over 100 years of expertise. We strongly connected with them, leading us to explore ceramics deeply. We also delved into projects involving earth and recycled materials, which was our most groundbreaking venture yet. That's when I met Montserrat Ayala, a material researcher and artist, and a ceramist. She had this innovative idea of using recycled materials, particularly eggshells, in her ceramic sculptures. It was an incredible moment. I reached out to her, and she brought some prototypes of her work to my place. In 2022, we invested in a robot arm and purchased an industrial extruder for ceramics. Then, we began developing the formula for the mixture, aiming to use it for 3D printing. With 3D printing, you use 40% less material, and you have the freedom to create intricate shapes. So, we kicked off our experiments in April and managed to showcase our work at Design Week 2022.

In 2022, we undertook various projects with artists, architects, biologists, and more. But eventually, we realised that we needed to narrow our focus. We decided to concentrate solely on the construction market because there's a significant gap. The construction sector contributes a whopping 15% to the world's CO2 footprint, and there's a stigma around new materials. Mexico also has a concrete monopoly; most major companies deal exclusively with concrete. We saw the need for an alternative. 

A conscious core

DS: Currently, we're primarily working on a block scale since it is more sustainable. Buildings made with blocks are easier to transport, assemble, and manage. Monolithic structures, on the other hand, are expensive and challenging. Most of our production involves making just two or three blocks per hour, whereas they're producing hundreds or thousands. We currently lack that kind of mass production. Yet, if we invest in more mass production, we could take on bigger projects and start competing in the sector. For now, we're pioneers. We're opening a new market. On one hand, that's amazing, we're innovators. But on the other hand, it's tough because we don't have anyone to compare ourselves to, and there are no benchmarks to follow. It's a major challenge we're facing. However, builders in Mexico are considered part of the cultural heritage because they're seen as artisans. They learn their skills generationally, not in schools or institutions. So, if we enter the construction sector, we have to be careful not to replace anyone but rather offer new jobs, opportunities, and skills in a democratic way, not purely driven by capital. 

I believe that awareness is at the core of our work. Innovation follows closely behind as the second defining characteristic. We're not only innovating materials; we're revolutionising production systems. Through digital fabrication, we can produce locally, shifting away from the mass production mindset that has led to detrimental consequences like labour exploitation and excessive energy consumption. The Industrial Revolution propelled us into a world where we became slaves to machines and production. With digital fabrication, we can rewrite this narrative to work in harmony with technology rather than being enslaved by it. The third crucial aspect is context. Context matters profoundly because the impact of our actions varies depending on our surroundings. It's not enough to simply adopt technologies or practices blindly. What works in one place may not work in another. For instance, the European notion that 3D printing is the future might not hold true in Mexico. Here, labour relationships and resource availability differ significantly. Understanding and respecting our unique context is essential for sustainable and responsible practices. So, awareness, innovation, and context are the three pillars guiding our approach.

Prototypes for the future

DS: A project that embodies our philosophy is called Talavera. It's an installation where we brought together various manufacturers to raise awareness about the relationship between humans and machines. When I first introduced the use of the robotic industrial arm in Mexico, many people were apprehensive. People doubted whether machines could truly be the answer, especially in a country like Mexico, where they're considered expensive and inaccessible to most. Machines, much like iPhones or Mac computers, have a way of highlighting the inequalities within our society. It's evident who has access to these technologies, mainly large corporations, while smaller design studios and students often lack access. Unlike in the United States or Europe, where many major universities have access to such technology, most universities in Mexico do not have industrial robots or similar infrastructure. That's why I realised that innovation isn't just about material research. It's also about transforming the mindset surrounding labour relationships. This realisation prompted us to undertake the Talavera project, a collaboration with Uriarte Talavera, the oldest and largest Talavera company in Puebla, two hours away from Mexico City, with a rich history tied to the Spanish settlers who established themselves there. Talavera, a traditional craft with roots in Spanish and Arabic cultures, became a significant part of Mexican heritage after the Spanish conquest. Today, Talavera is protected by law to preserve its cultural significance and heritage. Our project aimed to showcase this rich tradition while highlighting the importance of embracing modern technology in traditional craftsmanship.

This ceramic-making process, deeply rooted in our cultural heritage, comes with a set of rules and limitations. Artisans must adhere to strict regulations, using only local ceramics sourced from specific regions and employing certified tools from approved workshops. However, despite these constraints, there's a desire for innovation within traditional practices. When I sat down with the team at Uriarte, they expressed a common frustration, the repetitive nature of their work. Many artisans had spent decades creating pottery with little variation, leading to a sense of monotony. We faced a challenge: “How could we innovate within these boundaries?”. Uriarte also grappled with another issue, excess waste. Failed pieces that didn't meet quality standards accumulated in storage rooms, posing a significant problem. However, this waste presented an opportunity for us. I proposed incorporating these discarded ceramic fragments into our installation, viewing them not as burdensome remnants but as valuable materials for artistic expression. 

We realised that while we couldn't alter the traditional techniques or materials used by the artisans, we could explore innovative approaches to shape design. The artisans explained that shape was the only aspect they could modify within the existing framework. This revelation sparked our creativity. Rather than focusing on grand architectural gestures, we looked to the modest yet versatile space of the patio at Uriarte. Its vibrant colours and rich history provided the perfect canvas for our project. We envisioned transforming the patio walls into an artistic tableau, utilising the empty space between the ground and ceiling. This approach allowed us to innovate within the confines of tradition while breathing new life into the familiar surroundings. By embracing waste materials and reimagining conventional shapes, we aimed to challenge perceptions and foster a renewed appreciation for Talavera craftsmanship.

Then, I suggested replicating a column, which is important in Puebla due to its Baroque architectural style. We wanted to capture this essence by creating a column of different assembled pieces. However, these pieces needed shapes that couldn't be crafted by hand. So, we turned to 3D printing technology. After firing the pieces and refining them, I presented the prototype to the artisans in Puebla. While they loved the design, adhering to traditional methods meant we couldn't use electric dryers, adding time to the production process. The building law’s original name is ordenanzas, or rather Las ordenanzas. ‘Very Spanish’, I thought. We agreed to follow it and created four moulds crafted by a certified artisan in just one day. They replicated 80 pieces using these moulds and then glazed them. The glaze was crucial, giving the pieces the vibrant brightness typical of Talavera. Otherwise, they would have looked like ordinary ceramics. Then came the hand painting, done with pencils made from donkey hair. The painting was in a traditional colour, Azul Cobalto (Cobalt Blue), symbolising Spanish royalty, a significant colour in Puebla. They sourced it from minerals, painted all 80 pieces, and fired them again. The finished pieces boasted a baroque style, full of elegant curves. We complemented them with a carpet of waste pieces. The result was stunning, blending tradition with innovation in a way that truly captured the essence of Talavera. This approach has garnered positive responses, demonstrating our commitment to respecting craftsmanship.

A continuous effort

DS: Many people think design is a woman's field, which I disagree with. But I'm in manufacturing, and it's mostly men there. That's my biggest challenge. Every time I'm at the atelier, clients ask, "Where's the engineer?" First off, I'm an architect, not an engineer. Second, architects can handle machines, too; we're not just designers. And third, it's a woman handling it, me. I'm not alone, though. But being a woman in the manufacturing sector is tough. In manufacturing, though, especially in Mexico, which is pretty machista, being a young woman, and a white-skinned one at that, brings challenges. Clients often expect a male figure to close deals. I'm currently trying to work with a big company, CEMEX. I'm on their editorial committee, but it's tough. It is nearly impossible to convince somebody that you may be a man. It would be considered crazy. I am grateful for technology because I do not need to be judged by my physical capabilities or my body since machines now make everything. Of course, in the 20th century, if you were to ask factory owners, they would say that they would never hire a woman. So, we're negotiating, trying to break these social models daily in my atelier. It's a constant battle, but we're up for it.