Crafting freedom

SB: When I think about why Mexico is booming, three words come to my mind: aesthetics, freedom, and artisans. Let me try to explain: I believe that this kind of mystique of Mexico has been growing. It's going to sound slightly silly, but let’s take, for example, Frida Kahlo: she has been resonating so much in the world. It’s just an example, but very representative of the exposure that Mexico has had in the recent past because it gives us something, a recognisable aesthetic. When we look in the architecture field, certain names have recently become known internationally: the work of Mauricio Rocha, Gabriela Carrillo, Estudio MMX… There has been a resurgence of monumental structures and public space integration reminiscent of Eladio Dieste’s wonderful work. Alberto Kalach’s repetitive exploration of this theme underscores a growing fascination with structural, aesthetic architecture in Mexico over the past five years. Also, it’s undeniable that Mexico lacks regulation, which, applied to architecture, is crucial.That's the second part of the puzzle that makes Mexico a place where it is easier to find your own way to experiment with your ideas or start your business because there are no particular restrictions. Lastly, the craftsmanship, the manufacturing: Mexico has very specialised artisans involved in the construction industry which allow us to have this perfectly tailored suit, so to speak. The craftsmanship seen in Mexican steel-work particularly in windows astonishes Europeans with their unique beauty and attention to detail, characteristic of the love artisans pour into their work. This distinctiveness, devoid of any industrial replicas showcases the rich collaboration between artists and craftsmen, like the partnership between Bosco Sodi and Oaxacan artisans for Casa Wabi. This synergy underscores a broader theme of valuing artisanal work, its rise and international appreciation. Choosing standard windows over artisan-made ones is often a matter of cost, resulting in identical features in many buildings. This trend is evident in Europe, where, despite the presence of skilled artisans, their services are prohibitively expensive. So, if you sum up these three factors, I believe that it leads to a significant boom in what Mexican architects can do and are currently doing. I'm not sure if I'm part of it because I'm still very young in my practice. It's been only three years since I created the firm but I'm aware of what's going on, so I'm keeping up with everything. Besides these “Mexican” aspects, which are characteristics of this particular society, I think the pandemic also played a huge role in this boom: Mexico didn't close its borders, and everybody came to Mexico. So many visitors from Europe and the US came to Mexico. That had a huge impact. The sad aspect of all of this is that Mexico was one of the countries with the highest number of deaths, but it was also a huge publicity campaign for Mexico, which brought a lot of investments in different areas of the country, mainly the coast. 

Malinchismo in education

SB: The common pathway for students here involves studying at the UNAM, the public university in Mexico City, or at three or four private universities known for their architecture programs. The undergraduate degree lasts only four years, after which one qualifies as an architect. This contrasts with Europe, where the certification tales longer. Yet, there is a trend where graduates, particularly from private institutions, pursue a master's degree for one or two years in various fields after completing their undergraduate studies. This practice has been consistent for the past 10 to 20 years, albeit with slight fluctuations. What might be of interest is the attention some universities, especially in the United States, have shown towards Mexico. For instance, Columbia has established numerous programs in collaboration with various universities, which resonate significantly. Many students, upon finishing their undergraduate degree, head to Harvard for an intense two-year program. However, from my experience, most acquaintances opt for further studies in London or the United States, with lesser engagement with France or even Madrid. There's a bit of interaction with Spain, particularly with the Polytechnic University of Madrid, but it's not as pronounced. As you probably have heard, there is this cultural phenomenon in Mexico known as Malinchismo that stems from the historical figure of La Malinche, who served as Hernán Cortés's translator. The term Malinchismo refers to the tendency among Mexicans to favour foreign over domestic. This inclination is evident in the educational pursuits of Mexicans who, as you noted, if at all possible will go abroad for their master's degrees. This experience, though potentially lacking certain structural and practical aspects, informs a certain vision upon their return home. 

From blueprints to nomadic freedom

SB: I began my university journey at the Facultad de Arquitectura de Montevideo in Uruguay, designed by Román Fresnedo Siri, and the architecture of the building captivated me. I developed a strong affection for that place during my year there. Subsequently, I pursued my master's degree in Saint-Étienne, France, and completed it at Paris Belleville. During this time, I juggled studies with employment, participating in numerous architectural contests, which proved both challenging and exhausting. Additionally, I undertook an internship in Mexico, specifically in Tecamachalco, situated in the southwest of the city. It was there that I encountered Pascal Arquitectos, an architectural firm. Returning to France during my first year of masters degree in housing , I noticed a stark difference. In Europe, the scent of bustling cities had been replaced by the sterile smell of the subway. Paris, like many European cities, seemed to have lost something. Upon entering the workforce, I found the architectural scene somewhat monotonous. Collaborating with Marti Architectes in Paris, we secured a couple of competitions, mainly for housing projects. Feeling no strong ties to Europe, I embarked on a new journey: Mexico, Uruguay, back to France, and then Mexico again. Joining Ambrosi | Etchegaray's team in Mexico proved to be intense and rewarding. I had heard of the construction boom in Mexico through family connections, prompting my move seven years ago. Since then, I've witnessed the vibrant activity and ongoing developments firsthand. I completed four projects over three years in Ambrosi | Etchegaray, including the entire construction of their project for La Biennale di Venezia, where I served as the supervisor of the construction. Another project was a private residence in Puerto Escondido, along with Casa Wabi, where I collaborated with artisans and builders from Oaxaca. This experience was not just about the work; after finishing daily at the construction site, I spent time by the sea, making it a truly enriching period. I also engaged in public projects with INFONAVIT. In 2018, I left Ambrosi | Etchegaray for Sordo Madaleno, seeking a change and new challenges on a different scale. Upon joining this massive firm, I initially found the change of scale I was seeking, as I was engaging in competitions from Abu Dhabi, Bangladesh, and Austin, Texas. Eventually, I realised that once you've gained all you can from an architectural firm, staying further lacks purpose. During the pandemic, I concluded that it was the opportune time to transition to independence despite not having any projects lined up. Thus, amid the pandemic, I took that leap. I'm still exploring the kind of architecture I want to pursue and defining my perspectives. Our conversations have been valuable in this research phase. I'm continuing to work on this and might be able to answer definitively in a few years.

Architecture, alliances, and new beginnings

SB: Recently, I completed my first project, a house named Calli Cuatro, located in Malinalco, Estado de México. Documenting this achievement, I took some photos, marking a significant moment in my practice. Another milestone was collaborating with O'Brien VanderSteen Workshops. They are based between Devon UK, and Mexico City and are represented by James O’Brien, one of the two founding partners with whom we share our studio space and work closely on projects. This partnership has proven fruitful in enhancing our project presentations and teamwork. Additionally, a personal milestone was the birth of my son this year (2023), which has been immensely significant. It has influenced my outlook on the future, particularly regarding the type of architectural practice I aspire to lead. It has prompted me to reflect on whether to follow a demanding work schedule, like so many firms that demand 18-hour-day dedication or to prioritise personal time, which I currently prefer and is equally given to our coworkers. Managing life should not be hindered because of our profession unless absolutely necessary.  This past year I've experienced the equivalent of having three "babies" in the span of my career: my actual child, navigating through my architectural projects, and the launching of a magazine. One such project, Edificio Humboldt, an office building developed in collaboration with O'Brien Van der Steen. As a small practice taking its first steps, I aim at collaborating with friends and colleagues as much as I can. For instance, for the Calli House, we have involved a local landscape designer, which is standard practice for us. This year, we specifically invited them to participate in an architectural competition, highlighting the importance of their role in our projects. Working with landscape architects enriches our work, adding significant value. For instance, although I was directly involved in a competition led by O'Brien Van der Steen, I contributed as a consultant, ensuring the clarity and coherence of their concepts. This collaborative approach not only fosters mutual support but also offers financial benefits, especially for a young office like ours. Sharing the atelier with another firm helps manage costs effectively. Despite being a small team in search of large-scale projects, our focus on a few well-executed projects demonstrates our commitment to quality. Sharing expenses has proven to be efficient and beneficial for our operation. Maintaining flexibility is key for me, especially given our current capacity to manage up to three to four projects simultaneously, which seems like an optimal scale. However, adaptability is essentially based on incoming projects. I'm particularly interested in expanding our reach to include projects abroad, which would be an exciting direction for us. Navigating the market has been challenging, as I lack extensive contacts in this predominantly private sector. Breaking into this sphere has proven difficult. Nonetheless, all our projects are privately commissioned, each making a distinct statement about our architectural vision. I believe that, over time, these endeavours will yield significant rewards, marking a positive trajectory for our practice.

Harmonising habitats: less is enough

SB: Echoing Pier Vittorio Aureli's sentiment that "less is enough", our approach seeks to slow the pace of work, adhering to a nine-to-six schedule and simplifying the use of materials in our projects. This philosophy extends to creating atmospheres within our architecture that are intentionally uncomplicated, enhancing the essence of our designs. Additionally, in response to climate change, we prioritise the use of local materials, aligning our practices with environmental sustainability and the local context of our projects. For the Casa Tlecuilco project, all materials were sourced within 25 kilometres, emphasising local sustainability. Originally conceived as a playroom to keep grandchildren separate, it evolved into a landscape-focused project. We designed a water collection system from the roofs, using cisterns to achieve independence. Architectural interventions include the use of local stone for aqueducts and strategic rainwater harvesting points. This approach highlights our commitment to climate-conscious design, contrasting sharply with older practices where such considerations were absent, exemplified by a house built four years ago with no water capture system on its 1,000 square meter roof. This project reflects our interest in adapting existing structures to address climate change, showcasing the need for a shift in architectural mindset. 

In summary, our projects, including Calli Cuatro, focus on respecting the surrounding environment and context. This approach underpins all our work, emphasising harmony with the local landscape and community. The design of each space in the house is intentionally aligned with the natural backdrop of hills and mountains, achieving a harmonious relationship that enhances the living experience. This emphasis on the relationship between architecture and environment underlines the importance of common spaces. Furthermore, my architectural interest, influenced by my time at the University of Architecture of Montevideo, centres on transitional spaces. I find areas like lobbies or vestibules in collective housing particularly fascinating. In this specific house, these in-between spaces, be it a large terrace or corridor, serve as the core of the home's life, surpassing even the importance of interior rooms. This concept was similarly applied in another project realised in the region of Jalisco, where the entryways to bedrooms were designed to be more appealing than the bedrooms themselves. There, the spacious corridors and the central courtyard, with its striking jacaranda, highlighted the social aspect of architecture. In our projects, such as the large outdoor living room in Calli Cuatro, these transitional spaces foster communal living, embodying a blend of social and architectural ideals. Over the past three years, I've observed, that transitional spaces ultimately play a crucial role in organising the overall project and tend to be the areas we most favour. Reflecting on this, I realise that if given the chance, I would approach the Calli Cuatro project differently, embracing these insights into the significance of such spaces. Transitional and common spaces have emerged as essential elements across our projects, becoming the focal point around which everything else is organised. This pattern is evident in all our work, where we prioritise these areas, positioning them in the most advantageous parts of the project. Reflecting on this, especially in the context of completing our first project, it's clear that the early stages of our practice have been a period of experimentation, testing ideas and concepts. While the notion of using clients' projects as testbeds might not be openly embraced, nevertheless it is an intrinsic part of the architectural process. Moreover, practising in Mexico offers a unique opportunity for this hands-on experimentation to inform and develop our theoretical approach, highlighting the interplay between practical and theoretical dimensions of architecture. Reflecting on the completion of our first building project, we've gained several key lessons, particularly in client relationships and administrative tasks. The architectural curriculum often overlooks the importance of navigating the administrative and financial aspects, leaving many professionals learning through challenging experiences. 

Redefining design

SB: Together with James O’Brien, Castaña Arango Medina, and Daniela Nuñez Ruiz, we launched Eje Revista, a magazine aimed at fostering architectural discourse. In Mexico, there's a tendency to focus solely on aesthetics, neglecting the underlying responsibilities and theoretical foundations of architecture. This has led to a noticeable absence of critical analysis within the field. Our magazine seeks to fill this gap by offering a platform for thoughtful criticism and discussion about Mexican architecture beyond mere aesthetic judgement. Eje Revista represents our collective effort to elevate architectural discourse, serving as a think tank that challenges conventional perspectives, with our last issue focusing on housing. Additionally, my teaching role at a university allows me to observe firsthand the often superficial approach students take towards architecture. I make sure to emphasise that architecture is inherently political, influencing and reflecting societal values and needs. It's crucial for students to recognise this from the start in order to avoid superficial designs and incorporate essential features such as rainwater harvesting. In teaching the Design Process class to first-year students, I've observed a tendency towards immature decision-making, a trend that persists even among graduating students, as noted during a recent jury here in Mexico City. This situation has prompted me to reevaluate my teaching approach, aiming to better instil critical thinking and informed decision-making. The gap in critical engagement among Mexican students, compared to their European counterparts, can partly be attributed to the scarcity of specialised architectural resources in Mexico. Having studied in Europe, where access to a wealth of critical literature and specialised libraries is the norm, I recognise the importance of such resources in cultivating a critical perspective towards architecture. As Mexico emerges as a dynamic centre for architectural development, addressing this gap in critical discourse becomes essential. Through initiatives like Eje Revista and focused educational efforts, we aim to foster a more critically engaged and informed generation of architects in Mexico, enhancing the quality and depth of architectural discourse. In my own projects, I apply the same level of critique. Reflecting on the decisions made during the construction of a recent house, I recognise the importance of critically assessing my own work. This self-critique is vital, as it contributes to a healthier and more reflective practice.