ESCUCHA propone una experiencia abierta, un andamio que funciona a la vez de sistema constructivo y de soporte de las interacciones humanas con la naturaleza. Su estructura ligera y basamentos sólidos revelan y anclan la obra al sitio y al paisaje. Con ello en lugar de procurar una mirada estática del proyecto, ESCUCHA sugiere una pluralidad de órdenes y sentidos.

The project begins with a lot where a 1940 functionalist and heritage catalogued house is already erected. The house has simple lines and a side vegetated corridor,–architectonic characteristics of the neighborhood Roma Sur–.

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 known as Yupica.

Recognizing the forest as the protagonist, the house is inserted among the vegetation and adapts to its slope. It is the starting point of a line on the territory that makes reference to both, the glacier past of scattered rock blocks and the permanent interaction between architecture and its surroundings.

“Rapitae: 11, 154-11,151, looks out to generate an experience of the space and its relationship with the time, as part of a reflection about the distances between the perception time and the magnitud time in the nature, two notions that are condensed through the experience of the public as a visitor.” –Yupica In the dining […]

Un proyecto acerca de un objeto en el espacio arquitectónico: una simple escalera de concreto.

The main challenges were the reduced size of the property (6 m. in the front x 25 m. deep) and the instability of the land, coupled with restrictive construction and land use laws. The end product is a slim and light building.

The project seeks to solve the complexity of integrating a contemporary architectural proposal into an irregular cityscape while facing Real State pressures: high land value, densification, construction regulations, construction costs, market demands and timing.

Casa Meztitla is an intervention of a natural scenario. It showcases the luxurious value of leisure, the tropical weather, the intense sunlight, the smells of nature, the over 500 year-old landscaped terraces and the ever-present rock mountain: El Tepozteco.

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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.

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.

This project is about the transition of a small-scale, family-owned, traditional Mexican-cuisine business, into a food industry with international scope.

The progressive growth characteristic of the proposal will generate a belonging and personalized feeling, as well as a sustainable house that may be adapted in time, based on the preferences of its future inhabitants.

Materializing a rural dwelling within a reduced area and budget in Mexico’s countryside requires thinking beyond containers or habitable shelters. In this scenery, a fine balance between a traditional and a contemporary spirit must prevail. To profit from industrialized processes, as a cost-reducing strategy, they must not contravene the man-idiosyncrasy-nature relationship.

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.

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.

Beauty and light are tempting. An intervention of a beautiful, ever-changing, luminous and ephemeral shape in one of Mexico City’s most historic and fashionable neighborhoods would be a welcoming and attractive reference from the park and within.