An evolving landscape

JS: Mexico's economy has seen its fair share of ups and downs since the '70s, impacting various sectors, including architecture and construction. Every few years, a new crisis hits, forcing us to adapt. Things changed significantly after the '70s when Mexico went global during the oil crisis, reshaping manufacturing methods. This shift also led to changes in design-related professions, which used to have a more hands-on role in crafting and production. Each crisis has since pushed us to reinvent ourselves, and now this constant ability to adapt is part of our DNA. Mexico's recent boom isn't just about the economy. It's fueled by the democratisation of publications, much like YouTube did for television. We learn from and connect with others, creating a vibrant community. When you mix our adaptability, the digital revolution, and a favourable economic climate, it explains this exciting period.

In 2000, Mexico experienced a democratic shift, marked by the government's competition for the Vasconcelos Library, won by the talented architect Alberto Kalach. This ushered in a wave of public projects with significant exposure. However, the 2008 global crisis caused many large practices to downsize. Just before the 2020 pandemic, a shift to a more populist, left-leaning government sparked significant architectural development. A key moment was the government's cancellation of a major new airport project in Mexico City, a move aimed at sending a message amidst a history of corruption in public projects. Since 2018, Mexico has faced a financial crisis with significant capital outflow. Mexican and foreign investors are diverting their funds elsewhere, perceiving a lack of government support. This trend was intensified by the government’s efforts to decentralise from Mexico City. Economic growth is now pivoting to cities like Querétaro, Oaxaca, and Merida, with the Yucatan region emerging as a dynamic hub with extensive development. At the same time, key projects like the rail line connecting Veracruz to Salina Cruz are looking to shorten the distance between the Gulf of Mexico and the Pacific Ocean, creating a commercial corridor. Although Mexico City remains active, the economic focus is clearly shifting, with these regions experiencing rapid growth. Many individuals, for instance, left their jobs here to settle in places like Sayulita or Todos Santos, establishing remote offices. Regarding the political situation, today, the focus is less on ideology and more on practical needs like putting food on the table. I expect this trend to persist. Personally, although I'm not particularly fond of how the government is running things, I believe a change may bring a period of economic instability, that might not necessarily be better. Since this inteview, a new president was elected with continuation in the horizon. 

Branching out

AO:  Our paths intersected despite belonging to different generations and managing a 14-year age gap. This results in distinct perspectives and starting points in our collaboration. I hail from Colima, a small city in western Mexico. My search for an internship led me to contact several offices in Mexico City and Guadalajara, including JSa - Taller de Arquitectura (Javier Sanchez), where Juan was working. A year later, I joined Juan at JSa as my second formal job. After working together for around eighteen months, Juan left and invited me to Soler Arquitectos. Initially, it was just Juan and me, starting in a small room. We expanded our team a few months later. In 2017, three years in, I became a partner, and we rebranded to SOA - Soler Orozco Arquitectos.

JS: My career path is slightly longer than Alan’s. Being from Guadalajara, where I studied at ITESO, has influenced our work and connections, differing from those who studied and networked in Mexico City. After my studies, I spent some time abroad, interning in Barcelona with aspirations to settle in Europe, but circumstances led me back to Mexico. Architecture is a slow process. This means you must experience the entire process, from initial sketches to the final structure. My early career felt basic, almost like flipping burgers, but slowly it evolved as I moved to construction sites. However, working at JSa was pivotal; his architect-developer approach greatly influenced my perspective on the business aspect of architecture. During my 11-year period  there, 4-year tenure as a partner, I focused on attracting new projects and clients, leveraging the firm’s extensive infrastructure. This role of generating significant income was a major responsibility, and by 38, it prompted me to contemplate my future and the idea of starting my own practice. That’s when I decided to branch out and invited Alan to join me.

A memorable compliment

JS: During our initial phase, two notable projects were Casa Molina and Distrito Sur. Distrito Sur came through a friend, and interestingly, the client admitted they wouldn’t have awarded it to me as just Juan Soler. At the time, I lacked the capacity for such a large project, and I was still at JSa. After securing the commission and moving on from JSa, the project underwent significant changes due to various factors. We completely redesigned the building’s facade during the construction, an extensive one-to-one overhaul. It was an immensely rewarding experience. Casa Molina marked a significant milestone as our first independent project. It involved designing a prefabricated house for a client with a large family who required quick construction due to safety concerns in a high-risk area. We crafted a metallic modular structure, fabricated 100 kilometres from the site, and assembled it on location within seven weeks. The project covered 160 square metres, showcasing our dedication to material honesty and innovation in construction techniques. Additionally, as the primary builders, this endeavour not only demonstrated our architectural prowess but also secured us financial stability, providing six to eight months of work. This venture into prefab construction in Mexico was not just about building; it was an exploration of new materials and techniques, particularly in steel construction. Casa Molina remains a foundational project in our portfolio, embodying our architectural ethos and contributing significantly to our professional development. One of the most rewarding aspects of that project was our client’s reaction. At 70, and as a chemical engineer and paint company owner, he expressed a profound sense of gratitude, saying, “I didn’t know that it could be done. Now I understand what architecture is about.” His realisation that architecture could create comfort, like shade without heat radiation, or lighting without glare, was a unique compliment for us.

A multidisciplinary approach

AO: Our office encompasses a few main areas: architecture, graphic design, branding, and recently, lighting design. In our practice, there is minimal hierarchy. Juan and I co-direct, with distinct focuses: Juan on design, and myself on the SOA Brand, covering branding and graphic design, along with our newly established lighting design division. Project organisation varies by scale. Larger projects may have a senior architect dedicated solely to them, while smaller or different-phase projects might see architects handling multiple assignments. 

JS: Architecture is our primary focus, utilising most resources. The graphic design and branding team supports both our architectural projects and external clients. We’ve always incorporated lighting design, initially in a basic, empirical manner. Recognising its crucial role in architecture, and faced with projects lacking the budget for external lighting consultants, we began developing our in-house lighting design capabilities. Alan, with his multifaceted skills, might be understating his contributions. He’s akin to a modern-day Renaissance architect, deeply involved in various fields, particularly graphic design and calligraphy. Alan’s artistic ability to understand and manipulate light is something I can’t do, but it’s intrinsic to our approach. This multidisciplinary approach is appreciated by clients who prefer working with a single design practice that offers multiple specialties.

Varying contexts and roles

JS: Our primary market is Mexico City, though we’ve undertaken projects in Guadalajara and Morelos. Currently, we’re working on a project in Tulum and developing a house for sale in Querétaro. This venture in Queretaro is an experiment, where we aim to understand the dynamics of building and selling a property, alongside our usual development activities. Our roles vary between developers and builders, depending on the project. For instance, we personally oversaw the construction of a 900 square metre house, largely to leverage economic benefits due to its size and our expertise. In the Parque Via house project, we chose to be the builders to ensure exceptional quality without compromises. However, one of our current projects in Querétaro is different. We’re not the builders; instead, we’re handling the design, development, and client relations, subcontracting the construction. This approach provides us with comprehensive insights, enhancing our understanding of both contractor expectations and client needs.

Nordic intricacies

JS: My affinity for Finland, stemming from my time as an exchange student in 1999 and my Finnish spouse, deeply influences our work. The impact of Nordic architecture, particularly Aalto, has been significant. For each project, we draw inspiration from various architects, pondering how figures like Peter Zumthor or Chipperfield might approach it. Our style aligns with modernism, embracing the principle of ‘what you see is what you get’. Good architecture, whether by famous or lesser-known architects, also inspires us. Drawing inspiration from our colleagues is equally important, providing fresh perspectives and innovative approaches to common architectural problems. Personal experiences, like visiting buildings, can be deeply moving – for instance, my emotional visit to Rogelio Salmona’s library in Bogotá was unforgettable. While Salmona isn’t a constant reference, his meticulous use of materials and attention to detail are truly inspirational. Such experiences remind us that it’s easy to become absorbed in the details of architecture.

Morphing priorities

AO: We strive for honesty as our hallmark. This encompasses structural and material integrity, ensuring each element speaks for itself authentically. Our approach focuses on materials and structures expressing architecture genuinely, without disguise. For instance, if a project’s budget doesn’t allow for natural wood, we opt for veneer, or even an alternate material, rather than resorting to imitations. Our ethos is to let materials and structures manifest naturally within the architectural design.

JS: Our current portfolio spans various types of projects. We’re developing a building that combines five houses, each with separate access and independent services, reflecting modern living trends and client needs. In contrast, we’re also working on private houses where the budget allows for more creative freedom. One such project incorporated a museum-like space into a house, showcasing our ability to work with innovative ideas and luxurious materials. Budgets significantly influence these designs, enabling us to craft unique spaces. Additionally, we’ve undertaken rooftop expansions, like Terraza Francia, where we integrated a garden into the extension. Another key theme in our work is integrating new functions within landscapes. For instance, our spa project in Tepoztlan seamlessly blends with its surroundings. In Tulum, we’re developing a project where 70% of the land remains unbuilt, focusing on preserving the natural forest and integrating the outdoors harmoniously with the built environment. We’re delving into the Mexico City phenomenon, where a surge of digital nomads from the United States is causing a real estate boom. This influx is driving rents up, akin to what Juan Herreros described during a lecture, is happening in Barcelona, where community structures are eroded by temporary migrations. This trend is evident in areas like Roma and Condesa districts, where Airbnb-driven gentrification is rampant. Though we’re not entirely comfortable with these developments, they reflect current trends, and we’re involved in creating apartment buildings catering to this market. Our aim is to offer excellent service to our clients, as demonstrated by a project in Polanco. There, we prioritised public space quality, even removing a parking spot to include a café serving both locals and foreigners.

Reinterpreting the trends

JS: I believe it’s unwise to merely oppose current trends without offering solutions. True change involves activism and policy engagement. Our focus is on how we can positively impact the city through our projects. It’s not just about ticking boxes; it’s about what special element we bring, be it a courtyard, open space, or our interaction with the city’s fabric. This reflection has become a natural part of our process, leading to projects we’re proud of. We aim to balance what we take with what we give back, preparing for future anti-gentrification regulations and ensuring our projects can adapt to these inevitable changes. Indeed these situations are tricky. The project in Polanco, a bourgeois area with Californian colonial-style houses, faced challenges. These houses, once private homes, had been converted into businesses like yoga studios and shops. Our intervention breathed life back into one building, avoiding displacement. Unlike gentrification in Condesa and Roma since the 90s, our projects don’t displace residents. In Condesa, we transformed an existing building into apartments, then an Airbnb, and now a hotel. This transition didn’t push anyone out but is still part of gentrification. This building, once a complex of six houses from the 40s, becomes a hotelwhile retaining architectural value. Our aim is to balance the impacts of gentrification by sparking discussions about its consequences.

Contextual aesthetics

AO: In Mexico, our architecture is profoundly influenced by factors like climate and labour costs. The weather allows for designs that wouldn’t be feasible elsewhere – we can use single walls and open terraces, and there’s no need for double-glazed thermal windows. This flexibility extends to custom window sizes, thanks to affordable labour. Our climate’s stability, with minor seasonal shifts, supports this architectural freedom. While there are regional variations, Monterrey and Los Cabos have more extreme conditions, overall, the weather has played a significant role in shaping our architectural styles and solutions. 

JS: We do get away with a lot, which in turn has turned into its own architectural style. Once an Australian approached me, interested in building a ‘casa’ in Sydney. Initially confused and thinking, ‘What the f**k is a casa?’, I realised ‘casa’ was not just a house but rather it symbolised a Mexican style. I explained that it’s more about atmosphere, material use, and ageing. This interaction highlighted an external perception of Mexican architecture as a distinct style. However, I see it as a natural response to our climate, labour conditions, and budget. What’s perceived internationally as a unique architectural movement is, to us, simply practical adaptation to our environment. The ‘casa’ style might not translate seamlessly to Australia’s different context. But isn't this just architecture? Isn't that what architecture has to do anywhere?

In architecture, regional styles within Mexico are distinct. A project we designed, intended as a large prefab house in Guadalajara, highlighted these differences. It deviated from Guadalajara’s traditional escuela tapatia style, known for its modesty and solidity, and leaned more towards the flashier, glass-and-steel Chilango style of Mexico City. This divergence sparked criticism from a friend of mine, who felt it wasn’t fitting for Guadalajara. While the project wasn’t realised, it demonstrated the unique architectural identities within Mexico, such as the ‘Tapatio’ and ‘Chilango’ styles, each reflective of their respective regions or approaches.