The design of the house makes use of a single concrete structure with wooden and steel elements to give the appearance of a timeless industrial space. The program is generated around two green spaces: the backyard with an existing mango tree and a central triple height greenhouse.
Aep Map in collaboration with Victor Rico Espínola
Illustration for “Towards a Water Sensitive Mexico City”, a strategy book by the AEP (The Public Space Authority of Mexico City).
Bamiyan Cultural centre
The cultural center is arranged around two patios. These are carved out like a quarry; from its walls, the inner spaces are sculpted out and connected by galleries, creating a feeling of free and continuous travel, of exploration and discovery, produced by this subterranean architecture.
San Francisco Common Areas
Just as in a constellation, a variety of landscape and hardscape elements are placed along the common areas, with a larger concentration being placed closer to the units’ entrances.
Who influences you graphically?
Many people, the practice appreciate sections that look like Claire Trotignon’s collages, patios surrounded by glass that look like Jeremy Miranda’s greenhouses and desaturated images with rational compositions like Tim Eitel paintings.
What defines the means through which you chose to represent project?
Bringing focus to the project’s main program and structure characteristics. In the case of Magdalena House, the focus on a central patio, a concrete structure with it’s void and the exterior spaces.
To what extent are the means and principles through which you operate as a practice reflected in the images you produces?
The practice main goal is to design something useful for the clients, the images are used to communicate ideas to them, they are useful to them.
What is the relationship between architecture and representation for you?
It can be a way to start the design of a project, it can show you if what it’s on your mind actually works or not. During the next steps of the project it can be used as a design tool.
How and to what extent do you relate to and explore the cultural context of Mexico?
Mainly by using –as much as possible– the construction techniques and materials of the local communities that surround the project. Not only in Mexico, but in every country, projects should be a response to its surroundings, the buildings, the history and the natural characteristics of a place.