This new embassy weaves a bridge between the enduring material presence of basalt in Mexico and the democratic transparency of Belgium, connecting the artisanal construction traditions of Mexico with the industrial efficiency and quality that defines Belgium.

Antracita is an ever-changing exercise based on a module that can be arranged and repeated in infinite possibilities to generate forms and landscapes. The forms generated by this repeating module suggest a dialogue between the inert condition of the material and its subtle way of suggesting perpetual movement.

Development of a master plan for 570 flats with ground floor retail.

Light, scaffolding-like, spatially and chromatically contained, it uses the texture and tonality of the wood in contrast to the opacity of the black porcelain to create an open exhibition of EDAA's production of art-object pieces.

The various connections between subjects and objects are not exempt from continuous transparencies: materially, metaphorically and symbolically. The ceiling is both an architectural and constructive element as well as a metaphor of security and protection; always vulnerable and therefore always with gradual transparencies.

Located on the first floor of Taxco 25, this short-stay homestay offers simple yet sophisticated interiors through the extensive and meticulously designed use of pine wood.

Located on the ground floor of Taxco 25, this short-stay homestay offers simple yet sophisticated interiors through the extensive and meticulously designed use of pine wood.

Two galleries merge to exhibit photographs, digital art and sculptures.

Some irregularities in the topography reveal its existence. The collection of vehicles is kept underground.

The partial intervention for the corporate offices consisted of strategically activating the office space.

The ceiling and the bearing, are the two basic elements on which this emerging market proposal is based.

An urban forest as a refuge for a house seeking serenity.

The intervention takes advantage of the original condition of the apartment to restore its materials and elements (doors, windows, fittings, floors, tiles) and through specific openings in the walls opens the space for a more fluid and better illuminated and ventilated experience.

"The true forest is composed of the trees that I do not see. The forest is an invisible nature" José Ortega y Gasset - The Forest, 1914.

ESCUCHA proposes an open experience, a scaffolding that functions both as a constructive system and as a support for human interactions with nature. Its light structure and solid foundations reveal and anchor the work to the site and the landscape. Thus, instead of seeking a static view of the project, ESCUCHA suggests a variety of meanings and senses.

This proposal focuses on life in a neighborhood, it picks up the typology of the Roma Sur area and salvages a historical protected house with a 1940s functionalist style. It creates five dwellings connected by gardens and terraces, where materials such as concrete, rust-finished steel and pine wood are used.

The intervention superimposes new materials in order to transform the spaces into simplified observation and resonance boxes. In a sequence from less to more, the work explores the visual, acoustic and ornate qualities of marble, wood, paint and rice, the latter being a central raw material in the practices of the artist Yupica.

Acknowledging the forest as its protagonist, the house is inserted among the vegetation and as it adapts to its slope. It is the starting point of a line in the landscape which makes reference to both the glacial past of the rock blocks and the permanent interaction between the architecture and its surroundings.

"Rapitae: 11,154-11,51, seeks to generate an experience of space and its relationship to time, as part of a reflection on the distances between time perception and time magnitude in nature, two notions that are condensed in the experience of the wandered public" - Yupica.

An object in the architectural space: a simple concrete staircase.

The main challenges were the reduced size of the property and the instability of the land, coupled with restrictive construction and land use laws. The end product is a slim and light building.

A light staircase ascends into the void that ventilates and illuminates the dwellings while the glossy black tile façade, characteristic of the Narvarte neighborhood in the 1950s, captures the colors of the neighboring buildings and makes them its own by reflecting them.

Casa Meztitla is an intervention in a wild scenario that dialogues with the flora and topography carved more than 500 years ago. The architecture is developed by safeguarding the native vegetation, effective sunlight and topographic levels, in order to harvest rainwater in a system that guarantees its water sustainability.

This is an exercise in rapid assembly of a minimal living space with durable and completely reusable construction materials: wood, corrugated fiberglass sheeting and cement block to separate it from the ground.

A museum without form, open and free, colorful and complex, like the imagination.

Intermittences is an essay about the spatial possibilities in the contemporary city; it is a mutation of the public space that is amplified with the participation of private property and the notions of social interaction.

The modular glazing system exposes the concrete skeleton, adapts to the mezzanines and the space between columns, so that they can be replaced one by one and create a curtain wall with aleatory reflections and a visual condition of a light, infinite, and ever-changing facade.

It is a complex of five townhouses –independent vertical homes– that share a common entrance: a landscaped corridor that flows from the street, passing through the pedestrian entrance and reaching the back of the property.

The progressive growth characteristic of the proposal will generate a feeling of belonging and personalization, as well as a sustainable housing model, as it will be able to adapt over time, based on the tastes, needs and possibilities of its future inhabitants.

To materialize a house of minimal surface and economy in the Mexican rural environment is not to think of a habitable container or shelter. A house in this scenario must exist with a fine balance between traditional and contemporary values.

In the aftermath of the 1985 Mexico City earthquake, many parts of the city were devastated and lost their unique character. Such is the case of the Roma neighborhood. This phenomenon led to an urban analysis of the neighborhood, focusing on the underutilized terrains that resulted from the tragic event.

Light and beauty are tempting. The intervention of a beautiful, ever-changing, luminous and ephemeral form in one of Mexico City's most historic and fashionable areas, Polanco, will become an attractive landmark from the adjoining park and its surroundings.

These precast concrete platforms adapt to a variety of conditions: from land, to rock, to sand, to sea, creating an archipelago of activities.

Urban recycling at Veracruz was the exercise subject. Its objective was to rehabilitate the port area, the old train station and the trains’ steer rail area, which partly surround Veracruz’ historical center, and turn them into a new recreational, tourist and financial center.