From isolation to inspiration

RR: There isn't one exact answer. It's a combination of factors, but the main reason that comes to mind is that Mexico used to lag behind quite a bit. So, the way Mexico and Mexicans approach design is one of the driving forces behind this trend. Additionally, it could also be influenced by globalisation. With increased travel and access to information and images from all over the globe, Mexican minds have broadened, incorporating references from various cultures, sparking curiosity and interest in design. Initially, just about 15 years ago, things were mostly built the same old way. But now, folks are starting to ask questions like why things are done that way and how they could be done differently. Here in Morelia, the situation is even more pronounced because we're somewhat cut off from the major design movement happening in Mexico City and Guadalajara, with maybe a bit of it in Monterrey. But here, our isolation makes it tougher to promote the value of design in the minds of every Mexican. I've lived in Monterrey and Guadalajara, though not in Mexico City, so I have some understanding of the context, especially in Guadalajara, where I worked for a couple of years. Over there, the design movement is really strong; you can sense it, and you can see the community of architects forming, as well as the increasing recognition of design's value. So, in comparison to those cities, we're a bit more isolated.

Shaping design through contrasts

RR: The story of my practice begins during my final year at architecture school, which was located at the Tec de Monterrey. At Tec there's a captivating internship programme that caught my attention. This programme operates like a competition based on student portfolios. The intriguing aspect is that the quality of your portfolio determines your ability to select the firm where you'd like to intern. At that moment, I was fortunate to secure an internship with Dominique Perrault in Paris. This experience proved enlightening because it exposed me to aspects of architecture I wished to avoid. The office environment felt highly corporate, with around 60 people working there. Projects were vast in scale, and I spent six months primarily focused on the core design of a skyscraper that ultimately never materialised. This stint provided valuable insights into the workings of large architectural firms. However, it also reinforced my desire to pursue a different path in my architectural career. Simultaneously, I had the opportunity to travel across Europe and explore projects by architects whom I deeply admired. This exposure offered me contrasting perspectives: on the one hand, the corporate world of architecture, and on the other, the more personal and explorative approach embodied in the projects I encountered firsthand. This duality significantly influenced my understanding of the field.

After graduating, I was certain I didn't want to join a large architectural firm, a popular choice among many of my peers in Mexico City. Instead, I ventured to Guadalajara, which, around 10 to 12 years ago, was still emerging as a hub for design. There, I connected with Kristo Eklemes and Javier Arias, who ran a small studio named Rega Studio. They were deeply involved in smaller-scale projects, pouring their hearts into each endeavour. During our conversations, they encountered a project too sizable for them to handle alone, and they invited me to collaborate. Our partnership blossomed, leading to an invitation to join them as a partner for a period of about three years.

Building swiftly, planning wisely

RR: The circumstances were quite significant because, as a small firm at the time, it was exceedingly challenging to secure projects in such a competitive environment. Additionally, Javier and I, both hailing from Morelia, a smaller town with fewer architects, began hearing about opportunities there through friends and acquaintances seeking architectural assistance. Consequently, we initially established a satellite office. Returning to Morelia under the Rega banner, Javier and I collaborated with Kristo on several projects. Over time, this arrangement evolved naturally, leading us to make Morelia our permanent base of operations. Each of us pursued our own path, resulting in an amicable split as we followed our individual interests, questions, and approaches to practising architecture. This transition occurred approximately a decade ago. Since then I've been operating as a solo practitioner for about ten years now.

Dunza Corporativo was one of the first projects and marked a significant turning point for us. While Kristo was no longer involved, Javier and I continued to collaborate. This project, rooted in Morelia, represented our first major opportunity to garner attention and attract new clients. It required swift execution, as we had just ten months to complete both the design and construction of an office space. The pressure was intense, particularly during the initial month when we felt somewhat overwhelmed unsure if we could pull it off. However, as time progressed, we made decisions that proved to be the right ones. We adopted a highly practical approach, prioritising feasibility over creativity and exploration. Our focus shifted towards practicality. Rather than pursuing elaborate designs, we aimed for precision and efficiency. The design process became very methodical, following a linear path. We asked ourselves, "What is the most effective way to construct this structure within a tight timeframe of two to three months?" This approach simplified decision-making significantly. Once we grasped the need for speed and efficiency, the path forward became clearer. Prefabrication emerged as the optimal solution for achieving rapid construction. Despite the immense pressure we faced, our pragmatic mindset ultimately guided us through the project successfully. We discovered that when working at such a rapid pace, there's little room for error. Despite the tight timeframe, we managed the project efficiently. Utilising prefabricated materials and embracing a raw aesthetic, we created a flexible, open workspace conducive to collaboration. Even today, the office layout promotes interaction among its occupants, reflecting its success in fostering teamwork.

While these fast-paced projects may be necessary at times, they're not ideal. Consequently, whenever possible, I aim to negotiate more time with clients, particularly during the project planning phase. Construction, of course, progresses at its own pace, which is often beyond our control. However, dedicating sufficient time to thorough project planning can make a significant difference. Delving deeply into a project yields better results than skimming the surface, as we learned from our experiences. The completion of Dunza Corporativo signalled a shift towards more serious endeavours. 

Architect to business acumen

RR: During this time, I realised the importance of complementing my architectural skills with business acumen. I noticed a significant gap in my knowledge when it came to managing a practice effectively. While architectural education provided a foundation in design, it lacked comprehensive instruction on the intricacies of running a business. This realisation prompted me to seek opportunities to enhance my understanding of business management. During this period, I faced a dilemma regarding furthering my education. On one hand, I was drawn to pursuing a master's degree in architectural design, which sounded appealing. However, I also recognised the importance of gaining knowledge in management and business practices. After some research, I came across the Master's in Architectural Management and Design offered by the IE Architecture School in Madrid. This programme essentially offered an MBA tailored for architects, which seemed like the perfect fit for my interests and aspirations. I enrolled in the course, which spanned a year. Despite focusing on management and business, the programme allowed me to continue designing small projects for family and close friends. It was a hybrid programme that struck a balance between theoretical learning and practical application. This experience proved to be incredibly enlightening and enriching, providing me with valuable insights into both the creative and business aspects of architecture.

The master's programme had a significant impact on the way our architectural practice operated. It provided valuable tools for managing the business, which proved especially beneficial during the challenges posed by the COVID-19 pandemic. I gained essential skills in client management, building relationships, and navigating the business side of architecture. These lessons were truly enlightening and have since played a crucial role in sustaining our practice, even during difficult times. That period was quite eventful for us, with various projects on the go, including some intriguing housing developments in Morelia. However, everything took a sudden turn when the COVID-19 pandemic struck. It was a challenging time for us as we navigated through the uncertainties and changes brought about by the pandemic. 

Home rooted in vision

RR: The central concept that defines my practice is encapsulated in its name, Morari. Derived from the Latin root meaning "to dwell", Morari reflects the essence of taking things slowly. In Spanish, "morar" similarly signifies acting with deliberation and patience. This philosophy emerged as a learned lesson from our initial project experience, which was characterised by its rapid pace and flashy nature. We've since embraced the importance of allocating ample time to each project. Time is a non-negotiable aspect, and investing it wisely during the early stages is crucial. This early investment sets the foundation for delving deeply into problem-solving and ensures a thorough exploration of potential solutions. Thus, our practice prioritises dedicating sufficient time to thoroughly understand and address the unique challenges presented by each project. One of these projects is the place where I live. 

The story of our current house is quite lengthy, but it began when my wife and I got married. Fortunately, our parents generously offered their support and assistance in building our home. At the time, we didn't have any children, and we were unsure about starting a family or how many children we might want. This uncertainty made the initial stages of planning quite challenging. We found ourselves tasked with not only designing a house but also envisioning a future family within it. It was a daunting and complex process, but one that we embraced wholeheartedly.

Most architects tend to build their own homes when they are older, so I felt a great deal of pressure to get everything right. To minimise the chance of making mistakes, I meticulously researched and sought inspiration from architects whom I admire. Studying their work helped me understand how they navigated similar situations and projects. As the planning phase progressed, things began to take shape. One significant aspect of the design process was finding the right materials. We stumbled upon a beautiful brownish stone nearby, which we decided to incorporate into the design to blend in with the surroundings. Additionally, we were keen to involve local craftsmen in the construction process, adding a sense of authenticity to our project. Once we overcame the initial challenges, the project started to gain momentum. 

In terms of its layout, our house is situated on a steep slope, which presented its own set of challenges during the planning stages. To address this, I carefully selected a spot along the longitudinal axis of the site where the terrain was relatively level. This served as the foundation for positioning the main structure of the house, minimising the need for extensive land movement and optimising the site's use. Next, I divided the design into smaller blocks to establish a sense of organisation. One block was designated for the social areas, another for the study, and a third for the bedrooms. This division helped to establish a clear spatial hierarchy within the design. Additionally, I opted for a modular approach, using a standard wood module measuring 1,22 x 2,44m. This module served as a reference point for the rest of the design, providing consistency and proportionality throughout the scheme.

In terms of construction, one of the challenges we faced was educating the local labourers and builders about our unconventional approach. In Morelia, it's customary to plaster every wall, but in our house, we opted for a raw finish with exposed concrete and bricks. Initially, the workers were eager to plaster over these surfaces, so we had to communicate and teach them about this alternative construction method. We explained that this approach had been used for centuries and showed them examples from nearby Michoacán, such as the work of Carlos Mijares Bracho, which features similar raw finishes. This teaching process involved demonstrating that there are different ways to build beyond what they were accustomed to. It was a process of introducing them to a new approach and helping them understand its benefits and historical precedents.

Creativity amid commercial constraints

RR: I have two young children, one of whom was born during the pandemic, so I'm very focused on looking after them at the moment. In the office, we keep things relatively light, but we still undertake a mix of commercial and residential projects. Many of these residential projects are for sale, which means we often have to design according to market demand rather than personal exploration. These types of projects are essential for keeping the practice running smoothly and providing a steady income. However, we also have a few projects that allow us to delve into design more deeply and feel genuinely passionate about our work. These projects serve as a creative outlet and help to balance the more commercial aspects of our practice.

One of our current projects that stands out is with a client from New York. They've commissioned modular vacation homes that can be constructed in various locations. We've been working on this project for about a year and a half now, and it's starting to take shape. Additionally, we've had the opportunity to work on a couple of other houses where we had more creative freedom to explore interesting designs beyond typical commercial housing. We're currently engaged in a renovation project in Madrid, focusing on a house from the 1960s. This presents a wonderful chance to revitalise a piece of history and inject fresh energy into it. Located in El Viso, the project is particularly intriguing as the house has an interesting backstory linked to journalism, dating back to the post-civil war period. The house boasts a distinctive triangular floor plan, adding to the project's complexity and excitement. This unique layout poses a challenge that we're eager to tackle with innovative solutions. We're involved in a variety of projects, each with its own unique challenges and opportunities for creativity.

Learning from the masters

RR: While I wouldn't pinpoint a specific movement, I draw inspiration from a multitude of references. During my time teaching at the architecture school here in Morelia, I always stressed the importance of carefully selecting and studying references. In today's digital age, where we're inundated with images through social media and online platforms, it's crucial to be discerning in our choices. That's why I encourage students to seek references from books. The essence of what truly matters often finds its way into print, making books invaluable sources of inspiration and knowledge.

Images are easily accessible everywhere, but I believe that if something is deemed worthy of being in a book, it holds significance. That's why I often suggest starting with books when seeking inspiration. I also stress to my students that the quality of their references reflects the quality of their work. Studying the works of esteemed architects throughout history can be far more enriching than browsing Instagram. I'm always transparent about my own influences. For instance, I greatly admire the works of Luis Barragán, Carlo Scarpa, and Peter Zumthor. Here in Mexico, Alberto Kalach stands out as a notable reference for our generation. I find inspiration and enrichment in studying the works of these architects, and it often informs my own approach to design.